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Impressionism was a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, unusual visual angles, and inclusion of movement as a crucial element of human perception and experience.
Theodore Robinson (June 3, 1852 – April 2, 1896) was an American painter best known for his Impressionist landscapes. He was one of the first American artists to take up Impressionism in the late 1880s, visiting Giverny and developing a close friendship with Claude Monet. Several of his works are considered masterpieces of American Impressionism.
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Théodore Duret wrote that rendering idealized impressions instead of landscapes is what epitomises Monet's work and the impressionist movement. Considering Impression, Sunrise and Monet's work following the 1874 exhibition, Duret wrote "it is certainly the peculiar qualities of Claude Monet's paintings which first suggested [the term ...
Examples of Maurice Molarsky's paintings are held by the Pennsylvania Academy of the Fine Arts [32] the Athenaeum of Philadelphia, [33] the Penn Art collection at the University of Pennsylvania, [34] the Woodmere Art Museum [35] and the Princeton University Art Museum [36] Portrait of Howard W. Lewis, c. 1936 (The Atheneum of Philadelphia)
John Henry Twachtman (August 4, 1853 – August 8, 1902) was an American painter best known for his impressionist landscapes, though his painting style varied widely through his career. Art historians consider Twachtman's style of American Impressionism to be among the more personal and
The paintings March and Golden Autumn, created in 1895, are considered to be the most significant examples of the influence of Impressionism on Levitan's work. [11] [83] [84] March displays Impressionist characteristics such as "temperamental, open thick strokes, that almost sculpturaly 'mould' the blue March snow."
The art historian Joel Isaacson has questioned whether the vertical version of Boulevard des Capucines would have elicited the same level of feeling from critics if it were displayed at the first Impressionist exhibit since the vertical scene is more muted in color and presentation. [3]