Impressionism @first--impressions-blog - Tumblr Blog

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Still Life with Bouquet, Pierre-Auguste Renoir

Medium: oil,canvas

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Vincent van Gogh, The Cows, 1890, Lille Museum of Fine Arts

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The prophecies of the Pythian sibyl, the high priestess at the Temple of Apollo in Delphi, were considered the most powerful in ancient Greece. Generations of priestesses summoned the Greek god Apollo’s oracles while seated on a tripod-shaped seat. The frenzied, trancelike state the sibyl entered while predicting the future or giving orders was ably captured by sculptor Adèle d’Affry, the Duchess of Castiglione-Colonna, who exhibited her artwork under the masculine name “Marcello.” See this work on view in our New European Galleries.

“Pythian Sibyl,” after 1869–70, by Marcello

#victorian

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Happy birthday to Vincent van Gogh, who was born on this day in 1853. As a member of the Post-Impressionist movement, he used color and energetic brush strokes to convey his emotions and state of mind. Largely unsuccessful during his lifetime, he is now considered one of the most influential figures in the history of art. Few artists have been associated with specific subjects as closely as van Gogh was to sunflowers. They represented for him something deeply personal, and he frequently praised them as symbols of reverie, loyalty, and joy. 🌻

“Sunflowers,” 1889, by Vincent van Gogh

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Henri Fantin-Latour (1836-1904)

Roses dans un verre, 1877

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“Paint generously and unhesitatingly, for it is best not to lose the first impression. Don’t be timid in front of nature: one must be bold, at the risk of being deceived and making mistakes. One must have only one master—nature; she is the one always to be consulted.” –Camille Pissarro, born on this day in 1830

“Summer Landscape, Eragny,” 1887 and 1902, by Camille Pissarro

“Fair on a Sunny Afternoon, Dieppe,” 1901, by Camille Pissarro

“L’Île, Lacroix, Rouen (The Effect of Fog),” 1888, by Camille Pissarro

“Quai Napoléon, Rouen,” 1883, by Camille Pissarro

“Afternoon Sunshine, Pont Neuf,” 1901, by Camille Pissarro

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After photography was invented in the mid 19th century, the need to capture scenes with precision in painting became obsolete.

Claude Monet was one of the pioneers that helped move painting in a new direction. He often worked with rapid speed to capture fleeting moments of modern life in Paris all in one sitting.

Paintings like the one above of the Rouen Cathedral in morning light would look dramatically different if captured with a 19th-century camera. Monet was able to preserve these impressions with gorgeous hues of blues and pinks that were only visible for minutes each day.

thegetty

After photography was invented in the mid 19th century, the need to capture scenes with precision in painting became obsolete.

Claude Monet was one of the pioneers that helped move painting in a new direction. He often worked with rapid speed to capture fleeting moments of modern life in Paris all in one sitting.

Paintings like the one above of the Rouen Cathedral in morning light would look dramatically different if captured with a 19th-century camera. Monet was able to preserve these impressions with gorgeous hues of blues and pinks that were only visible for minutes each day.

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The sun is setting on American Watercolor. Hurry in by Sunday, May 14.

Due to popularity and increased demand in its final days, we are extending the viewing hours for American Watercolor to 7:00 p.m. on Saturday and Sunday, May 6, 7, 13, and 14.

“Gloucester Sunset,” 1880, by Winslow Homer (Collection of Linda H. Kaufman)

#American watercolour #Gloucester #sunset #impressionism #impressionist

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Today is International Dance Day—bust out your favorite moves.

“Wedding Dance in the Open Air,” c. 1600, by Pieter Brueghel the Younger

“Jitterbugs (No. 2),” c. 1941, by William Henry Johnson

“At the Moulin Rouge: The Dance,” 1890, by Henri de Toulouse-Lautrec

“The Star,” c. 1876–78, by Edgar Degas

“The Gods Sing and Dance for Shiva and Parvati,” c. 1780–90, India

“In Vaudeville (Dancer with Chorus),” 1918, by Charles Demuth

terminusantequem

Berthe Morisot (French, 1841-1895), LA LEVRETTE LAËRTE, 1894. Oil on canvas, 81.3 by 99.6cm (32 by 39 ¼ in.)

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Homer or Sargent? We asked American Watercolor visitors to vote for their favorite. Homer is currently in the lead with 1118 votes to Sargent’s 984. We hope you enjoy a few of our favorite descriptions left by visitors. What are your favorite watercolors? Why?

“The wind in Homer’s palm trees can make me weep.” “A Garden in Nassau,” 1885, by Winslow Homer (Terra Foundation for American Art)

“The feelings of the old man are palpable. It tells a deep story.” “Old Friends,” 1894, by Winslow Homer (Worcester Art Museum)

“The tree in the center is just reaching longingly toward the ocean. It looks like it’s trying to dip its toe into the blue. It makes me want to sit by the ocean and reach out toward the sea as well.” “Bermuda,” 1900, by Winslow Homer (Philadelphia Museum of Art: Gift of Dr. and Mrs. George Woodward, 1939-7-1)

“The detail and brightness feels like a Friday morning. Not only has he caught the reflections of the boats on the water, but also the reflection of the light from the water onto the hull of the boat. Just magical!” “Ships at Palma,” c. 1908, by John Singer Sargent (private collection)

“I love ‘Escutcheon of Charles V’ for the same reasons I love living in a city—energy, rhythm, color, & an appreciation for details that get lost.” “Escutcheon of Charles V,” 1912, by John Singer Sargent (Metropolitan Museum of Art)

“It captures the lure of Florida’s swamps & the essence of danger. Do the alligators wear post-prandial smiles of contentment and tasty tourists?” “Muddy Alligators,” 1917, by John Singer Sargent (Worcester Art Museum)