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In the second half of the 19th cent. painters began to revolt against the classic codes of composition, careful execution, harmonious coloring, and heroic subject matter. Patronage by the church and state sharply declined at the same time that artists' views became more independent and subjective. Such artists as Courbet, Corot and others of the Barbizon School, Manet, Degas, and Toulouse-Lautrec chose to paint scenes of ordinary daily and nocturnal life that often offended the sense of decorum of their contemporaries.
Impressionism
Monet, Renoir, and Pissarro, the great masters of impressionism, painted cafE and city life, as well as landscapes, working most often directly from nature and using new modes of representation. While art had always been to a certain extent abstract in that formal considerations had frequently been of primary importance, painters, beginning with the impressionists in the 1870s, took new delight in freedom of brushwork. They made random spots of color and encrusted the canvas with strokes that did not always correspond to the object that they were depicting but that formed coherent internal relationships. Thus began a definite e and the subject. The impressionists exploited the range of the color spectrum, directly applying strokes of pure pigment to the canvas rather than mixing colors on the palette. In sculpture, dynamic forms and variations of impressionism were created by Rodin, Renoir, Degas, and the Italian Medardo Rosso.
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