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Impressionism; compares and contrasts the style of Monet and Cezanne

A new work on impressionism can¯t claim to throw new light on a subject, which has been repeatedly and thoroughly discussed and written about. Attitudes toward and ideas about art, like everything else, undergo changes, modifications, and shifts of emphasis. Today, we look upon the impressionists not only as revolutionaries who defied the academic traditions of their age, not only as the successors of Delacroix, Courbet, and Corot, but also as the prophets and precursors of modern painting. Impressionism heralded a new attitude toward art. The impressionist, in overthrowing the old, gave birth to a new tradition.

The spirit of youthful creativity fired impressionism. Never before in the history of art had a group of young, inspired painters be friend each other, worked together so fruitfully, and eventually represents nothing more, nothing else than the history of theses friendships, which painting as its common denominator.

In 1859, the young Claude Monet came to Paris a bit lost, but full of enthusiasm. Soon he was to become the master, He had met the already established marine painter Bounden in Le Havre, and the friendliness and honesty of the old painter had soon won him over. He needed Boudin¯s ad


Francois Mathey The Impressionists Fredrick A. Praeger Publishers

In his desire to °get away from the exact mechanical reproduction of that imaginary mirror-like level onto which, in the act of vision, we conventionally project thing.± Read points our how Cezanne was continually projecting °a metaphysical conception of painting; a nation that there existed in the sense-data of the painter a °real± vision independent of the intellect and beyond, at the back of , the emotions± (Stieglitz 160)

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Approximate Word count = 1186
Approximate Pages = 5 (250 words per page double spaced)


  

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