Paul Cézanne lurked at the edges of the Impressionist movement and was pivotal to Post-Impressionism, which also included major painters like Paul Gaugin, Henri de Toulouse-Lautrec, Edvard Munch, Gustav Klimt and Vincent van Gogh. Painters like James Whistler and Winslow Homer brought Impressionism to America following their European travels. Whistler particularly took the lessons of the Japanese influence on Impressionism to heart, while Homer embraced the lessons of light and color but preferred strong outlines, often focusing on his favorite subject, the sea. Pointillism

Nadežda Petrović, Milo Milunović, Kosta Miličević, Milan Milovanovi and Mališa Glišić in Serbia [59] [60] [61] The sculptor Auguste Rodin is sometimes called an Impressionist for the way he used roughly modeled surfaces to suggest transient light effects. [62] Cooking Sections and Sakiya: In the Eddy of the Stream is at Inverleith House, Edinburgh, until 18 September The Amsterdam Impressionists in the Netherlands, including George Hendrik Breitner, Isaac Israëls, Willem Bastiaan Tholen, Willem de Zwart, Willem Witsen and Jan Toorop.Adler, Kathleen (1990). Perspectives on Morisot (1sted.). New York: Hudson Hills Press. p.60. ISBN 1-55595-049-3. Archived from the original on 25 February 2021 . Retrieved 28 April 2019. While Impressionism legitimized the domestic social life as subject matter, of which women had intimate knowledge, it also tended to limit them to that subject matter. Portrayals of often-identifiable sitters in domestic settings (which could offer commissions) were dominant in the exhibitions. [45] The subjects of the paintings were often women interacting with their environment by either their gaze or movement. Cassatt, in particular, was aware of her placement of subjects: she kept her predominantly female figures from objectification and cliche; when they are not reading, they converse, sew, drink tea, and when they are inactive, they seem lost in thought. [46] Varnedoe, J. Kirk T. The Artifice of Candor: Impressionism and Photography Reconsidered, Art in America 68, January 1980, pp. 66–78 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. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s.

Many vivid synthetic pigments became commercially available to artists for the first time during the 19th century. These included cobalt blue, viridian, cadmium yellow, and synthetic ultramarine blue, all of which were in use by the 1840s, before Impressionism. [25] The Impressionists' manner of painting made bold use of these pigments, and of even newer colours such as cerulean blue, [4] which became commercially available to artists in the 1860s. [25] Everyday life was Renoir’s preferred subject matter, and his portrayal of it is drenched in optimism. His 1876 painting Moulin de la Galette, which depicts the crowded dance garden on the Butte Montmartre, utilizes both artificial and natural light to portray a jolly party atmosphere and highlights many of Renoir’s interests. Other Impressionists Frances is co-author (with Michael Clarke) of a major ​critical catalogue , French Paintings 1500-1900 in the National Galleries of Scotland , published in April 2023. Among the artists of the core group (minus Bazille, who had died in the Franco-Prussian War in 1870), defections occurred as Cézanne, followed later by Renoir, Sisley, and Monet, abstained from the group exhibitions so they could submit their works to the Salon. Disagreements arose from issues such as Guillaumin's membership in the group, championed by Pissarro and Cézanne against opposition from Monet and Degas, who thought him unworthy. [19] Degas invited Mary Cassatt to display her work in the 1879 exhibition, but also insisted on the inclusion of Jean-François Raffaëlli, Ludovic Lepic, and other realists who did not represent Impressionist practices, causing Monet in 1880 to accuse the Impressionists of "opening doors to first-come daubers". [20] In this regard, the seventh Paris Impressionist exhibition in 1882 was the most selective of all including the works of only nine "true" impressionists, namely Gustave Caillebotte, Paul Gauguin, Armand Guillaumin, Claude Monet, Berthe Morisot, Camille Pissarro, Pierre-Auguste Renoir, Alfred Sisley, and Victor Vignon. The group then divided again over the invitations to Paul Signac and Georges Seurat to exhibit with them at the 8th Impressionist exhibition in 1886. Pissarro was the only artist to show at all eight Paris Impressionist exhibitions.The Impressionists' progress toward a brighter style of painting was gradual. During the 1860s, Monet and Renoir sometimes painted on canvases prepared with the traditional red-brown or grey ground. [26] By the 1870s, Monet, Renoir, and Pissarro usually chose to paint on grounds of a lighter grey or beige colour, which functioned as a middle tone in the finished painting. [26] By the 1880s, some of the Impressionists had come to prefer white or slightly off-white grounds, and no longer allowed the ground colour a significant role in the finished painting. [27] Content and composition [ edit ] Camille Pissarro, Hay Harvest at Éragny, 1901, National Gallery of Canada, Ottawa, Ontario Several Scottish art collectors were well ahead of their time in acquiring modern French works. We are thrilled to be telling their story for the first time through A Taste for Impressionism, an exhibition which we hope will delight and inspire our visitors.”