The Grands Boulevards is full of the pigment daubs and bright colors that are characteristic of Impressionism. The modern life in the city is transmitted through visible strokes of paint, which operate as immediate sensory cues that allow the viewer to perceive this world as though it is passing by.
Boats at Sea, Sunset shows the influence of Japanese woodblock prints revealed at the 1867 World's Fair.
a sketch-like painting, which to contemporaries seemed unfinished, no carved-out details, a glitter of sun reflecting the movements of the water, the boats partly truncated to convey a sense of the passing moment, and the individual details toned down in favour of the overall picture.
In this painting, Monet was less interested in capturing a likeness than in studying how unblended dabs of color could suggest the effect of brilliant sunlight filtered through leaves.
Among the energetic crowd crossing the Pont Neuf, Paris the oldest bridge in Paris, one man appears twice. Sporting a straw boater and carrying the boulevardier's cane, this is Renoir's brother Edmond, dispatched by the artist to delay people on the street.
Boulevard des Capucines gives an overhead view a crowded Paris street engulfed in the cold of winter.
Among the works that Monet produced in Argenteuil is this sun-drenched meadow with hazy mountains in the distance; a picture in which his wife Camille and his son Jean have no more visual presence than the wind-blown trees or the colored shadows on the grass.
Monet’s extemporaneous yet careful use of his brush reproduces the landscape as it changed from second to second. The shadowy outlines of two people standing at the edge of the water in the lower foreground are a nostalgic echo of the people who were bustling at the edge of the water just a few minutes before.
in a setting lacking a visible horizon, the flowers and shrubs are created with tiny dabs of colour, providing a constant interweaving of textures around the two small figures.
Woman with a Parasol was painted outdoors, probably in a single session of several hours' duration. The artist intended the work to convey the feeling of a casual family outing rather than a formal portrait, and used pose and placement to suggest that his wife and son interrupted their stroll while he captured their likenesses.
Caillebotte brought an unusual monumentality and compositional control to a typical Impressionist subject, the new boulevards that were changing the Paris cityscape. The result is at once real and contrived, casual and choreographed.
Here, the group of dancers is depicted in mid-performance, as viewed from an upper side box. Only one of the girls in green is shown full-length, captured as she executes a swift, complicated turn.
This painting is often thought to depict a 14 July celebration. Instead this was one of the events organised for the third Universal Exhibition in Paris a few weeks after it opened, and intended to be a symbol of France’s recovery after the defeat of 1870.
This example shows the road in the autumn. The artist’s colorful palette is organized around the road that recedes into depth at a central vanishing point, a classic landscape composition.
sweeping layers of youthful vegetation on a broad field devoid of human presence, save for some red-roofed houses scattered along the horizon line.
the artist constructed a still life comprising a birdcage and a bowl of flowers set against an ambiguous background of choppily executed strokes of paint.
The horizon, a feature generally used by seascapists to stabilise their compositions, is completely occluded by the rocks and cliff faces of Belle-Île. These outcrops range with claustrophobic effect across the upper register of the work, appearing as well in the form of cramped promontories on either side of the foreground. The ragged patch of sea thus formed, filled by the painter with countless flecks of paint to indicate waves, is the real subject of the picture.
The figures labor under the shadow of a large tree whose edges create a decorative pattern in the foreground, and the small dabs of pure, vibrant color create the dazzling effect of bright afternoon sunshine.
gives the effect of having been painted quickly and directly before the subject. At a distance, the choppy strokes and daubs of color resolve into a luminous floral landscape.
The rich surfaces of the paintings seem to imitate the textural fabric of the cathedral's carved stone.
Translate with Google