Greater attention was given to psychological effect than to physical realism, and influences from earlier styles worldwide were used. Rodin, often considered a sculptural Impressionist, did not set out to rebel against artistic traditions, however, he incorporated novel ways of building his sculpture that defied classical categories and techniques.
Specifically, Rodin modeled complex, turbulent, deeply pocketed surfaces into clay. While he never self-identified as an Impressionist, the vigorous, gestural modeling he employed in his works is often likened to the quick, gestural brush strokes aiming to capture a fleeting moment that was typical of the Impressionists.
Rodin was a naturalist, less concerned with monumental expression than with character and emotion. Departing with centuries of tradition, he turned away from the idealism of the Greeks and the decorative beauty of the Baroque and neo-Baroque movements. His sculpture emphasized the individual and the concreteness of flesh, suggesting emotion through detailed, textured surfaces, and the interplay of light and shadow.
Rodin saw suffering and conflict as hallmarks of modern art. Since clay deteriorates rapidly if not kept wet or fired into a terra-cotta, sculptors used plaster casts as a means of securing the composition they would make out of the fugitive material that is clay.
Rodin, however, would have multiple plasters made and treat them as the raw material of sculpture, recombining their parts and figures into new compositions and new names. A prime example of his radical practices is The Walking Man — It is composed of two sculptures from the s that Rodin found in his studio — a broken and damaged torso that had fallen into neglect and the lower extremities of a statuette version of his St.
John the Baptist Preaching that he was having re-sculpted at a reduced scale. Without finessing the join between upper and lower, between torso and legs, Rodin created a work that many sculptors at the time, and subsequently, have seen as one of his strongest and most singular works.
This is despite the fact that the object conveys two different styles, exhibits two different attitudes toward finish, and lacks any attempt to hide the arbitrary fusion of these two components. The Walking Man : The Walking Man is composed of two fragments of sculpture that Rodin combined into a single work without masking the fusion of these disparate forms. Edgar Degas was a French artist famous for his paintings, sculptures, prints, and drawings. He is especially identified with the subject of dance; more than half of his works depict dancers.
He is regarded as one of the founders of Impressionism, although he rejected the term, preferring to be called a Realist. As a promising artist in the conventional mode, Degas had a number of paintings accepted in the Salon between and He soon joined forces with the Impressionists, however, and rejected the rigid rules, judgments, and elitism of the Salon—just as the Salon and general public initially rejected the experimentalism of the Impressionists.
It is dressed in a real bodice, tutu and ballet slippers and has a wig of real hair. All but a hair ribbon and the tutu are covered in wax. The tutus worn by the bronzes vary from museum to museum. This was a time when the public expected paintings to tell a story and to be edifying and uplifting; instead, the Impressionists painted modern subjects dispassionately. While people today generally view Impressionism as a pretty and contemplative style, "no one looking at an Impressionist painting in the s thought these images were escapist or prettifying," Locke clarifies.
As tastes changed, the public embraced the looser style, brighter palette and more personal interpretation of the Impressionist movement. Many of the movement's major figures, such as Claude Monet, Pierre-Auguste Renoir, and Edgar Degas, experienced success in their own lifetimes.
According to Locke, Claude Monet was probably the most influential, lived the longest he died at his famous home in Giverny at age 86 and had perhaps the greatest commercial and critical success. Then he decided that some of his sketches had a looser painting style he could continue to use, mostly on smaller easel paintings.
He began to blend small brushstrokes less, and to use larger touches that became more mosaic-like on the surface of the canvas. Camille Pissarro started out as a landscape painter more in the mold of Corot, and Berthe Morisot as a figure painter influenced by Edouard Manet, but both began to adopt aspects of Monet's style as well, so it's fair to say that Monet's style best represents Impressionism.
Degas, The Bellelli Family. Degas, At the Races in the Countryside. Degas, Visit to a Museum. Caillebotte, The Floor Scrapers.
Caillebotte, Man at his Bath. A summer day in Paris: Morisot's Hunting Butterflies. Cassatt, Little Girl in a Blue Armchair. Cassatt, Woman with a Pearl Necklace in a Loge. Impressionist pictorial space. Degas, The Bellelli Family. Degas, At the Races in the Countryside. Degas, Visit to a Museum. Caillebotte, The Floor Scrapers. Caillebotte, Man at his Bath. A summer day in Paris: Morisot's Hunting Butterflies.
Cassatt, Little Girl in a Blue Armchair. Cassatt, Woman with a Pearl Necklace in a Loge.
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