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sed.
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3.
4.
5.
6.
7.
8.
9. BEGINNINGS
• Some younger artists painted in a lighter and brighter
manner.
• They were more interested in painting landscape and
contemporary life than in recreating historical or mythological
scenes.
• Each year, the Salon du Paris jury rejected their works.
• A group of young realists, Claude Monet, Renoir, Sisley,
and Bazille, Pissarro, Paul Cézanne, and Armand Guillaumin
became friends and often painted together.
• They gathered at the Café Guerbois, with the slightly older
Edouard Manet as a respected leader.
10. • In 1863, the jury rejected Manet's The Luncheon on the Grass
11.
12. BEGINNINGS
• After Emperor Napoleon III saw the rejected works of 1863, he decreed
that the public be allowed to judge the work themselves, and the Salon
des Refusés (Salon of the Refused) was organized.
• While many viewers came only to laugh, the Salon des Refusés drew
attention to the existence of a new tendency in art and attracted more
visitors than the regular Salon.
• Critic and humorist Louis Leroy wrote a scathing review making wordplay
with the title of Claude Monet's painting Impression, Sunrise derisively
titling his article The Exhibition of the Impressionists
The term quickly gained favour with the public.
It was also accepted by the artists themselves
13. CHARACTERISTICS
Violating the rules of academic painting:
•Freely brushed colors that took precedence over lines and contours.
•Realistic scenes of modern life.
•Often painted outdoors (a plen air). Previously, still lifes and portraits as
well as landscapes were usually painted in a studio.
•They portrayed overall visual effects instead of details.
•They used short "broken" brush strokes of mixed and pure unmixed color—
not blended smoothly or shaded, as was customary—to achieve an effect of
intense color vibration.
•Pure impressionism avoids the use of black paint (they use the
complementary colors to get greys)
•An art of immediacy and movement, of candid poses and compositions, of
the play of light.
19. JOAQUÍN SOROLLA
• Born 1863 in Valencia, Spain
• He married Clotilde García del Castillo, whom he had first met in 1879, while
working in her father's photography studio.
• At 18 he went to Madrid to study the masters at museo del Prado.
• At 22 obtained a grant which enabled a four year term to study painting
in Rome.
• A long sojourn to Paris in 1885 provided his first exposure to modern
painting.
26. SOROLLA the artist
• His style is a special kind of impressionism: “Luminismo” (bright light)
• Besides Sundays, he would work six to nine hours a day, often standing in
the full glare of the sun dressed in a suit.
• The basis of Sorolla's faultless technique was the drawings skills that he had
learnt in his childhood.
• Sorolla painted very, very fast. "I could not paint at all if I had to paint
slowly," he once said. "Every effect is so transient, it must be rapidly
painted.“
• Most of his pictures were painted in from four to six mornings, many in one
or two.
27.
28.
29.
30. SOROLLA the artist
• Sorolla did not have a set idea of how a painting would turn out before he
started, preferring to build up the composition as he went along.
• In the studio Sorolla would sometimes use a palette the size of a grand
piano lid and 3 foot long brushes to allow him to stand back from his
painting.
• Brush work is loose and bold.
• At the first years he focused mainly on the production of large canvases
of orientalist, mythological, historical, and social subjects, for display in
salons and international exhibitions in Madrid,
Paris, Venice, Munich, Berlin, and Chicago.
31. “Another Marguerite”
Gold medal at the National Exhibition in Madrid
First prize at the Chicago International Exhibition
43. • An even greater turning point in Sorolla's career was marked by the painting
and exhibition of Sad Inheritance
• The subject was a depiction of crippled children bathing at the sea in
Valencia, under the supervision of a monk.
• The polio epidemic that struck some years earlier the land of Valencia is
present, possibly for the first time in the history of painting, through the
image of the two affected children.
• The painting earned Sorolla his greatest official recognition, the Grand Prix
and a medal of honor at the Universal Exhibition in Paris in 1900, and the
medal of honor at the National Exhibition in Madrid in 1901.
44.
45. • At the same time, a series of preparatory oil sketches for Sad
Inheritance were painted with the greatest luminosity and bravura, and
foretold an increasing interest in shimmering light and of a medium deftly
handled.
54. • The exhibit at the Paris Universal Exposition of 1900 won him a medal of
honour and his nomination as Knight of the Legion of Honour.
• Within the next few years Sorolla was honoured as a member of the Fine Art
Academies of Paris, Lisbon, and Valencia, and as a Favourite Son of Valencia.
• In England met Archer Milton Huntington, who made him a member of The
Hispanic Society of America in New York City, and invited him to exhibit there
in 1909.
• Sorolla spent five months in America and painted more than twenty portraits.
55. Portraits
• Formal portraiture was not Sorolla's genre of preference, because it tended
to restrict his creative appetites.
• But portrait commissions proved profitable, and the portrayal of his family
was irresistible.
61. The Vision of Spain
• Archer M. Huntington in Paris and signed a contract to paint a series of
oils on life in Spain to be installed in the Hispanic Society of America.
• Would range from 12 to 14 feet in height, and total 227 feet in length
(fourteen large panels in all).
• The major commission of his career, it would dominate the later years of
Sorolla's life.
• Sorolla painted all but one en plein air, and travelled to specific locales to
paint them at each site painting models posed in local costume.
• He completed the final panel by the middle of 1919.
