Impressionism and Art Nouveau

The late 19th century, was mainly the era that consisted of the introduction of Impressionism, Post- Impressionism, the rise of Japonisme, and also the time in which photography became more portable, affordable, and mainstream, and also notably where moving pictures were first developed. Also in this point of history for the first time, the need for traditional portrait artists and painters, was beginning to decline, due to the advent of the lens camera, which meant quick, accurate representations of people and objects, could be captured more easily, and in some cases, much cheaper.

The start of the research on this era, will begin by focusing on impressionism. One particular artist who created this type of artwork, was Claude Monet. Monet was born in 1840 Paris, and his earliest reputation as an artist was as a caricaturist. In the mid 1850’s Monet began to create paintings of nature and landscapes, a key point in his life, as after this point, the majority of his artwork was of nature and environmental imagery. (Figure 11 and 22)

Figure 1

Figure 2

These two pieces above by Monet are paintings of environmental imagery. The materials he used to paint these pieces consisted of oil on canvas.

In the year of 1859, Monet's career began with his first trip to the city of Paris. In his duration of being inside the city, he befriended numerous artists and painters, who were associated with the Realist art movement. While here, he also importantly received his first schooling, after being taught as a pupil by the painter, Charles Gleyre. He studied under his teaching for two years, and during his time at the school, he was inspired by a number of artists. Here he notably met the painter Pierre Renoir, who was a leader in the impressionist style of artwork at the time. After exhibiting his work in a number of locations, one of them was an exhibition that was being held each May, in the city of paris called, The Salon, he turned some of his attention away from natural themes, and began creating work of Paris, which at the time was undergoing great change. He was fascinated with the advent of boulevard culture, and also new districts that were making way in the city, such as suburban culture.3

Before going onto discussing the theme of art nouveau in illustration, the research will focus on going in depth on the theme of Japonisme. Japonisme describes an art movement that was influenced on existing Japanese themes. When japan opened up to trading with the western world in the year of 1853. The western world basked in a surge in imported goods, and art styles after this opening up of culture.
In terms of England, Britain had pieces from this new culture flowing into society before the exhibit at the worlds fair in 1867, however France were witnesses to an eastern exhibition at the worlds fair, which was held in Paris.
This theme influenced everyday objects to become beautifully decorated, such items included saucers, cups, and furniture.4

Figure 3

Figure 35, (above), is an example of Japonisme inspired artwork. This piece in particular was created by the artist Mary Cassatt. The work is called "Maternal Caress", and there are clear indications to the Japonisme theme, in this piece. The lighting is very flat, and the way the figures are illustrated are very much influenced by existing Japanese artwork. The piece was created using the techniques of dry point, and soft ground etching. 

Art Nouveau in illustration in the 19th century, was a very popular theme. It was used in such examples as advertisements, posters, theatre information, and product packaging. It was a theme that was inspired greatly by Japonisme themes. An example of some art nouveau pieces of graphic arts now, and the first one to be highlighted is the image below (figure 46).

Figure 4

This image is entitled "The Cry" and is a very well known example of art nouveau. It is an oil painting by the artist Edvard Munch. The piece seems to contain elements of a nightmarish scene, in which an unidentified figure is appearing to be followed by two other unidentified figures in the background. The location is a bridge that seems to be located near a body of water in the far left of the background, behind the two mysterious figures. This style seems to incorporate certain elements if abstract formations, and is not true to life in the way that traditional pre- art nouveau pieces visually appear.

The second highlighted piece to analyse, is the figure below, named 'France Champagne'7.

Figure 5

This image is a lot different in certain ways from the example stated above. This poster graphic consists of very minimal tones, whereas "The Cry" (figure 4) is a very colourful painting. The predominant tone in this piece is orange, and this colour can be seen in several different shades. Note the differences in tone between the female figure's skin, and her hair. Interestingly a black outline allows the piece to stand out greatly against the background. Without this background, it would be much harder to distinguish her skin tone, from the darker orange of the background.

For the third art nouveau image to discuss (figure 68), the research will be talking about the image below.

Figure 6

This graphic piece is entitled "Moulin Rouge: La Goulue". It is a very well known example of the art nouveau style, and was created in 1891.
It was created as an advertisement for the, (at the time), newly opened dance hall.
In 1889. One of his artistic pieces were situated toward the entrance of the dance hall, and after which he became a very well known regular of the place. Due to the exposure of this piece, he was commissioned to create a large advert for the building, this made him become very well recognised. This graphic piece, was a success to the dance halls publicity.9

References Used:
1. Figure 1: ("Peupliers Au Bord De L'Epte", Artist: Claude Monet, c1891), Potts, V. (1999) Essential Monet. Pg: 180, Bath: Dempsey Parr.
2. Figure 2: ("Le Bassin Aux Nympheas, Harmonie Verte", Artist: Claude Monet, c1899), Potts, V. (1999) Essential Monet. Pg: 212, Bath: Dempsey Parr.
3.  Potts, V. (1999) Essential Monet. Pg: 6-7 Bath: Dempsey Parr.
4. Ives, Colta. "Japonisme". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/jpon/hd_jpon.htm (October 2004) Viewed: 9:40am 11.3.14
5. Figure 3:"Mary Cassatt: Maternal Caress" (16.2.5) In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/works-of-art/16.2.5. (October 2006) Viewed: 9:45am 11.3.14
6. Figure 4: ("The Cry", Artist: Edvard Munch, c1893), Duncan, A. 'Art Nouveau', Pg: 1994, London, Themes and Hudson Ltd.
7. Figure 5: ("France Champagne" Artist: Pierre Bonnard, c1894), Duncan, A. 'Art Nouveau', Pg: 1994, London, Themes and Hudson Ltd.
8. Figure 6: "Henri de Toulouse-Lautrec: Moulin Rouge: La Goulue" (32.88.12) In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/works-of-art/32.88.12. (October 2006) Viewed: 8:32pm 12.3.14
9. In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/works-of-art/32.88.12. (October 2006)




Alphabetical Ordered Bibliography:
Figure 1: ("Peupliers Au Bord De L'Epte", Artist: Claude Monet, c1891), Potts, V. (1999) Essential Monet. Pg: 180, Bath: Dempsey Parr.

Figure 2: ("Le Bassin Aux Nympheas, Harmonie Verte", Artist: Claude Monet, c1899), Potts, V. (1999) Essential Monet. Pg: 212, Bath: Dempsey Parr.

Figure 3:"Mary Cassatt: Maternal Caress" (16.2.5) In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/works-of-art/16.2.5. (October 2006) Viewed: 9:45am 11.3.14

Figure 4: ("The Cry", Artist: Edvard Munch, c1893), Duncan, A. 'Art Nouveau', Pg: 1994, London, Themes and Hudson Ltd.

Figure 5: ("France Champagne" Artist: Pierre Bonnard, c1894), Duncan, A. 'Art Nouveau', Pg: 1994, London, Themes and Hudson Ltd.

Figure 6: "Henri de Toulouse-Lautrec: Moulin Rouge: La Goulue" (32.88.12) In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/works-of-art/32.88.12. (October 2006) Viewed: 8:32pm 12.3.14

In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/works-of-art/32.88.12. (October 2006)

Ives, Colta. "Japonisme". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/jpon/hd_jpon.htm (October 2004) Viewed: 9:40am 11.3.14

Potts, V. (1999) Essential Monet. Pg: 6-7 Bath: Dempsey Parr.