Impressionism was a 19th century art movement that began as a loose association of Paris-based artists, who began exhibiting their art publicly in the 1860s. The name of the movement is derived from the title of a Claude Monet work, Impression, Sunrise (Impression, soleil levant), which provoked the critic Louis Leroy to coin the term in a satiric review published in Le Charivari.
Characteristics of Impressionist painting include visible brushstrokes, open composition, emphasis on light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, the inclusion of movement as a crucial element of human perception and experience, and unusual visual angles.
Radicals in their time, early Impressionists broke the rules of academic painting. They began by giving colors, freely brushed, primacy over line, drawing inspiration from the work of painters such as Eugene Delacroix. They also took the act of painting out of the studio and into the world. Previously, not only still lifes and portraits, but also landscapes, had been painted indoors, but the Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air. They used short, "broken" brush strokes of pure and unmixed color, not smoothly blended, as was the custom at the time. For example, instead of physically mixing yellow and blue paint, they placed unmixed yellow paint on the canvas next to unmixed blue paint, so that the colors would mingle in the eye of the viewer to create the "impression" of green. Painting realistic scenes of modern life, they emphasized vivid overall effects rather than details.
Cubism
Cubism was a 20th century art movement that revolutionized European painting and sculpture, and inspired related movements in music and literature. It developed as a short but highly significant art movement between about 1907 and 1914 in France. In cubist artworks, objects are broken up, analyzed, and re-assembled in an abstracted form — instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Often the surfaces intersect at seemingly random angles presenting no coherent sense of depth. The background and object planes interpenetrate one another to create the ambiguous shallow space characteristic of cubism.
It is clear that the roots of cubism are to be found in the two distinct tendencies of Paul Cézanne's later work: firstly to break the painted surface into small multifaceted areas of paint, thereby emphasising the plural viewpoint given by binocular vision, and secondly his interest in simplification of natural forms into Platonic cylinders, spheres, pyramids and cubes.
The cubists went farther than Cézanne; they represented all the surfaces of depicted objects in a single picture plane as if the objects had had all their faces visible at the same time, in the same plane. This new kind of depiction revolutionised the way in which objects could be visualised in painting and art and opened the possibility of a new way of looking at reality.
The most notable of cubism's small group of active participants were the Spaniards Juan Gris and Pablo Picasso, accompanied by French artist Georges Braque, then residents of Montmartre, Paris. These artists were the movement's main innovators. After meeting in 1907 Braque and Picasso in particular began working on the development of Cubism in 1908 and worked closely together until the outbreak of World War I in 1914.
Pablo Picasso. (Spanish, 1881-1973). Les Demoiselles d'Avignon. Paris, June-July 1907. Oil on canvas, 8' x 7' 8" (243.9 x 233.7 cm).
Les Demoiselles d'Avignon is one of the most important works in the genesis of modern art. The painting depicts five naked prostitutes in a brothel; two of them push aside curtains around the space where the other women strike seductive and erotic poses—but their figures are composed of flat, splintered planes rather than rounded volumes, their eyes are lopsided or staring or asymmetrical, and the two women at the right have threatening masks for heads. The space, too, which should recede, comes forward in jagged shards, like broken glass. In the still life at the bottom, a piece of melon slices the air like a scythe.
