PROGRAM

DIPLOMA IN NEW MEDIA DESIGN

SESSION

JULY-OCTOBER 2021

SUBJECT

NEW MEDIA HISTORY

PREPARED FOR

NOR TIJAN FIRDAUS BENTI ABU BAKAR

PREPARED BY

NG WEI HANG

STUDENT ID

2021030004\

Impressionism

Impressionism is a 19th-century art movement characterised by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, unusual visual angles, and inclusion of movement as a crucial element of human perception and experience. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s.

The Impressionists faced harsh opposition from the conventional art community in France. The name of the style derives from the title of a Claude Monet work, Impression, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satirical review published in the Parisian newspaper Le Charivari. The development of Impressionism in the visual arts was soon followed by analogous styles in other media that became known as impressionist music and impressionist literature.

OverviewRadicals in their time, early Impressionists violated the rules of academic painting. They constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted realistic scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were usually painted in a studio. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting outdoors or en plein air. They portrayed overall visual effects instead of details, and used short "broken" brush strokes of mixed and pure unmixed colour—not blended smoothly or shaded, as was customary—to achieve an effect of intense colour vibration. Impressionism emerged in France a the same time that a number of other painters, including the Italian artists known as the Macchiaioli, and Winslow Homer in the United States, were also exploring plein-air painting. The Impressionists, however, developed new techniques specific to the style. Encompassing what its adherents argued was a different way of seeing, it is an art of immediacy and movement, of candid poses and compositions, of the play of light expressed in a bright and varied use of colour.

The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style. By recreating the sensation in the eye that views the subject, rather than delineating the details of the subject, and by creating a welter of techniques and forms, Impressionism is a precursor of various painting styles, including Neo-Impressionism, Post-Impressionism, Fauvism, and Cubism.

Basic Features

With the deepening and development of scientific research, people in the nineteenth century have understood that the different colors of objects are caused by their absorption and reflection of different light. Objects that absorb all sunlight will appear black, all reflected sunlight will appear white, reflect blue waves and absorb other light waves and appear blue, and so on. Any object in nature must be affected by the color of the light source and the colors of other objects in the surrounding environment. Therefore, it is impossible to have absolutely pure inherent colors. The idea that trees are green and flowers are red is only an understanding under certain historical conditions. In the nineteenth century of scientific development, it is obviously out of date. People realize that even the same light source will have different color effects on objects at different times in the morning and evening. Moreover, the distance between the object and the light source, the receiving angle, the surface finish of the object and other conditions will affect the change of its color. The relationship between light and color is extremely complex and subtle. In this way, the traditional concept of inherent color was completely broken.

With the gradual fall of colors, people's perceptions of colors are also very different. People have several pairs of shades mixed into white light, and several colors will become black when mixed. In this way, people call these shades and pigments complementary colors, and these are the complementary colors of objects and colors, such as yellow-purple, red and Green, orange and blue. In color sketching, this complementary color is related to the analysis and recognition of colors.

The balloon's understanding of himself has also changed slightly. It produces rich colors, and often shows the opposite color properties of the light source color.

Impressionist painters not only took a big step forward in color, but also began to innovate in the way of observation. In the past, people always painted objects in a traditional, close to sepia tone. The reason why I can't paint the vivid colors of impressionism is because people do not paint according to the "known" colors completely based on their own eye observations and lack of scientific help. Impressionist painters abandoned all traditional color concepts to capture the visual experience generated by the color changes on the object. This feeling is purely personal, so the colors painted are very vivid, rich and full of individuality. Their goal is still to reproduce the object as objectively and truthfully as possible. Impressionist painters focused entirely on capturing visual impressions and pursuing changes in light and color. They often ignored the shapes and outlines of objects, painted them quite loosely and freely, and only pursued color effects. People who are used to rigorous classical painting find it difficult to accept their art. In order to maintain the vividness and realism of the works, impressionist painters mostly regarded the study as a creation, advocating to complete the work once in the external light, and return to the studio to no longer modify it.

Impressionist works

Sunrise

Artist Claude Monet

Year 1872

Medium Oil on canvas

Movement Impressionism

Dimensions 48 cm × 63 cm

(18.9 in × 24.8 in)

Location Musée Marmottan Monet,

Paris

Le Déjeuner sur l'herbe

English: The Luncheon on the Grass

Artist Édouard Manet

Year 1863

Medium Oil on canvas

Dimensions 208 cm × 264.5 cm

(81.9 in × 104.1 in)

Location Musée d'Orsay, Paris

The Starry Night

Artist                 Vincent van Gogh
Year 1889
Medium     Oil on canvas
Dimensions 73.7 cm × 92.1 cm (28.7 in × 36+1⁄4 in)
Location           Museum of Modern Art, New York City