In the age of information technology, with drastic changes and accelerated social transformations, is there still space to dedicate oneself to the immersive study of Painting? And why, when we think about painting, do the same references to impressionist painting come up? Why does this movement continue to be a type of source for the good learning of pictorial techniques, especially those that work with oil paint and acrylic paint? Taking advantage of the celebrations of the 150th anniversary of this iconic Art movement, let's get to know a little more about some of these illustrious painters and their works.

This article is an attempt to affirm that, even though it does not respond favorably to all of the previous questions, it is still possible to awaken interest in Painting based on great works of Impressionism. I will try, to a certain extent, to point out the successes and failures of the works that I bring as a source of inspiration for writing this text. The idea here is not to exhaust an analysis of works or even to applaud any figure or myth of these artists' genius, but, rather, to propose a look that awakens the interest of the beginning painter or the student of visual arts in observing the critical point at which Impressionism managed to subvert the tradition of European painting at the end of the 19th century.

We will observe the path taken by the artists in the compositional construction of the paintings in direct relation with the impressionist technique of mixing, approximation and suggestion of color, which leads us to also analyze some aspects directly linked to the nature of color.

In the 1870s, in Paris, France, a new artistic movement emerged that contrasted with the ideas of the Realism artists of previous decades. In a way, it returned to the essence of the dramatic expression of the romantic artists of the first half of the century and the artists of this movement were inspired by the works of painters such as Eugène Delacroix It is J. M. W. Turner.

The themes of the artists of this movement were often simple, linked to European bourgeois everyday life, but the colorful brushstrokes they used emphasized the movement of time. It was the culmination of research into how we perceive colors and represent them on a two-dimensional surface, research that began with the scientific method in the Renaissance period.

Portraying visual effects rather than details wasn't something that was met with appreciation at first, but that slowly changed decades later.

This movement was referred to as Impressionism and pejoratively named in reference to one of the most famous paintings of this revolutionary new style called "Impression, Soleil Levant", which translates to "Impression of the Rising Sun".

Seus estudos e pinturas mostram de maneira persuasiva uma comunicação com a memória e a inquietação espiritual da psique do povo alemão. Seu trabalho ainda retém muito da ambiguidade consciente sobre o passado e a relação pessoal do artista com ele. Essa relação com o passado representado na pintura demonstra uma espécie de ação no presente, através de uma consciência coletiva em que o artista afirma buscar uma aproximação:            

artistic work consists of perceiving, in the most exact way possible, that which moves me as an example for everyone... I know it seems absurd to say that perhaps man can capture anything, intuit a force that does not refer to him, but perhaps it is this capacity that distinguishes the artist from other men. (KIEFER, 2007, p.25).

"Garden at Sainte-Adresse". Claude Monet, 1867, Óleo s/ tela.

(98.1 x 129.9 cm). Metropolitan Museum of Art

"Sazai Hall in the Temple of the Five Hundred Arhats" (Gohyaku Rakanji Sazaidō), from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei). Katsushika Hokusai (Japan, Tokyo (Edo) 1760–1849. 1830–32. woodcut, ink and color on paper. https://www.metmuseum.org/

At the work of Hokusai, like that of many other Japanese artists, strongly influenced impressionist painters. The compositional character has a strong emphasis in this sense, as the structuring of the frames and the planned aspect of Japanese art had a great impact on impressionist painting. We also noticed a close relationship in terms of the positive division of the two works: Monet, inspired by Hokusai, sections its composition into three extensive horizontal bands that take up the entire image. The sky strip with the two flags, the sea strip with vessels and the lower strip, with the garden and its visitors. These bands seem to be stacked on top of each other, which brings this painting even closer, in terms of composition, to the woodcut by the Japanese master.

The focal point in Sazai Hall it is Mount Fuji, which reigns supreme in the composition. Already in Garden at Sainte-Adresse, the focal point of the painting is the couple near the fence, which jointly creates two vanishing points, as the second would be on the horizon line. But the similarities end there. In stylistic terms, the iconic Japanese artist emphasizes contour, line and large-scale planes; his characters accentuate the dynamics of a composition that tends towards a totality or linear unity, that is, the line has a strength that overrides the chromatic aspect. We remember Hokusai for your design.

This work by Monet still does not have all the technical and perceptual power compared to the mature works of Impressionism, we see, especially in the large planes of the sky and the floor, a treatment that is still quite academic, they are supporting elements when we observe the overwhelming expressiveness of the foliage and flowers in the composition. Monet would overcome this impasse in the following paintings with a more acute understanding of the pictorial possibilities of the impressionist technique. We can still see in this work a clear distinction, purposely created by the artist by giving an illusory aspect to the sky and emphasizing the character of the pictorial material in the frontal planes, where we see the human figures and foliage.

Although the brushstroke is not as loose as Rising Sun Print, which would come in 1872, here we see a Monet in search of a synthesis in the face of the impressionist revolution. Another important point in this painting is the deconstruction of linear perspective: Monet structures his painting from luminous masses and volumes, we perceive an accentuated two-dimensionality between the compositional elements, and with this there is an approximation between image and painting: the first is the illusory representation of the scene, what the eye sees, is the subject of the painting, the second is the medium, the physical flatness of the canvas support in communion with the paint. This is a fundamental point to understand what the revolution of the impressionist movement was.

2. Édouard Manet

Édouard Manet (1832-1883) was another very important figure in the impressionist artistic movement in the 19th century. He is considered one of the first artists to portray modern life and his style was crucial in the transition between Realism and Impressionism, making him one of the most famous impressionist artists in history. He is the creator of one of the most influential paintings in history called "Lunch on the Grass" ("Le Déjeuner Sur l'Herbe"), about a decade before the movement really took shape. It became the inspiration for the Impressionists in the 1870s and defined an entire generation of artists and beyond, eventually transitioning into modern art.

In this work, Manet uses diagonal as a compositional resource to establish a dynamic balance to the scene. We see two figures from the back, a child and a woman in a long dress in the foreground, in the background we have a group of boats and in the background a beach on a sunny day in the city of Argenteuil. The color palette in this painting is modest, if we compare Manet's other works, there is a preponderance of shades of green and blue, with an emphasis on ocher in the optical center of the composition, a technique in which the artist makes use of the resources of the frame. photographic, in which, premeditatedly "cuts" part of elements that are part of the scene in favor of a pictorial reframing that highlights a passing scene from everyday life.

What further reinforces the passing character of this work is the way in which Manet makes contact between the brush and the canvas: short and quick strokes, little dilution of the paint in the uppermost layers, those that finish the painting, emphasis on the linearity of the painting. sailboat closer to the bank with the figures, there is a different model in its volume, Manet creates dynamics by working the direction of the brush traces on the surface of the painting, for him color is not enough, it is necessary to show its sparkling effect to the eye, the movement of color when shining. Unlike Monet's work, Manet does not wish to plan the painting, but rather intends to observe the surrounding space between the elements of the landscape. The background is not confused with the foreground, the diagonals of the composition further reinforce this refusal, as they create movement: we can almost hear the sound of the water touching the boats as they touch each other in the gentle wind.

The Seine art Argenteuil, 1874, Private Collection

Manet also uses the well-known Fibonacci spiral structure to compose the overall arrangement of his painting, with the main point of interest being the woman's head. This spiral is a mathematical sequence that appears in many Impressionist works of art. This sequence is formed by adding the previous two numbers together to obtain the next number in the sequence, and many Impressionist artists used it in their works to create a sense of movement and harmony.

Some important points can be highlighted about this composition:

• You pontos focais são claramente a figura da mulher e os veleiros. Todo o resto está realmente lá apenas para criar uma sensação de contexto e atmosfera.
• Focal points are positioned off-center and around the middle.
• The horizon line almost doesn't exist. There are just a few elements, shapes in the distance that suggest where the land meets the sky and sea.
• The horizon line is positioned above the center, which creates a more natural look.
• Depth is created by the gradual fading of objects as they recede into the distance. Additionally, the relatively cool colors used around the horizon line push that area back into perspective.

3. Pierre-Auguste Renoir

Pierre-Auguste Renoir (1841 -1919) is another French impressionist artist inspired by some of the most famous Baroque artists such as Peter Paul Rubens It is Jean-Antoine Watteau. He also created one of the most iconic impressionist paintings in history called "Dance at Le Moulin de la Galette" (Bal du moulin de la Galette), which illustrates the header of this article, which is now on display at the Musée d'Orsay in Paris . This painting, which depicts a regular Sunday afternoon in the Montmartre district of Paris, defines the Impressionist artistic movement.

Pierre-Auguste Renoir, A Road at Louveciennes. c. 1870. Oil on canvas. (38.1 x 46.4 cm). Lesley and Emma Sheafer Collection

4. Edgar Degas

Edgar Degas (1834-1917) is best known for his pastel drawings and oil paintings, but he also created numerous other works of art, such as bronze sculptures, prints, and drawings. Although he is now referred to as one of the leading artists of the Impressionist art movement, he did not refer to himself as such and preferred to be called a realist artist.

His most favorite subject was that of dancing girls, particularly ballerinas, and unlike almost all other famous Impressionist artists, he rarely painted outdoors. What is also notable is that he had an academic background and initially wanted to become a history painter. He eventually became one of the greatest masters of movement painting, a defining characteristic of Impressionist art.

What we can see that is remarkable about his self-portrait is the doubly stripped-down aspect of his work, at the same time that he observes his face in the mirror, he composes the picture with a freedom that few achieved in his time, and in addition, his final brushstroke, with more subtle touches compared to his dancers, generally in movement, this Degas is static, the brushwork is not so apparent and there is more precise care with the details of the face, almost a neoclassical study if it weren't for the "abstract" aspect of the diffuse background in gray tones, which harmonize gently with the warm tones of the face.

Autorretrato, Edgar Degas, cerca de 1857–1858, 21 × 16.2 cm, óleo sobre papel colado em tela, The J. Paul Getty Museum, Los Angeles, United States, source: Wiki Commons

5. Alfred Sisley

Alfred Sisley (1839 - 1899) was a British impressionist painter who was born in France and lived and worked there most of his life. He is known for his plein air painting and became one of the most prolific impressionist painters of his time. He was born in Paris and many of his most famous works were painted there, most notably the Seine and its bridges in what were then the city's suburbs. He also has a similar series in London and on the River Thames. His work is defined by tranquility and a fascinating use of color that intensified as his career progressed.

Painting outdoors requires an extra effort of vision to try to capture the most exact tones, hues and values possible for the medium being used. Especially when painting green elements, our eyes have difficulty perceiving the immense varieties of tones and shades of green in a tree, a bush or even a forest. But looking at large areas of white outdoors requires even greater attention. How to differentiate different shades of white on a snow-covered street? Sisley's painting invites us to re-educate our gaze, to see the myriad color variations of a snowy landscape.

Rue Eugène Moussoir in Moret: Winter, 1891. Oil on canvas. (46.7 x 56.5 cm)

6. Camile Pissarro

Camille Pissarro (1830 -1903) was a French-Danish self-taught artist who had a prolific career as an impressionist and later post-impressionist painter. He lived poor for much of his life and was severely criticized for his painting style. He was something of an ambassador for the Impressionist movement and founded a group of around 15 like-minded artists in the early 1870s, earning him the nickname "Dean of Impressionist Painters".

His career marks the transition between the different artistic movements in the 19th century, starting with his great inspiration, the realist painter Gustave Courbet, and later his cooperation with famous post-impressionist artists such as Georges Seurat It is Paul Signac. He ended up becoming a great inspiration for artists like Cézanne, Gauguin It is Van Gogh. His work is defined by his portraits of the common man in natural settings without any extravagance or grandeur.

Portable paint tubes and the new railways allowed Impressionists to work outdoors and travel more quickly to Paris and new locations. This allowed Pissarro to invest his pictorial interest in the harmonies between the elements of the landscapes he encountered on his travels. His focus was the relationship between heaven, earth, and the tonal composition that produced all of nature's forms. Although many critics place Pissarro technically below Monet, I think his great triumph was establishing the technical and conceptual parameters for the revolution that would be carried out by Paul Cézanne.

Perhaps Pissarro was the painter who best understood the play of perceptive forces in the relationship between colors in their tonal dimension, defining, from this, a delicate endogenous ecosystem of planes and shapes specific to the painting and no longer as a window to another idealized space. , something that would later be taken to the extreme by Paul Cézanne. In The big walnut tree at the Hermitage, the tonality of Pissarro's colors seem to have a deep connection, as if the artist had elaborated with meticulous attention each tone, contrast and saturation of hues to, in the act of painting, construct a great chromatic symphony, however, without adornments, a raw portrait of how light vibrates on the surface of concrete things.

In this work, the visual effect of the brushstrokes helps us understand how this painter managed to construct the perception of the volume of the landscape elements in a precise and synthetic way. We do not see contours, but masses of light that shimmer; the landscape, in this sense, is perhaps the great model of nature on which Pissarro dedicated himself to modeling his painting.

The most intriguing thing about this painting for me is how the artist managed to perfectly balance the greenish-yellow tones with the grayish-purple tones, complementary colors on the color wheel. Furthermore, the low saturation of these tones allows us to associate what the weather was like when the scene was captured. Probably a clear sky with the sun low, a dawn of intense light on the horizon and slightly obscured in the foreground, perhaps due to some cloud, which implies assuming that Pissarro quickly sketched this scene and left it unfinished.

The big walnut tree at the Hermitage, 1875- Camille Pissarro

Approximate proportion of the hues used by Pissarro in the painting Le grand noyer à l'Hermitage. It is important to consider that this is an approximation, as the actual colors of the painting are translated into pixels. Source: encycolorpedia

Concluding

The study of the composition and pictorial technique of Impressionist artists is extremely important, as it allows us to understand the revolution they brought to art. Through analysis of their works, we can appreciate the way they captured the light, movement, and atmosphere of their scenes, as well as the way they rejected established artistic conventions. Furthermore, by studying the composition and technique of the Impressionists, we can gain insights into how to apply these principles to our own artistic practice. In short, studying the Impressionists helps us appreciate art in a deeper way and expand our own artistic repertoire.