3.3 Impressionism and the avant-garde

Impressionism shook up the art world in the 1860s and 70s. With their bold brushstrokes and everyday scenes, these artists challenged the stuffy academic style. Critics hated it at first, but some forward-thinking writers saw the brilliance.

This clash between old and new set the stage for the avant-garde movement. Impressionists paved the way for future rebels, showing how innovative art could overcome initial backlash to change the course of art history.

Impressionist Art's Reception

Early Impressionist Exhibitions and Critical Backlash

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• Impressionism emerged in the 1860s and 1870s, characterized by a focus on capturing fleeting moments, natural light, and movement through visible brushstrokes and bright colors
• Early Impressionist exhibitions, such as the Salon des Refusés in 1863 and the first Impressionist exhibition in 1874, were met with harsh criticism from conservative art critics who favored traditional academic styles
• Critics denounced Impressionist works for their sketchy, unfinished appearance, unconventional subject matter, and departure from the idealized, highly polished paintings of the Academy
• Impressionists challenged the hierarchy of genres in academic art, which prioritized historical, religious, and mythological scenes over landscapes and scenes of everyday life

Impressionism's Break from Academic Traditions

• The Impressionists' embrace of modernity, as seen in their depictions of contemporary urban life, leisure activities, and industrialization (e.g., Monet's "Gare Saint-Lazare" series), further distanced them from the traditional values of the art establishment
• Impressionist artists' practice of painting en plein air (outdoors) and their use of pure, unmixed colors directly from the tube challenged the conventional studio-based approach and the use of blended, muted tones
• The Impressionists' rejection of linear perspective, classical composition, and detailed rendering in favor of capturing the ephemeral effects of light and atmosphere (e.g., Monet's "Haystacks" series) represented a significant break from academic tradition
• Impressionist techniques, such as the use of broken brushstrokes and the juxtaposition of complementary colors (e.g., Renoir's "Luncheon of the Boating Party"), created a sense of vibration and movement that differed from the static, carefully modeled forms of academic painting

Art Critics and Impressionism

Progressive Critics as Advocates for Impressionism

• Some progressive art critics, such as Émile Zola and Théodore Duret, recognized the innovative nature of Impressionist art and became early advocates for the movement
• Zola's influential article "Mon Salon" (1866) defended Édouard Manet's controversial painting "Olympia" and praised the artist's boldness in breaking with academic conventions
• Duret's book "Les Peintres impressionnistes" (1878) provided one of the first comprehensive analyses of Impressionism, helping to legitimize the movement and its artists
• Critics like Zola and Duret used their platforms to educate the public about the Impressionists' novel techniques and to argue for the validity of their artistic vision

The Impact of Critical Support on Impressionism's Success

• Supportive critics played a crucial role in fostering a market for Impressionist art by encouraging collectors and patrons to invest in these unconventional works
• The backing of influential critics helped to gradually shift public opinion and institutional acceptance of Impressionism, paving the way for its eventual recognition as a significant artistic movement
• However, the support of progressive critics was not universal, and many Impressionist artists continued to face resistance and ridicule from conservative voices in the art establishment throughout their careers
• The ongoing critical debates surrounding Impressionism contributed to its notoriety and helped to establish the movement as a groundbreaking force in the history of art

Impressionism and the Avant-Garde

The Emergence of the Avant-Garde Concept

• The critical discourse surrounding Impressionism played a significant role in shaping the concept of the avant-garde in art
• The term "avant-garde" originated in military language, referring to the vanguard or forward guard of an army, but was adopted by art critics to describe artists who were at the forefront of innovation and challenging established norms
• Impressionist artists were among the first to be labeled as avant-garde due to their radical departure from academic traditions and their embrace of modernity

Impressionism's Influence on the Avant-Garde Legacy

• The controversial reception of Impressionist works and the ensuing critical debates helped to establish the idea of the avant-garde artist as a rebellious, nonconformist figure who pushes the boundaries of art
• The avant-garde concept emphasized the artist's role as a visionary and a catalyst for social and cultural change, an idea that was reinforced by the Impressionists' engagement with contemporary life and their rejection of historical subject matter
• The critical support for Impressionism from progressive writers and journalists contributed to the notion of the avant-garde as a contested space, where new ideas and forms of expression are championed by forward-thinking individuals in the face of resistance from conservative forces
• The legacy of Impressionist art criticism and its association with the avant-garde concept paved the way for subsequent generations of artists, such as the Post-Impressionists (e.g., van Gogh, Gauguin), Fauvists (e.g., Matisse, Derain), and Cubists (e.g., Picasso, Braque), who continued to challenge artistic conventions and push the boundaries of representation

Art Criticism vs. the Market

The Shifting Landscape of the Art World

• The Impressionist era witnessed a significant shift in the relationship between art criticism and the art market, as the traditional system of patronage and state-sponsored exhibitions gave way to a more commercialized and independent art world
• Prior to the rise of Impressionism, the Paris Salon, controlled by the French Academy, served as the primary venue for artists to display and sell their work, with acceptance into the Salon being a key factor in an artist's success
• The Salon system relied heavily on the opinions of conservative art critics, who wielded considerable influence over public taste and the market value of artworks

Impressionism's Challenge to the Salon System

• As Impressionist artists began to organize their own independent exhibitions (e.g., the first Impressionist exhibition in 1874), they bypassed the Salon system and its associated critics, creating new opportunities for direct engagement with collectors and the public
• The independent exhibitions allowed for a more diverse range of critical voices to emerge, including supporters of Impressionism who helped to generate interest and demand for these unconventional works
• The growing market for Impressionist art, fueled in part by the publicity generated by critical debates, enabled some artists to achieve financial independence and maintain creative control over their work

The Commercialization of the Art World

• The success of Impressionist artists in the market, despite initial critical resistance, demonstrated the potential for alternative paths to recognition and commercial viability outside of the traditional Salon system
• However, the increasing commercialization of the art world also led to concerns among some critics about the potential for market forces to compromise artistic integrity and the role of criticism in shaping public taste
• The tension between art criticism and the market during the Impressionist era foreshadowed the ongoing debates about the relationship between artistic value, critical reception, and commercial success that continue to shape the art world today