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Art Movements: Impressionism and Post-Impressionism

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Art Movements: Impressionism and Post-Impressionism
On the morning of April 25, 1874, 10 days subsequent to the Anonymous Society of painters, sculptors and engravers first collective exhibit, Mr. Louis Leroy, an art critic employed by the French newspaper Le Charvari, unwittingly supplied the moniker for one of the most momentous movements in art history. Figure 1: Impression Sunrise by Claude Monet (1872)
Entitled The Impressionists, Leroy's opinion on the group's presentation, which was strictly an attempt to denigrate Monet's Impression Sunrise, instantaneously spawned much ridicule from the salons, colleagues and industry patrons, yet the assortment of artists, including Monet, Renoir, Pissarro, Degas, Manet, Sisley and Cezanne, ironically were quite fond of the term and implemented it to describe their artistic vision.
When Classicism invaded Europe in the 16th and 17th centuries to usher in the Age of Enlightenment its form dominated societal culture until the rise of "The Rejects" as the Impressionists were referred to. Classicism was based upon strict form and a structured focal point. Impressionism rebelled every established convention of all previous art forms. Its focus was based on freedom or a release from prior constraints and depicted what was actually seen versus the most ascetically pleasing vision.
While Classicism strictly adhered to lines, contours and muted colors, Impressionism was much more akin to coloring outside the lines, so to speak. The Impressionists used broken brushstrokes, intense hues of color and implemented the interplay of light within the surface of their works. They wanted to impart a sense of how quickly each moment passes by and how swiftly what we see before us can change. Their method of light interplay and the brushstrokes or points of bright colors adjacent to each other were attempts to condition the eye to

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