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Impressionism and the Rejection of Tradition

Impressionism, an art movement that emerged in France in the late 19th century, marked a radical departure from the established artistic conventions of its time. Traditional academic painting, favored by the prestigious Paris Salon, emphasized historical subjects, realistic details, and a smooth, polished finish. In contrast, Impressionist painters like Claude Monet and Camille Pissarro sought to capture the fleeting sensory effect of a scene—the "impression"—rather than its precise details. They often painted outdoors, or "en plein air," to observe the changing effects of light and atmosphere directly.

This new approach was characterized by several distinctive techniques. Impressionists used short, thick brushstrokes and a bright, vibrant palette to convey the immediacy of a moment. They avoided mixing colors on the palette, instead applying pure, unmixed colors directly to the canvas, allowing the viewer's eye to blend them optically. This created a sense of vibration and luminosity that was unconventional for the era. Their subject matter was also modern, focusing on scenes of everyday life, such as cityscapes, cafes, and landscapes, rather than historical or mythological narratives.

Initially, the Impressionist movement was met with harsh criticism from the art establishment. The term "Impressionism" was, in fact, coined by a critic as an insult. However, the artists organized their own independent exhibitions, bypassing the official Salon system and appealing directly to the public. Over time, their innovative vision gained acceptance and profoundly influenced the course of modern art, paving the way for subsequent movements like Post-Impressionism and Fauvism.