Rooted in French Impressionism and Carrying on the Tradition Today
In Paris, France, in the mid 1800’s, there was a famous annual fine art ex- hibition originally held in the upper rooms of the Louvre Palace. “The Sa- lon des Beaux Arts” was an arduously juried exhibition of works meeting the highest standards of realist aca- demic quality. The Salon was hostile toward any bold new art and stood by their rigorous approval methods. Often as many as 3,000 works were denied entrance. In 1863, there were a great many works refused to the Sa-
French Impressionism spread not only to other areas of the world such as Russia, but had a profound impact on some im- portant Americans studying abroad in France. Mary Cassatt, John Singer Sargent, James McNeil Whistler, Guy Rose and many more, all picked up influences from this new style of painting and began to incorporate its colors and effects into their works. Unlike the newspapers and buyers in Paris, American collectors seemed to be more open and accepting of this new style of work. One very important art dealer from the time, Mr. Durand Ruel, took this influence one step further by bringing over 300 Impressionist works by Eduard Monet, Edgar Degas, Berthe Mor- isot, Auguste Renoir, Camille Pissarro, Gustave Caillebotte, and more to NewYork in 1886 in an important exhibition that would reach and directly influence more American painters such as Childe Hassam andWilliam Merritt Chase. These early American Impressionists later formed groups such as The Ten, including Robert Reid, John H. Twachtman, Edmund Tarbell, Willard Metcalf, Whistler and Chase. They would funnel down the Impressionists techniques, colors and influence to the rest of America in their own schools and ateliers. Impressionism had spread from these first schools on the East coast all the way to the West by 1910 and lasted till about 1935 creating legend- ary California Impressionists artists such Edgar Payne, William Wendt and Guy Rose who had painted alongside Monet himself. AIS is very proud to have grown to be one of the most respected national art organizations in America. Rooted in this rich history, we aim to continue the tradition. AIS preserves the Impression- ist values and endeavors to bring you new works from artists working in the tradition today each year in our annual exhibi- tions. We thank you for your continued support.
lon and Napoleon, not wanting to upset the artists and voters as it was an election year, created the Salon de Refusés, for the refused works to be shown together. It was here that new works by artist Edouard Manet were shown depicting everyday scenes and using more lively visual brushwork. Instead of the usual iconic heroic, historical or mythical based themes, Manet’s works allowed the viewer into the scene them- selves - paintings from daily life. His bold work influenced many artists, in particular, Claude Monet who had begun painting landscapes. Following his friend Eugène Boudin painting on the shores of the Normandy coast and later in- fluenced by the Barbizon School’s landscapes in the country, Mon- et became one of the first Impressionist painters. Before this time, every day scenes and simple landscapes were not considered final works of art, suitable to exhibit or sell. “Impressionism” as it later became known was a brand new form of art. Born from this new subject matter and using more color, bold visible brushwork, and especially portraying the effects of light and atmosphere, Impres- sionism, at first looked down upon as unfinished works, became one of the most well known art genres.
Vanessa Françoise Rothe AIS Signature Member
The History of AIS as told by Charlotte Dickinson, Founder
Transcribed from Charlotte’s video on the “About Us” section of our website.
“Many years ago, while taking my mentor, Charles Movalli, to the airport after a wonderful workshop, he asked me, “Do you know William Schultz? He’d be like a finishing school for you.” When I got home, I called Bill Schultz and studied with him for the next ten years with his teaching, his mentoring and his inspiration. He was the most wonderful teacher! I wanted to pay it forward and help him find more venues to exhibit his work. I approached the Lake Wales Art Center in Florida and asked if they would be willing to show our work. They said they only show affiliated artists and asked if we were affiliated and I said, “Oh yes!”Then as I left the building I thought to myself “oh liar, liar pants on fire!” But I made up for it…and when I got home I called Bill Schultz, Marjorie Bradley and Pauline Ney, and we got affiliated. Hence our first show was held at the Lake Wales Art Center with six artists showing. And look how it has grown. The AIS loves to help artists fulfill and reach their goals by having great venues all over the country to show their work.”
For the rest of the story, you can view the entire video on the “About Us” section of our website.
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www.americanimpressionistsociety.org
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