Most of us know about the Impressionist Movement in France, but in fact by the 1890’s Impressionism had become an international art form and many outstanding Impressionist painters emerged from America, Australia, Italy and Spain. This study day looks at Impressionism outside France.
Lecture One: Impressionism in America
In the first session we examine how John Singer Sargent and Mary Cassatt, along with the dealer Paul Durand-Ruel, helped to popularise Impressionism in America. A number of American artists settled in Giverny to be close to Monet, while in America a group of Impressionist artists established ‘ The Ten’ which included such brilliant painters as William Merritt Chase, Childe Hassam, Willard Metcalf, Robert Reid, John Twachtman and Frank Benson. These artists adapted French Impressionism to suit the American landscape and climate, in particular winter snow landscapes which the American Impressionists painted brilliantly.
Lecture Two: Impressionism in Australia
Australia produced a number of outstanding Impressionist painters who were certainly influenced by European art but created their own vision of the new continent. These include Arthur Streeton, Tom Roberts and Charles Conder, whereas John Russell lived and worked in France becoming a close friend of Monet and Van Gogh. The second session continues with a look at the brilliant paintings of Joaquin Sorolla, a Spanish artist who became an international superstar selling in America and Europe. He was a wonderful painter of seascapes and beach scenes as well as being an outstanding painter of gardens including his own in Madrid. We then examine the Italian Macchiaioli group before looking at the Italian expatriates in Paris – Giovanni Boldini, Giuseppe de Nittis and Federico Zandomenghi. This session ends with a look at the wonderful paintings of P.S.Kroyer the leading Scandinavian painter of his generation as well as the Impressionist portraits of Anders Zorn.
Lecture Three: Impressionism in Britain
In the final session we examine the complex question of how Impressionism came to Britain in the 1880’s, slowly replacing Pre-Raphaelitism as the preferred style of the Establishment and displacing the square brush technique. We see how artists from Newlyn, Glasgow and London turned towards the new style influenced by Claude Monet, whom Sargent had brought to London. We study Whistler’s role and his fight with John Ruskin who represented the art Establishment and discuss Sickert’s links with Paris as well as the Impressionist paintings of Wilson Steer, Wynford Dewhurst and John Lavery.
This is an opportunity to look at many wonderful paintings which are unfamiliar to most of us. It is a study day which will have considerable appeal.