The first Impressionist Exhibition held in Paris in April 1874, that probably marks the starting point for modern painting.
Camille Pissarro (1830 – 1903), Claude Monet (1840 – 1926), Pierre-Auguste Renoir (1841 – 1919), and Edgar Degas (1834 – 1917), organized the exhibit of independent artsits.
In a critic’s sarcastic reaction to Monet’s painting Impression, Sunrise, 1873.
The term “Impressionism” was born as a commentary on the artist’s loose paint application and ambiguous subject matter.
The Impressionists introduced the public to contemporary subjects drawn from a direct engagement with the urban world of boulevards, cafe, theathers, cabarets, racetracks, and train stations.
The revolution of French Impressionism unfolded in Paris in a series of eight exhibitions held between 1874 and 1886.
The works exhibited during these years represented original investigations into the science of light and color, a commitment to outdoor painting. New source of inspiration for both the formal language and subject matter of painting, challenges to technical conventions of painting, and the idea of finish.
In turn, the Impressionists opened the door for a generation of artists who extended the boundaries of painting even further.
In this regards, some of the artists briefly associated with Impressionism such as Paul Gauguin (1848 – 1903), Vincent van Gogh (1853 – 1890), Georges Seurat and Cezanne, later emerged as powerful voices for an even more dramatic shift in thinking about the nature of goals of art.
Thereafter, the term “Post-Impressionism” was first coined in 1910 by the English critic Roger Fry.
Impressionism conjures up a series of unifying aesthetic concepts, whereas Post-Impressionism refers less to a single style, and more to a generational gap.