Impressionism and Caillebotte

            An artistic period that interested me in particular throughout this course was that of Impressionism. Other than realism, it was one of the first avant-garde movements in history to stray from and challenge the traditional aspects of art by the Academy’s standards. I also like how the invention of the camera invited Impressionist artists to challenge the notion of photography as well, with their “extreme realism” that captures a moment in time. The visual aesthetics of Impressionist paintings appeal to me as well. I am very much a fan of the thick application of paint and the loose brushstrokes that give it a quickened look. The sketchy style used makes the pieces somewhat ambiguous, leaving room for viewers to interpret the paintings as they please. Also, since most scenes in Impressionist paintings are painted outdoors, allowing artists to experiment with light and color, these paintings invoke feelings of peacefulness and warmth when I observe them. This is especially true with depictions like Claude Monet’s Impression: Sunrise that he painted in 1872.
            This painting embodies everything that I enjoy about Impressionism: It is very colorful, yet the colors all blend well together; it has a sort of spontaneity to it, leaving it slightly vague and hazy, as well as giving it the look that it was painted in a speedy fashion; and it is a depiction of a beautiful outdoor setting. The quick manner in which it was painted adds an energy and movement to the piece that I don’t even see in most traditional academy paintings. For these reasons it gives me the reaction that I feel. There is something freeing about the Impressionist style of painting. It might have to do with the “plen air,” rebellion against academic traditions, or the undefined compositions, but whatever it is, it captured my attention and took my interest.

            Another point of interest to me was the works of Gustave Caillebotte. Although his paintings are more akin to Realism than Impressionism, they convey emotion exhibit tension stronger than most paintings I’ve seen. Much of the influence of isolation and depression in his works is most likely from the loss of his father, brother, and mother within four years. I like his creative use of barriers and windows acting as a sort of cage or confinement, reinforcing his themes of despair. Another way he achieves this is by experimenting with scenes of men in domestic areas. He also suggests the effects of modernity in his paintings.

            Caillebotte’s first version of his painting, Floorscrapers, finished in 1875, takes an interesting perspective. It is a scene of three men at work scraping the floor of what is said to be a room of Caillebotte’s home. They face toward the viewer, yet none of their faces can be seen as their scraping recedes upward and into the painting. This tilted perspective and receding motion separates the viewer from the painting in a way, tying in once again with his theme of isolation. There also seems to be an interest in anatomy, and in return, modernity. I enjoy his paintings for the strong emotional reactions and the weight they seem to carry.