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NOW FOR YOUR VIEWING PLEASURE…
LAZY HAZEY
or
DOWN BY THE RIVERSIDE
OA / ORIGINAL ART
ONE OF A KIND / OOAK
BY RENOWNED ARTIST
MAE BECK
OIL ON CANVAS
THE PAINTING IS ABOUT 30" X 25"
GOLD GILT FRAME
THE SURREAL IMPRESSIONISM DEPICTS A SMALL BOY IN THE CREEK
FISHING OR CATCHING FROGS ON A WARM SUMMER DAY
THE WATERWAY IS SHADED WITH ALL TYPES OF TREES
THROUGH THE WOODS YOU CAN SEE A RED STRUCTURE
A COVERED BRIDGE OR HAY BARN
HEART WARMING LANDSCAPE
MAE BECK
BORN IN BUFFALO NEW YORK
SHE ATTENDED THE ALBRIGHT-KNOX GALLERY FOR TRAINING
SHE STUDIED ORGANIC CHEMSITRY AT MICHIGAN STATE, SMITH COLLEGE
AND FOLLOWED UP WITH HER DOCTORATE AND GARDUATED FROM THE UNIVERISTY OF PENNSYLVANIA
SHE LATER WAS A PROFESSOR AT SIMMONS COLLEGE
SHE FOLLOWED HER PAINTING CARREER THROUGHOUT
SHE IS REPRESENTED BY THE FINE ARTS TRADING COMPANY IN HYANNISPORT MASSACHUSSETTS
THE GUIDO GALLERY BOSTON MA
THE GALLERY KEENE NEW HAMPSHIRE
TEWKSBURY GALLERY PETERSBORO
HER FORMAL TRAINING INCLUDES THE MUSEUM SCHOOL IN BOSTON, THE CAMBRIDGE CENTER, SHARON ARTS CENTER
UNDER ROBERT DOUGLAS HUNTER AND RICHARD WHITNEY, BOTH BOSTON SCHOOL PAINTERS
A MEMBER OF THE COPLEY ASSOCIATIONWHERE SHE IS TITLED "AN ARTIST"
VERY LITTLE TO NO INTERNET PRESENCE
or
DOWN BY THE RIVERSIDE
OA / ORIGINAL ART
ONE OF A KIND / OOAK
BY RENOWNED ARTIST
MAE BECK
OIL ON CANVAS
THE PAINTING IS ABOUT 30" X 25"
GOLD GILT FRAME
THE SURREAL IMPRESSIONISM DEPICTS A SMALL BOY IN THE CREEK
FISHING OR CATCHING FROGS ON A WARM SUMMER DAY
THE WATERWAY IS SHADED WITH ALL TYPES OF TREES
THROUGH THE WOODS YOU CAN SEE A RED STRUCTURE
A COVERED BRIDGE OR HAY BARN
HEART WARMING LANDSCAPE
MAE BECK
BORN IN BUFFALO NEW YORK
SHE ATTENDED THE ALBRIGHT-KNOX GALLERY FOR TRAINING
SHE STUDIED ORGANIC CHEMSITRY AT MICHIGAN STATE, SMITH COLLEGE
AND FOLLOWED UP WITH HER DOCTORATE AND GARDUATED FROM THE UNIVERISTY OF PENNSYLVANIA
SHE LATER WAS A PROFESSOR AT SIMMONS COLLEGE
SHE FOLLOWED HER PAINTING CARREER THROUGHOUT
SHE IS REPRESENTED BY THE FINE ARTS TRADING COMPANY IN HYANNISPORT MASSACHUSSETTS
THE GUIDO GALLERY BOSTON MA
THE GALLERY KEENE NEW HAMPSHIRE
TEWKSBURY GALLERY PETERSBORO
HER FORMAL TRAINING INCLUDES THE MUSEUM SCHOOL IN BOSTON, THE CAMBRIDGE CENTER, SHARON ARTS CENTER
UNDER ROBERT DOUGLAS HUNTER AND RICHARD WHITNEY, BOTH BOSTON SCHOOL PAINTERS
A MEMBER OF THE COPLEY ASSOCIATIONWHERE SHE IS TITLED "AN ARTIST"
VERY LITTLE TO NO INTERNET PRESENCE
FYI
--------------------------------------------
Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s.
The Impressionists faced harsh opposition from the conventional art community in France. The name of the style derives from the title of a Claude Monet work, Impression, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satirical review published in the Parisian newspaper Le Charivari.
The development of Impressionism in the visual arts was soon followed by analogous styles in other media that became known as impressionist music and impressionist literature.
Radicals in their time, early Impressionists violated the rules of academic painting. They constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted realistic scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were usually painted in a studio.[1] The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air. They portrayed overall visual effects instead of details, and used short "broken" brush strokes of mixed and pure unmixed colour—not blended smoothly or shaded, as was customary—to achieve an effect of intense colour vibration.
Impressionism emerged in France at the same time that a number of other painters, including the Italian artists known as the Macchiaioli, and Winslow Homer in the United States, were also exploring plein-air painting. The Impressionists, however, developed new techniques specific to the style. Encompassing what its adherents argued was a different way of seeing, it is an art of immediacy and movement, of candid poses and compositions, of the play of light expressed in a bright and varied use of colour.
The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style.
By recreating the sensation in the eye that views the subject, rather than delineating the details of the subject, and by creating a welter of techniques and forms, Impressionism is a precursor of various painting styles, including Neo-Impressionism, Post-Impressionism, Fauvism, and Cubism.
Beginnings
In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris and waged war—the Académie des Beaux-Arts dominated French art. The Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued; landscape and still life were not. The Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of precise brush strokes carefully blended to hide the artist's hand in the work. Colour was restrained and often toned down further by the application of a golden varnish.
The Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of such artists as Jean-Léon Gérôme and Alexandre Cabanel.
In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, and Frédéric Bazille—met while studying under the academic artist Charles Gleyre. They discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. Following a practice that had become increasingly popular by mid-century, they often ventured into the countryside together to paint in the open air, but not for the purpose of making sketches to be developed into carefully finished works in the studio, as was the usual custom. By painting in sunlight directly from nature, and making bold use of the vivid synthetic pigments that had become available since the beginning of the century, they began to develop a lighter and brighter manner of painting that extended further the Realism of Gustave Courbet and the Barbizon school. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were often led by Édouard Manet, whom the younger artists greatly admired. They were soon joined by Camille Pissarro, Paul Cézanne, and Armand Guillaumin.
During the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. In 1863, the Salon jury rejected Manet's The Luncheon on the Grass (Le déjeuner sur l'herbe) primarily because it depicted a nude woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, they condemned Manet for placing a realistic nude in a contemporary setting. The jury's severely worded rejection of Manet's painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists.
After Emperor Napoleon III saw the rejected works of 1863, he decreed that the public be allowed to judge the work themselves, and the Salon des Refusés (Salon of the Refused) was organized. While many viewers came only to laugh, the Salon des Refusés drew attention to the existence of a new tendency in art and attracted more visitors than the regular Salon.
Impressionist techniques
French painters who prepared the way for Impressionism include the Romantic colourist Eugène Delacroix, the leader of the realists Gustave Courbet, and painters of the Barbizon school such as Théodore Rousseau. The Impressionists learned much from the work of Jean-Baptiste-Camille Corot and Eugène Boudin, who painted from nature in a direct and spontaneous style that prefigured Impressionism, and who befriended and advised the younger artists.
A number of identifiable techniques and working habits contributed to the innovative style of the Impressionists. Although these methods had been used by previous artists—and are often conspicuous in the work of artists such as Frans Hals, Diego Velázquez, Peter Paul Rubens, John Constable, and J. M. W. Turner—the Impressionists were the first to use them all together, and with such consistency. These techniques include:
Short, thick strokes of paint quickly capture the essence of the subject, rather than its details. The paint is often applied impasto.
Colours are applied side-by-side with as little mixing as possible, a technique that exploits the principle of simultaneous contrast to make the colour appear more vivid to the viewer.
Grays and dark tones are produced by mixing complementary colours. Pure impressionism avoids the use of black paint.
Wet paint is placed into wet paint without waiting for successive applications to dry, producing softer edges and intermingling of colour.
Impressionist paintings do not exploit the transparency of thin paint films (glazes), which earlier artists manipulated carefully to produce effects. The impressionist painting surface is typically opaque.
The paint is applied to a white or light-coloured ground. Previously, painters often used dark grey or strongly coloured grounds.
The play of natural light is emphasized. Close attention is paid to the reflection of colours from object to object. Painters often worked in the evening to produce effets de soir—the shadowy effects of evening or twilight.
In paintings made en plein air (outdoors), shadows are boldly painted with the blue of the sky as it is reflected onto surfaces, giving a sense of freshness previously not represented in painting. (Blue shadows on snow inspired the technique.)
New technology played a role in the development of the style. Impressionists took advantage of the mid-century introduction of premixed paints in tin tubes (resembling modern toothpaste tubes), which allowed artists to work more spontaneously, both outdoors and indoors.[20] Previously, painters made their own paints individually, by grinding and mixing dry pigment powders with linseed oil, which were then stored in animal bladders.
Many vivid synthetic pigments became commercially available to artists for the first time during the 19th century. These included cobalt blue, viridian, cadmium yellow, and synthetic ultramarine blue, all of which were in use by the 1840s, before Impressionism. The Impressionists' manner of painting made bold use of these pigments, and of even newer colours such as cerulean blue, which became commercially available to artists in the 1860s.
The Impressionists' progress toward a brighter style of painting was gradual. During the 1860s, Monet and Renoir sometimes painted on canvases prepared with the traditional red-brown or grey ground. By the 1870s, Monet, Renoir, and Pissarro usually chose to paint on grounds of a lighter grey or beige colour, which functioned as a middle tone in the finished painting. By the 1880s, some of the Impressionists had come to prefer white or slightly off-white grounds, and no longer allowed the ground colour a significant role in the finished painting.
The Impressionists faced harsh opposition from the conventional art community in France. The name of the style derives from the title of a Claude Monet work, Impression, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satirical review published in the Parisian newspaper Le Charivari.
The development of Impressionism in the visual arts was soon followed by analogous styles in other media that became known as impressionist music and impressionist literature.
Radicals in their time, early Impressionists violated the rules of academic painting. They constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted realistic scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were usually painted in a studio.[1] The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air. They portrayed overall visual effects instead of details, and used short "broken" brush strokes of mixed and pure unmixed colour—not blended smoothly or shaded, as was customary—to achieve an effect of intense colour vibration.
Impressionism emerged in France at the same time that a number of other painters, including the Italian artists known as the Macchiaioli, and Winslow Homer in the United States, were also exploring plein-air painting. The Impressionists, however, developed new techniques specific to the style. Encompassing what its adherents argued was a different way of seeing, it is an art of immediacy and movement, of candid poses and compositions, of the play of light expressed in a bright and varied use of colour.
The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style.
By recreating the sensation in the eye that views the subject, rather than delineating the details of the subject, and by creating a welter of techniques and forms, Impressionism is a precursor of various painting styles, including Neo-Impressionism, Post-Impressionism, Fauvism, and Cubism.
Beginnings
In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris and waged war—the Académie des Beaux-Arts dominated French art. The Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued; landscape and still life were not. The Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of precise brush strokes carefully blended to hide the artist's hand in the work. Colour was restrained and often toned down further by the application of a golden varnish.
The Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of such artists as Jean-Léon Gérôme and Alexandre Cabanel.
In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, and Frédéric Bazille—met while studying under the academic artist Charles Gleyre. They discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. Following a practice that had become increasingly popular by mid-century, they often ventured into the countryside together to paint in the open air, but not for the purpose of making sketches to be developed into carefully finished works in the studio, as was the usual custom. By painting in sunlight directly from nature, and making bold use of the vivid synthetic pigments that had become available since the beginning of the century, they began to develop a lighter and brighter manner of painting that extended further the Realism of Gustave Courbet and the Barbizon school. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were often led by Édouard Manet, whom the younger artists greatly admired. They were soon joined by Camille Pissarro, Paul Cézanne, and Armand Guillaumin.
During the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. In 1863, the Salon jury rejected Manet's The Luncheon on the Grass (Le déjeuner sur l'herbe) primarily because it depicted a nude woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, they condemned Manet for placing a realistic nude in a contemporary setting. The jury's severely worded rejection of Manet's painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists.
After Emperor Napoleon III saw the rejected works of 1863, he decreed that the public be allowed to judge the work themselves, and the Salon des Refusés (Salon of the Refused) was organized. While many viewers came only to laugh, the Salon des Refusés drew attention to the existence of a new tendency in art and attracted more visitors than the regular Salon.
Impressionist techniques
French painters who prepared the way for Impressionism include the Romantic colourist Eugène Delacroix, the leader of the realists Gustave Courbet, and painters of the Barbizon school such as Théodore Rousseau. The Impressionists learned much from the work of Jean-Baptiste-Camille Corot and Eugène Boudin, who painted from nature in a direct and spontaneous style that prefigured Impressionism, and who befriended and advised the younger artists.
A number of identifiable techniques and working habits contributed to the innovative style of the Impressionists. Although these methods had been used by previous artists—and are often conspicuous in the work of artists such as Frans Hals, Diego Velázquez, Peter Paul Rubens, John Constable, and J. M. W. Turner—the Impressionists were the first to use them all together, and with such consistency. These techniques include:
Short, thick strokes of paint quickly capture the essence of the subject, rather than its details. The paint is often applied impasto.
Colours are applied side-by-side with as little mixing as possible, a technique that exploits the principle of simultaneous contrast to make the colour appear more vivid to the viewer.
Grays and dark tones are produced by mixing complementary colours. Pure impressionism avoids the use of black paint.
Wet paint is placed into wet paint without waiting for successive applications to dry, producing softer edges and intermingling of colour.
Impressionist paintings do not exploit the transparency of thin paint films (glazes), which earlier artists manipulated carefully to produce effects. The impressionist painting surface is typically opaque.
The paint is applied to a white or light-coloured ground. Previously, painters often used dark grey or strongly coloured grounds.
The play of natural light is emphasized. Close attention is paid to the reflection of colours from object to object. Painters often worked in the evening to produce effets de soir—the shadowy effects of evening or twilight.
In paintings made en plein air (outdoors), shadows are boldly painted with the blue of the sky as it is reflected onto surfaces, giving a sense of freshness previously not represented in painting. (Blue shadows on snow inspired the technique.)
New technology played a role in the development of the style. Impressionists took advantage of the mid-century introduction of premixed paints in tin tubes (resembling modern toothpaste tubes), which allowed artists to work more spontaneously, both outdoors and indoors.[20] Previously, painters made their own paints individually, by grinding and mixing dry pigment powders with linseed oil, which were then stored in animal bladders.
Many vivid synthetic pigments became commercially available to artists for the first time during the 19th century. These included cobalt blue, viridian, cadmium yellow, and synthetic ultramarine blue, all of which were in use by the 1840s, before Impressionism. The Impressionists' manner of painting made bold use of these pigments, and of even newer colours such as cerulean blue, which became commercially available to artists in the 1860s.
The Impressionists' progress toward a brighter style of painting was gradual. During the 1860s, Monet and Renoir sometimes painted on canvases prepared with the traditional red-brown or grey ground. By the 1870s, Monet, Renoir, and Pissarro usually chose to paint on grounds of a lighter grey or beige colour, which functioned as a middle tone in the finished painting. By the 1880s, some of the Impressionists had come to prefer white or slightly off-white grounds, and no longer allowed the ground colour a significant role in the finished painting.
(THIS PICTURE FOR DISPLAY ONLY)
-------------------------
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