Essays On History

As you do so, ask (and answer) you think the authors of your various sources disagree.Is their disagreement a product of personal or professional rivalry, ideological incompatibility, national affiliation? In your conclusion, finally, you will briefly summarize your findings and, more importantly, assess the credibility of your various sources, and specify which one(s) you find to be most compelling, and why.

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Many of them lived in the Batignolles neighborhood,located in the 17th arrondissement of the city.

Their favorite meeting place was the Café Guerbois, located on Avenue de Clichy in Paris.

For the average audience, the art looked strange, the exhibition space looked unconventional, and the decision to show their art outside of the Salon or the Academy's orbit (and even sell directly off the walls) seemed close to madness.

Indeed, these artists pushed the limits of art in the 1870s far beyond the range of "acceptable" practice.

To achieve the look they wanted, they invented the technique of "broken colors," leaving gaps in the top layers to reveal colors below, and abandoning the films and glazes of the older masters for a thick impasto of pure, intense color.

The Impressionists mounted eight shows from 1874 to 1886, although very few of the core artists exhibited in every show.

"I confess humbly I do not see nature as they do, never having seen these skies fluffy with pink cotton, these opaque and moiré waters, this multi-colored foliage. I do not know them." Impressionism created a new way of seeing the world.

It was a way of observing the city, the suburbs, and the countryside as mirrors of the modernization that each of these artists perceived and wanted to record from their point of view.

Conservative painter Joseph Vincent was quoted in a review in increasingly sarcastic ways, calling Monet's work "not as finished as wallpaper." To call someone an "Impressionist" in 1874 was an insult, meaning the painter had no skill and lacked the common sense to finish a painting before selling it.

In 1874, a group of artists who dedicated themselves to this "messy" style pooled their resources to promote themselves in their own exhibition. In those days the French art world revolved around the annual Salon, an official exhibition sponsored by the French government through its Académie des Beaux-Arts.


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