Word: impressionistes
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...Impressionist still life painting is “based on traditional prototypes, but taken to a more innovative level,” says Alexandra A. Lawrence ’93, Research Fellow in the Art of Europe Department at the MFA, and part of the curatorial team behind Impressionist Still Life. As Impressionism took root in Paris in the 1860s, artists became less concerned with faithfully representing their subject and more concerned with individual composition...
...masterpieces featured in Impressionist Still Life beautifully tell the story—too long overlooked—of the artists’ fascination with the power of still life as a tool of individual expression,” said George T. M. Shackelford, the show’s curator and Chair of the Art of Europe Department at the MFA. “I think that even those who have studied Impressionism in depth will be surprised and delighted by what this exhibition reveals...
...happened artistically between the classic 18th century still lifes of Jean-Siméom Chardin and the 20th century innovations of Pablo Picasso and Georges Braque. Related paintings are placed side by side to inform the viewer’s understanding of both the history and the aesthetics behind Impressionist still life painting...
...Impressionist Still Life brings to life Edouard Manet’s claim that “a painter can say all he wants to with fruit or flowers.” One example of still life as an outlet for personal expression is “Hollyhocks in a Copper Bowl” (1872), painted by Courbet when he was in prison. The flowers, a symbol of death in Dutch painting, emerge drooping and threatening from a black background, creating a horrible effect unexpected in still life...
...paintings in Impressionist Still Life were chosen for their quality, innovation, and cohesion, and borrowed from over fifty public and private collections worldwide. One painting, never previously shown in the United States, is Claude Monet’s (1840-1926) rare “Jar of Peaches” (1866), which depicts a jar of canned peaches and a few fresh peaches on a glossy marble surface. The painting exemplifies Monet’s obsession with surface, texture and reflection in an unusual arena for the landscape maestro. Of Monet’s two thousand catalogued works, only three percent...