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04 November 2019LIGHT, SPACE AND TIME IN IMPRESSIONISM AND POST-IMPRESSIONISM

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LIGHT, SPACE AND TIME IN IMPRESSIONISM AND POST-IMPRESSIONISM Hilary Guise Monday 04 November 2019

Liberated by rejection from the dark constraints of the official Salon, the Impressionists found a new revision of painting out in the open air.  Inspired by the Barbizon Painters in the forests of Fontainebleau, the New Painters found plenty of interest locally, along the banks of the Seine. The attraction of bright natural light, space and a sense of the rhythm of time, plus the newly invented folding easel and the production of paint in tubes, allowed the New Painters to interpret nature first-hand, and for its own sake.  Thus Pissarro, Monet, Cézanne, Renoir, Sisley, Van Gogh and others gave us the most memorable and most loved of all genres, that of the brightly coloured Impressionist landscapes of France. The speed of Impressionist brushwork suggested an impertinent disregard for the proper diction of Salon painting and attracted much hostility in 1874 when they first exhibited together, but the rapid flashes of colour made with the square-ended hog bristle brushes conveyed something of the rapidly accelerating pace of life in the new Boulevards of Paris.

 

Hilary Guise lectures in the main museums in London for American universities, and has toured widely in the USA and lectured for the Smithsonian Institution.  She has also worked for the Art Fund, taught courses for Cambridge University, been a guest speaker on cruises. Trained as a painter at Central St Martin’s, she exhibits abroad, most recently in Berlin and France. Hilary lives in London and in Provence.

 

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