La Pintura del Impresionismo

<p>It was a dappled and daubed harbor scene that gave Impressionism its name. When <em>Impression, Sunrise</em> by Claude Monet was exhibited in April 1874, critics seized upon the work’s title and its <strong>loose stylistic rendering of light and motion</strong> upon water to deride this new, impressionistic tendency in art.<br /><br /> As with many seminal art movements, the critics got their comeuppance. Today, Impressionism is a close contender for the world’s favorite period of painting. With blockbuster exhibitions, record-breaking auction prices, and packed museums, the works once dismissed as unfinished or imprecise are now <strong>beloved for their atmospheric evocation of time and place</strong>, as well as the <strong>stylistic flair of rapid brushstrokes</strong> upon canvas.<br /><br /> Despite its popularity and a whole host of publications, many areas and artists of Impressionism remain inadequately researched. This TASCHEN book fills the gap,<strong> raising the profile of unjustly neglected pioneers such as Berthe Morisot, Lucien Pissarro, and Gustave Caillebotte</strong>, while exploring the characteristics of Impressionism, from painting <em>en plein air</em> to vivid color contrasts, not only in the movement’s native France but also across the rest of Europe and North America.</p>