Vita Kobylkina
21st Century and Contemporary Impressionist Still-life Paintings
Oil, Board
21st Century and Contemporary Impressionist Still-life Paintings
Oil, Board
People Also Browsed
21st Century and Contemporary French Post-Modern Chandeliers and Pendants
Metal
Late 20th Century American Modern Busts
Plaster
Antique 19th Century French Busts
Plaster
Antique Late 19th Century Unknown Victorian Floor Lamps
Metal
Antique Mid-19th Century European Louis XVI Wall Mirrors
Metal
Mid-20th Century Italian Mid-Century Modern Umbrella Stands
Plastic
20th Century English Books
Paper
Vintage 1950s French Mid-Century Modern Wall Lights and Sconces
Brass
Mid-20th Century Bulgarian Mid-Century Modern Animal Sculptures
Plaster
Early 20th Century German Paintings
Paint
Mid-20th Century Canadian Mid-Century Modern Busts
Plaster
Late 20th Century American Mid-Century Modern Sculptures
Plaster
Vintage 1970s American Post-Modern Wall Lights and Sconces
Plaster
Antique 19th Century French Louis XVI Sculptures
Bronze
Mid-20th Century American Modern Busts
Plaster, Mahogany, Terracotta
1990s Italian Books
Paper
Recent Sales
21st Century and Contemporary Impressionist Still-life Paintings
Oil, Board
21st Century and Contemporary Impressionist Still-life Paintings
Oil, Board
Vita Kobylkina Watermelon - original hyperrealistic still life oil painting - contemporary art, 2024
A Close Look at impressionist Art
Emerging in 19th-century France, Impressionist art embraced loose brushwork and plein-air painting to respond to the movement of daily life. Although the pioneers of the Impressionist movement — Claude Monet, Edgar Degas, Paul Cézanne, Berthe Morisot, Camille Pissarro, and Pierre-Auguste Renoir — are now household names, their work was a radical break with an art scene led and shaped by academic traditions for around two centuries. These academies had oversight of a curriculum that emphasized formal drawing, painting and sculpting techniques and historical themes.
The French Impressionists were influenced by a group of artists known as the Barbizon School, who painted what they witnessed in nature. The rejection of pieces by these artists and the later Impressionists from the salons culminated in a watershed 1874 exhibition in Paris that was staged outside of the juried systems. After a work of Monet’s was derided by a critic as an unfinished “impression,” the term was taken as a celebration of their shared interest in capturing fleeting moments as subject matter, whether the shifting weather on rural landscapes or the frenzy of an urban crowd. Rather than the exacting realism of the academic tradition, Impressionist paintings, sculptures, prints and drawings represented how an artist saw a world in motion.
Many Impressionist painters were inspired by the perspectives in imported Japanese prints alongside these shifts in European painting — Édouard Manet drew on ukiyo-e woodblock prints and depicted Japanese design in his Portrait of Émile Zola, for example. American artists such as Mary Cassatt and William Merritt Chase, who studied abroad, were impacted by the work of the French artists, and by the late 19th century American Impressionism had its own distinct aesthetics with painters responding to the rapid modernization of cities through quickly created works that were vivid with color and light.
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