The artists of the French Impressionist period specifically influence
my digital fine art images. At the suggestion of contemporary
talented artists, I attempt to study the style of these artists and to
recreate their works in digital-image form. For variety, I use other
historical master's images and sculptures - especially the artworks of
Michelangelo, but the work of the men and women called Impressionists
continues to inspire me and influence my personal portfolio.
On April 15, 1874, twenty-nine artists came together to present an
exhibition in Paris, France, under the group name of the Societe Anonyme
des Artistes. It was the first of what would be eight shows by this
collective over a period of ten years. Although intentionally anonymous
at the time, and a target of vicious attacks by traditionalist critics,
the names of Renoir, Monet, Pissarro, and Cezanne now lead the list of
Masters of Impressionism.
The name of the art style came from "Impression, Sunrise" a canvas
by Monet. Originally intended to be a derogatory title for the
non-traditional if not downright scandalous - for the period in
which it was created - brushwork, the images
of the Impressionist was a revolutionary approach - reflective of
those revolutionary times - to the use of light, color and texture
in artistic imagery.
The works of these Impressionism masters are a worthy artistic counterpoint
to the realism of artistic modern photography. Both express the artist's
right to reflect upon and recreate a reflection of a given subject.
Many of these artists would begin with sketches or "studies" of an
image before painting it. In my digital rendition of an image, I begin with
a photograph, then digitally enhance the figure study. The style approximates
that of Pierre-Auguste Renoir, Edouard Manet or Edgar Degas - three of my
personal favorites.
Freed from the bond of studio work, some Impressionists began to work
en plein-air, or in situ, enhancing the works of an earlier generation of
Dutch and English landscape painters. Most portraits and still life works
continued to be created in studios, however; and some landscapes were,
by tradition, also completed there. Likewise, the concept of working outdoors
is consciously reflected in my digital art work, which is then finished in my
"electronic studio."
The posing and mechanical techniques of these artists has also influenced
my images. The poses and settings are challenging to replicate in
photography. The mechanical techniques of sketching and painting are
even more difficult to translate into digital pixels.
Some examples of these posing techniques may be seen in the black-chalk-on-paper
sketch by Degas for his "Study for A Scene of War in the Middle Ages,"
in the Manet oil on canvas entitled "Olympia" which in turn was a likeness
of Titian's 1538 oil on canvas "The Venus of Urbino," and in a
Post-Impressionist oil on canvas entitled "The Bathers" by Renoir.
The model in "Olympia" was, by the way, Victorine Meurent, a
Salon-exhibited artist in her own right. The use of artists and photographers
as models is a tradition which I, also, have attempted to continue. Their creative
chemistry and freedom and understanding enhances the artistic process.
In addition to oils, the masters used chalks,
pastels and charcoals on various surfaces in the development of
their works. Camille Pissarro used pastels on canvas for his
"The Seamstress." "Three Russian Dancers" by Degas is
an example of pastels on paper. Renoir's "Nude in Sunlight"
shows contrasting brushstrokes in oil on canvas.
My decision to learn my craft by studying the styles of these Impressionists
follows a long history of art instruction. Early students at the
Louvre were expected to spend at least five years copying a master
artist's techniques with the expectation that these styles would
be perpetuated in the student's own work. To borrow influences from
other artists is a gesture of respect to their talents.
