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Impressionism
A Brief History

French/European
Impressionists

Monet, Claude
Van Gogh,Vincent
Renoir, Pierre Auguste
Degas, Edgar
Cezanne, Paul
Seurat, Georges
Manet, Eduoard
Toulouse-Lautrec, Henri
Sisley, Alfred
Pissarro, Camille Jacob
Morisot, Berthe
Boudin, Eugene
Caillebotte, Gustave
Sorolla, Joaquin
Fantin-Latour, Henri
Bonnard, Pierre
Gauguin, Paul
Vuillard, Edouard
Martin, Henri
Redon, Odilon
Other Impressionists

American
Impressionists

Thompson, Richard Earl
Cassatt, Mary
Sargent, John Singer
Whistler, James McNeill
Hassam, Childe
Benson, Frank Weston
Prendergast, Maurice
Twachtman, John Henry
Chase, William Merritt
Tarbell, Edward
Vonnoh, Robert
Reid, Robert
Metcalf, Willard
Beaux, Cecilia
Potthast, Edward
Chadwick, William
Hale, Philip Leslie
Curran, Charles Courtney
Graves, Abbott Fueller
Frieseke, Frederick
Glackens, William
Maley, Alan
Ruby, Claire
Terelak, John C
Wallis, Kent
Schofield, Michael
Plisson, Henri
Romanello, Diane
Singley, Greg
Title, Christian
Horning, Elizabeth
Hatfield, Don
Aspevig, Clyde
Afsary, Cyrus
Hayslette, Max
Schmid, Richard
Dunlay, Thomas
Ellis, Ray
Gertenbach, Lynn
Zhan, Charles
Duncan, Robert
Hails, Barbara
Wood, Barbara
Behrens, Howard
Other Impressionists

Popular Favorites

Dali, Salvador
Michelangelo
Da Vinci, Leonardo
Picasso, Pablo
Rockwell, Norman
Matisse, Henri E
Klimt, Gustav
Escher, M.C.
Mucha, Alphonse
Potter, Beatrix
Geddes, Anne
Anderson, Kim
Vettriano, Jack
O'Keeffe, Georgia
Parrish, Maxfield
Homer, Winslow
Hopper, Edward
Wyeth, Andrew

During the early nineteenth century freedom of expression was almost foreign to the art world. The now famous l863 Parisian Salon des Refuses proved to be a landmark in the history of Modern art. Napoleon III set up the Salon des Refuses to appease those painters (Monet, Manet, Pissarro, Whistler,Jongkind and others) who were insulted by the rejection of their works by the official Salon. Artists who had gone against established and acceptable painting techniques were given, for the first time, the right to a public viewing and this exhibition marked the beginning of an artistic independence. 1

Dusseldorf, Munich and Paris were the three leading art meccas of the nineteenth century. Although Eugene Delacroix (1799-1863) had taken an independent stand against the value of technical painting as the Academicians taught it, it was Claude Monet (1840-1926) who revolutionized art by organizing an independent group of artists who would exhibit their recalcitrant canvases in an 1874 show which would shock critics and public alike. The show opened April 15, 1874, and when Louis Leroy characterized the entire exhibit as an "Exhibition of Impressionists", a title meant in jest and cued from Monet's painting Impression Sunrise (l872). the names "Impressionist" and "Impressionism" were born. 2

Under the banner of "Impressionism" painters launched an innovative concept of naturalism, showing new impressions of the visible world rather than the imitation of exact appearances. They perceived light as color sensations and were concerned with the effects of a fluid play of light. Color sensations were perceived as constantly changing, and forms as light reflected from a surface, while shadows were shown to be lights of a a lower intensity. Light, not subject matter, became the most important aspect of their painting and this was foreign to the the Salon painters' ideology. Variations of hue and intensity of light were stressed. The Impressionists were not dramatically concerned with line. They applied their paint to the canvas in small daubs and dashes of paint in order to heighten the effect of vibrations and changes of light effects. 3

French impressionism influenced artists throughout the world,including Americans J. M. Whistler, Mary Cassatt, John Singer Sargent, Willard Metcalf, John Twactman, Child Hassam and Englishman Walter Sickert, Italian Giovanni Segantini, and Spaniard Joaquín Sorolla and Richard Earl Thompson. Impressionism also affected the development of painting. Painters who began as impressionists created other techniques that started new movements in art, including pointillism, post-impressionism, cubism, expressionism to modernism.

In 1986, the deservedly popular Impressionist exhibition title, "The New Painting: Impressionism, 1874-1886" stimulated curiosity about artists who have continued this art form. Richard Earl Thompson (1914-1991) was one of these artists. A dedicated Impressionist, he devoted a lifetime of effort to capturing the quality of nature's light on canvas for all to see and enjoy. Challenged by questions and statements such as, "Impressionism today? Who needs it? It's been done," dedicated painters such as Richard Earl Thompson could and did answer, "We all do."

Always a favorite with the public, "fresh-air" painting with its loose brushwork, pleasing images, and particularly, the sparkling light quality which is inherent in the best of the past works, is equally pleasurable when found in the best of contemporary work. Richard Earl Thompson strengthened and modified through personal expression these tenets of Impressionism. Using pigment available today which the early Impressionists lacked, he achieved even greater variations of light and color - exuberant color - which in the hands of this gifted artist inspired masterful works.

The current resurgence of interest in Impressionism, following years of erroneously being referred to all too frequently as just another "pretty picture," is welcome. This fine art, when painted with consummate skill, marked by dedication to color and form is once again receiving recognition. Requiring no text to explain the art and being free from politics, Richard Earl Thompson's canvases reveal the beauty and truth or our world as seen through the eyes of an accomplished 20th century painter. History has been recorded in an individualistic manner for future generations.

A multiplicity of art forms make up our heritage; no one form invalidates another, but the components of skillful compositions, fine draftsmanship, a sure knowledge of and inspired use of color, showing clearly the painstaking training in the fundamentals marks the work of Richard Earl Thompson. A serious and competent painter, his large body of work illustrates the technical growth and development of his own style. in the Impressionistic manner.

Growth in the field of Impressionism did not end with the eighth Impressionist group show, and with the widely disseminated knowledge available to the general public today, quality is readily apparent which explains why there has always been an enthusiastic audience for the work of Richard Earl Thompson. His ability to capture the color of things as the sun changes and "recreates" them makes his powerful and pleasing canvases a life affirming refreshment to the senses and a continuation of the work begun by those innovative and courageous 19th century painters revered by the world today.

Footnotes 1,2,3 ©Copyright l982 Richard Thompson Gallery as published in the book written by Patricia Jobe Pierce titled "Richard Earl Thompson, American Impressionist A Prophetic Odyssey in Paint". Chapter I "American Impressionism-A Brief History". All rights reserved.

©Copyright Richard Thompson Gallery, 1986. All rights reserved