By the late 1860s, Manet’s art reflected a new aesthetic-which was to be a guiding force in Impressionist work-in which the importance of the traditional subject matter was downgraded and attention was shifted to the artist’s manipulation of colour, tone, and texture as ends in themselves.
They also rejected the conventional imaginative or idealizing treatments of academic painting. These artists became dissatisfied early in their careers with academic teaching’s emphasis on depicting a historical or mythological subject matter with literary or anecdotal overtones. Jongkind, Johan Barthold: The Seine and Notre-Dame de Paris
Impressionist portraits how to#
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