They were not accepted into the French Academy / Ecole des Beaux Arts. They were refused entry into the Salons. They defied the stranglehold of the academies. They took their paints and easels out of the studios and into the "pleine aire." And they created the most popular artistic movement of all time. They were The Impressionists.

Paris was the cradle of Impressionism, where a small group of artists rebelled against the strictures of the elitists who controlled the school and salons. Somehow the movement expanded across Europe, America and even the Far East.

It was probably Delacroix, and perhaps Corot, who made the first adventurous steps, setting the stage for the group that ultimately set up their own independent exhibitions. The work of this group was characterized by subjects taken from contemporary life, in natural settings and natural light, with a brighter palette and obvious brushwork.

Rather than epic, mythical, religious or heroic subjects, these artists painted middle class people going about their daily life, and the service class of entertainers, milliners, cleaning people, field workers. Their landscapes and seascapes caught a moment of light on a field, a stream or a shore. The objects reflected all the colors that make up the impression of skin or fabric or flower, rather than the flat atonal appearance of previous generations.

There are about a dozen of these painters who were the core of the historic eight exhibitions that earned the name of Impressionism. But there were actually over 50 artists who participated. The best known were Degas, Monet, Manet, Renoir, Cézanne, Fantin Latour, Pissaro, Sisley, Caillebotte, and Seurat. They were later joined by Morisot, Cassatt, and of course Van Gogh and Gaugin.

These revolutionaries paved the way for a freedom of artistic expression that exploded into a variety of styles, methods and approaches. The late nineteenth and early twentieth centuries saw the development of the modern movement and new "isms." Neo-Impressionist, Symbolist, Fauve, Cubism and Expressionism became part of the lexicon of art. New names were heard: Matisse, Braque, Dufy, Derain, Vlaminck and Picasso. They have achieved acceptance and fame not only for their own artistic merits, but because of the trails blazed by the Impressionists.

Back to Top

FRAMING

Framing is almost as individualized as the art it surrounds. The frame must suit the painting itself and the decor in which it is hung, as well as the style of the owner. While there are no hard and fast rules, some general observations can provide guidelines.

The frame should enhance, not overwhelm its subject. A "busy" painting can benefit from a simpler frame, while a "quiet" painting can be set off nicely with a more ornate frame. Sometimes a very small painting gains importance with a deep, wide frame. While very large paintings can be striking in a narrow border.

The width of the framing material is an important factor to consider. Remember that one must add the width of the frame to the length of each side of the painting. If you are thinking of a 4 inch frame for a painting that is 30 inches high by 24 inches wide, you will end up with an item that is 38 inches high by 32 inches wide. You want to be sure the size of the finished product fits well in the intended space.

The setting for the painting influences the choice of style of the frame. A heavy "museum" style frame probably would not look well in a room of wicker furniture. A gold finish will reflect the warmth of yellows and reds, while a silver finish may bring out cooler blues and greens. The kinds of woods and patterns available can present a dizzying array of choices.

Your framer will have many sample corners that can be place around the painting to get the feel of how it will look. Take your time and try out as many options as you can. It is an important decision. A fine painting deserves a fine frame.

Back to Top