The Romantic Era - Preferences and Perspectives of Realism and Impressionism

The Romantic Era blossomed in the 19th Century. Directly impacted by the Industrial Revolution and the Enlightenment, Planet Earth, once home to nothing but a blanket of nature, was being taken over by technological advancements. The United States of America was recently declared a country, with people of all cultures and ethnicities fleeing to this new land hoping for a new life. As the population increased, the demand for urbanization grew, leading to a sudden shift of nature becoming industrial. 

All across the globe, scientific revelations were prioritized, and transportation shifted in advancement with the development of trains and the construction of roads for vehicles. Buildings began to reach for the skies to match the increased populations everywhere. 

It became clear that humanity was losing its once-deep connection to the natural, every day world. Suddenly, new art styles flourished to rebirth this relationship. Thus came the artistic styles of Realism and Impressionism.

Realism

The art style of Realism was a call to the world that everyday events and average people can be just as successful in conducting a work of art. This style wanted to present the then and now of a day during the 19th century. There was no sense of building up a dramatic scene within the art, rather, the art of this period was simply realistic.

Rosa Bonheur was a master in creating true-to-life art. Focusing on the subject of animals, these animals of her work were perfectly proportioned and life-like and can easily be fooled to be a photo taken with a camera. Bonheur's, Weaning the Calves (1879) was no different. Bonheur depicts a rather ordinary subject in her work: cows. The mother cow and her calves are extremely detailed in composition, with Bonheur relying heavily on form to create a three-dimensional image on a two-dimensional canvas. There is texture smothering the fur of the cows, further assisting the audience to visualize a true-to-life piece. The scenic views of the work are a usual setting for farmland, making seeing cows within the setting unsurprising. The scenery feels as though any one of us has walked through it at one point in real life. Space is a valuable element in the work as the artist overlaps the French grasslands with the Pyrenees mountains deep in the background. Additionally, the details of the foreground allow us to believe that it's closer than the background that is lacking details of the mountain. It further gives the illusion of a three-dimensional piece. 

Weaning the Calves, 1879.

Originally, there is a sense of calm. The view of the mountains is beautiful, and there is a lack of violence within the scene depicted. However, once the eyes scan across the canvas, it is clear that the mother is separated from her calves. The mother cow is peering over the large branch that separates them, the calves reaching towards her in desperation for a feeding. The scene depicts a challenging event in any mother's life, separating herself from her children. No matter the species of animal on Planet Earth comes a time when the mother must step back and let her children learn to take care of themselves. The weaning process occurs at every moment of every day, and yet, there is something so moving about the work. There is an intense emotion of strength as we witness the first steps of independence in these calves' lives. 

Very similar in execution, Jennie Augusta Brownscombe's, The Homecoming (1885) strives to accomplish a similar goal in her work: everyday living. Additionally, there is a common theme between the two works in which both include a mother and her child/children. The scene, however, is a moment of pure joy with the return of her father. The image is habitual in that it seems to reflect average American cottage living. There is a gardening tool resting against the building, as well as a family pet nearby, observing their owners. The color of the cottage is simple, indicating that there is not a lavish lifestyle being presented before us. Similarly, the colors of the clothes are in a natural, stock shade. There is nothing unique in the presentation color-wise. There is a mix of textures cascading across the canvas; from the folds in the cloths to the fur of the cat perched at the foot of the door. These textures seem as though one could reach towards the camera and feel the cloth of the mother's skirt, or the smooth fur of the cat. We see a stark contrast in value at the center of the work: the door is wide open behind the mother and her child, cascading dark shadows beneath them. There is little detail inside the house due to these deeper tones. Opposing this. the clothing of the mother and child duo is light in value, creating an intense contrast, and dragging the eye directly toward the center. The artist surely wanted the focal point to be quite clear.

The Homecoming, 1885.

Once again, there is nothing that stands out in the work. It is all so serene, so simple, and maybe even a bit boring. That is the magic behind it. Any one of us can be a subject of a masterful piece of art. We don't have to be a Greek Goddess or a soldier risking their life to become a subject of a work of art. Once again, there is a sense of strength within this art style. Realism truly tells the world that those behind the scenes are masterful too, and deserve a spotlight for their everyday challenges, commitments, happy moments, and sacrifices.

Impressionism

As Realism increased in popularity in the early to mid 19th century in Paris, a new style emerged from it, consisting of most of the similar traits and goals of the work, but adding new characteristics to make it unique. Impressionism, just like Realism, strives to illustrate a real, modern lifestyle. There was, again, no sugarcoating within the scene of the work. This newfound interest in the everyday individual opened this art style to a wider audience. Unlike Realism, however, Impressionism liked to cherish those small, happy moments. There were more light and airy characteristics within the work of Impressionism, rather than the typical dim, gritty traits of Realism work.

Impressionism was a style never seen before, particularly in the way it was painted. Because the artists strived to paint real-life situations at the moment it happens, they had to be quick with their paintings. Ultimately, this was done through quick brushstrokes, making Impressionist art stand out amongst works of art made prior.

Claude Monet and his work, The Cliff Walk at Pourville (1882), is a prime example of these loose brushstrokes. Looking at the work, it is as if there is an immense amount of detail, but also no detail at the same time. The scene is stunning as two women are perched near the end of the French cliff, looking out at the crashing waves beyond them. The figures almost represent blobs, and yet, we can determine it two be two young women, dressed in nice, modest clothes. Once again, we see the illusion of space, primarily in the grass, as the brushstrokes of each blade of grass get larger as it comes closer to the audience. The women have very few details, giving us a sense that they are out of reach from us, cherishing the scenic view. Line is utilized throughout the work, giving it its unique characteristic. From the blue sky to the crashing waves and the blades of grass, the linework of the brush Monet worked with is visible as they were purposefully not blended. This execution gives the work a dramatic amount of texture. Typically, we visualize the sky lacking textures, as it is simply filled with gases that are impossible to feel. Monet purposefully leaves this texture in the sky to balance it out with the rest of the painting. If Monet were to have made the sky smooth, it would have clashed with the rest of the composition of the work, and feel out-of-place.

The Cliff Walk at Pourville, 1882.

The work offers a hefty emotion of tranquility. The view is a once-in-a-lifetime experience as we enjoy it alongside the women, who undoubtedly have continued to cherish that exact moment evermore. The audience can almost hear the sounds of the waves slapping against the French cliffside, or the breeze blowing through each blade of grass. Every detail of the scenery is a natural beauty, and witnessing the women reconnecting with nature during a time of industrial expansion is a true site to see.

Opposing this tranquility of the previous work, Edgar Degas captures ballet dancers moments before a performance in his work, Dancers in Pink (1880-1885). The viewers of the painting can almost sense the nerves of the young women within the painting as they prepare themselves for center stage in Paris, France. The background is rather dark against the bright, vivid color of their dresses. Utilizing a vibrant pink against a shadowed background allows the audience to focus on the subjects of the artwork. There is a substantial shift in value as we visualize the illusion of a light piercing across the skin of the young dancers. This light provides shadows into any small crevice across their backs, faces, and chests. Additionally, regardless of the trait of Impressionism with its quick, detail-lacking brushstrokes, the form of the young women still feels rather realistic as their proportions are perfectly executed. It is as if we are within the scene with them, preparing for a performance they have dedicated countless amount of hours to prepare for. 

Dancers in Pink, 1880-1885.

Ballet performances happen across the globe every day and are nothing new. Degas, however, makes us feel a connection to the painting. He wants us to understand that, to the subjects of the work, this is not just another ballet performance. This is their real life, their passion, and their hard work all coming together on this one night. Sure, everybody experiences this level of pressure, whether it is before a big test or an interview. That is what makes Impressionism so powerful: regardless of your background or beliefs, anybody can connect to the artwork in front of them. 

Realism vs. Impressionism

As we have previously discussed, Realist and Impressionist artists share a similar goal: to portray a real moment in time. These painters focused largely on portraying the world as it actually was, without adding any form of coloration, perspective, or other elements that impeded the natural imagery one would see for themselves. Additionally, both withheld strong connections to the natural world, as it gradually started to be taken over by Industrial advancements. 

The differences behind the work are more so with the subjects, as well as the creation of the artwork. Other than the clear difference in the overall look of the artwork, in which Realism was quite accurate, almost like a picture, and Impressionism was rapid in brush movements as the artists worked fast to capture the exact moment in time, the more difference was in the setting of the work. Realism aimed to show moments that are completely ordinary and without any romantic characteristics. The subject matters were typically boring, yet somehow inspiring. They were not aiming to paint a happy moment in one's life, rather, they would paint any moment, whether it was a moment of pure joy, soul-crushing, or simply living. Impressionism, on the other hand, strived to display the good or influential moments of one's life. The moments that are influential and withhold a special place within their hearts. Impressionist artists wanted to uplift the audience, not potentially put them down. They wanted to show the moments that show that life is worth living. 

Personally, it is difficult for me to prefer one over the other. I cherish aspects of both styles of art. In Realism, the way that they make everybody feel seen is truly inspiring. Additionally, they take a moment that many do not appreciate, and highlight that even the smallest moments remind us that we are lucky to be living in a world where we can experience these "insignificant" occurrences. The level of detail in the work is absolutely fascinating, and I can truly see the amount of time and work each individual canvas withholds. On the other hand, Impressionism feels like a breath of fresh air as you connect with the subject as they experience a memorable moment. The vibrant colors give a sense of merriment and satisfaction, certainly a different trait than that of Realism. Overall, I would say that Impressionism is my preference, as it is just so unique in composition, and feeling jovial from a work of art is truly restorative.

References

Realism movement overview. The Art Story. (n.d.). Retrieved October 31, 2022, from https://www.theartstory.org/movement/realism/

Rosa Bonheur paintings, Bio, ideas. The Art Story. (n.d.). Retrieved October 31, 2022, from https://www.theartstory.org/artist/bonheur-rosa/

Jennie Augusta Brownscombe: Artist profile. NMWA. (2020, May 28). Retrieved October 31, 2022, from https://nmwa.org/art/artists/jennie-augusta-brownscombe/

Cliff walk at Pourville. The Art Institute of Chicago. (n.d.). Retrieved October 31, 2022, from https://www.artic.edu/artworks/14620/cliff-walk-at-pourville