Towards Impressionism: Landscape Painting from Corot to Monet
Towards Impressionism traces the development of French landscape painting from the schools of Barbizon and Honfleur up to Impressionism, featuring over forty works from the extraordinary collection of the Mus茅e des Beaux-Arts, Reims. Selections from the Frye Art Museum鈥檚 own holdings will be incorporated into the show, making this a unique opportunity to situate masterpieces from the collection within their original context.
The Reims museum has one of the world鈥檚 foremost collections of landscape paintings by artists associated with the Barbizon colony鈥artists like Th茅odore Rousseau, Charles-Fran莽ois Daubigny, Jean-Fran莽ois Millet, and Constant Troyon who gathered in the village of Barbizon between 1830 and 1855 to paint in and around the nearby Forest of Fontainebleau. Fascinated by the mysteries of the forest and rural tradition, the Barbizon artists rejected urban life and the teachings of the French Academy. Where previously landscape had served only as backdrop for allegorical or historical tableaux, the Barbizonists painted landscape for its own sake, working from observation but often infusing their subjects with an emotionality reminiscent of Romanticism.
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Towards Impressionism traces the development of French landscape painting from the schools of Barbizon and Honfleur up to Impressionism, featuring over forty works from the extraordinary collection of the Mus茅e des Beaux-Arts, Reims. Selections from the Frye Art Museum鈥檚 own holdings will be incorporated into the show, making this a unique opportunity to situate masterpieces from the collection within their original context.
The Reims museum has one of the world鈥檚 foremost collections of landscape paintings by artists associated with the Barbizon colony鈥artists like Th茅odore Rousseau, Charles-Fran莽ois Daubigny, Jean-Fran莽ois Millet, and Constant Troyon who gathered in the village of Barbizon between 1830 and 1855 to paint in and around the nearby Forest of Fontainebleau. Fascinated by the mysteries of the forest and rural tradition, the Barbizon artists rejected urban life and the teachings of the French Academy. Where previously landscape had served only as backdrop for allegorical or historical tableaux, the Barbizonists painted landscape for its own sake, working from observation but often infusing their subjects with an emotionality reminiscent of Romanticism.
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A review of Towards Impressionism: Landscape Painting from Corot to Monet at the Frye.