Exhibitions: Landscapes from the Age of Impressionism

  • 1st Floor
    Arts of Africa, Steinberg Family Sculpture Garden
  • 2nd Floor
    Arts of Asia and the Islamic World
  • 3rd Floor
    Egyptian Art, European Paintings
  • 4th Floor
    Contemporary Art, Decorative Arts, Elizabeth A. Sackler Center for Feminist Art
  • 5th Floor
    Luce Center for American Art

On View: Pilaster Capital, One of Six, from the Bayard-Condict Building, 65 Bleecker Street, NYC

These capitals once graced the upper story of the Bayard-Condict Building, still standing in Manhattan and the only structure in New York Ci...

Hiroshige's One Hundred Famous Views of Edo

Hiroshige's 118 woodblock landscape and genre scenes of mid-nineteenth-century Tokyo, is one of the greatest achievements of Japanese art.

    On View: Block with Sunk Relief and Inscriptions

    Egyptian religion during the Amarna Period is often characterized as monotheistic, but a detail on this block found at el Amarna casts some ...

    Want to add this object to a set? Please join the Posse, or log in.


    DIG_E2007_Impressionism_01_PS2.jpg DIG_E2007_Impressionism_02_PS2.jpg DIG_E2007_Impressionism_03_PS2.jpg DIG_E2007_Impressionism_04_PS2.jpg DIG_E2007_Impressionism_05_PS2.jpg DIG_E2007_Impressionism_06_PS2.jpg DIG_E2007_Impressionism_07_PS2.jpg DIG_E2007_Impressionism_08_PS2.jpg DIG_E2007_Impressionism_09_PS2.jpg DIG_E2007_Impressionism_10_PS2.jpg DIG_E2007_Impressionism_11_PS2.jpg DIG_E2007_Impressionism_12_PS2.jpg DIG_E2007_Impressionism_13_PS2.jpg DIG_E2007_Impressionism_14_PS2.jpg DIG_E2007_Impressionism_15_PS2.jpg DIG_E2007_Impressionism_16_PS2.jpg

    Landscapes from the Age of Impressionism

    • Dates: February 3, 2007 through May 13, 2007
    • Collections: American Art , European Art
    • Location: This exhibition is no longer on view in Robert E. Blum Gallery, 1st Floor
    • Description: Landscapes from the Age of Impressionism. [02/03/2007 - 05/13/2007]. Installation view.
    • Citation: Brooklyn Museum Digital Collections and Services. Records of the Department of Digital Collections and Services. (DIG_E_2007_Impressionism)
    • Source: born digital
    • Related Links: Main Exhibition Page
    Press Releases ?
    • January 2007: Landscapes from the Age of Impressionism, an exhibition of some forty paintings, including many of the finest examples of mid- and late- nineteenth- century French and American landscape in the Brooklyn Museum’s collection, opens on February 3. Ranging in date from the 1850s to the early twentieth century, the works presented offer a broad survey of landscape painting as practiced by such leading French artists as Gustave Courbet and Claude Monet and their most significant American followers including Frederick Childe Hassam and John Singer Sargent.

      While a number of progressive American private collectors began purchasing French Barbizon and Impressionist landscapes in the post-Civil War decades, institutional collecting of these works was significantly more delayed. By the early twentieth century, however, the Brooklyn Museum was already making outstanding purchases and accepting notable gifts of progressive nineteenth-century French and American landscapes—well in advance of the majority of American museums.

      Among the earliest works in the exhibition are Charles-François Daubigny’s The River Seine at Mantes (1856), and Gustave Courbet’s Isolated Rock (1862), which reveal the impact of plein-air sketching practice on landscape art of the period. Many of the painters of the Barbizon School of French landscape painting executed on-site, preparatory sketches that were carried over into the larger, more carefully designed paintings later completed in their studios.

      Heirs to this plein-air tradition, French Impressionists Claude Monet, Alfred Sisley, Camille Pissarro, and Gustave Caillebotte painted highly elaborated “impressions”—the seemingly spontaneous, rapidly executed landscapes and cityscapes that prompted the name of their movement.

      Monet is represented here by several works including The Doge’s Palace in Venice (1908), The Islets at Port-Villez (1897), and Houses of Parliament, Effect of Sunlight (1903). After selecting a subject, Monet positioned himself before it for hours over a series of days, if not months, substituting one canvas for another as dictated by changing lighting and atmospheric effects, and producing a series of works devoted to the same subject under different conditions.

      Following in the footsteps of the French archetypes, beginning at mid-century many American painters sought to improve their skills and find inspiration in Paris and its environs, attending French art academies and frequenting the painting locations made famous by their Barbizon and Impressionist predecessors. Some of the Americans had direct contact with leading French landscape painters, sharing landscape sites or seeking informal guidance from admired mentors.

      The majority of the American paintings on display depict American locales, demonstrating the eagerness of these artists to retain their progressive aesthetics after returning home, and to update the American scene in vibrant, innovative canvases. This led to the appearance of American beaches, factories, tenements, and notable subjects such as Central Park in paintings distinguished by brilliant colors and lively, broken brushwork including Williams Glackens’ Bathing at Bellport, Long Island (1912), Julian Alden Weir’s Willimatic Thread Factory (1893), Robert Spencer’s The White Tenement (1913), and Willard Leroy Metcalf’s Early Spring Afternoon, Central Park (1911).

      In keeping with its long tradition of collecting French and American Barbizon and Impressionist landscapes, the Brooklyn Museum has recently added to its outstanding holdings Hassam’s Poppies on the Isles of Shoals (1890), and Caillebotte’s The Railroad Bridge at Argenteuil (1885 or 1887), both of which are included in the presentation.

      Landscapes from the Age of Impressionism
      presents several paintings that have recently returned from a tour in Korea where they were exhibited at The Hangaram Arts Museum, Seoul Arts Center, from June 2 through September 3, 2006; and the Busan Museum, from September 9, 2006, through January 7, 2007.

      Following the Brooklyn Museum presentation, the exhibition will travel to the Ringling Museum, Sarasota, Florida, where it will be on view in summer 2007, as well as to other United States venues to be announced. The exhibition was co-curated by Theresa A. Carbone, Andrew W. Mellon Curator, American Art; and Judith F. Dolkart, Associate Curator, European Art.

      View Original

    advanced 110,591 records currently online.

    Separate each tag with a space: painting portrait.

    Or join words together in one tag by using double quotes: "Brooklyn Museum."

    Recently Tagged Exhibitions

    Recent Comments

    "Hi Aimee, I think you mean Oreet Ashery? More information can be found in her profile on the Feminist Art Base: http://www.brooklynmuseum.org/eascfa/feminist_art_base/gallery/oreet_ashery.php?i=266"
    By shelley

    "Hi, I am trying to find the name of the artist who took and is in the photograph that follows- http://www.brooklynmuseum.org/opencollection/exhibitions/664/Global_Feminisms_Remix/image/216/Global_Feminisms_Remix._%7C08032007_-_03032008%7C._Installation_view. I believe the artist takes pictures of herself dressed as a man but then exposes her femaleness, as in the photo of her dressed as an Ascetic Jew exposing her breast. Can you help me find her information? Thanks in advance- Aimee Record"
    By Aimee Record

    "For more information on Louis Schanker and the New York Art Scene of the mid 1900's go to http://www.LouisSchanker.info "
    By Lou Siegel

    Join the posse or log in to work with our collections. Your tags, comments and favorites will display with your attribution.

    The Brooklyn Museum Archives maintains a collection of historical press releases. Many of these have been scanned and made available on our Web site. The releases range from brief announcements to extensive articles; images of the original releases have been included for your reference. Please note that all the original typographical elements, including occasional errors, have been retained. Releases may also contain errors as a result of the scanning process. We welcome your feedback about corrections.
    For select exhibitions, we have made available some or all of the informative text panels written by the curator or organizer. Called "didactics," these panels are presented to the public during the exhibition's run, and we reproduce them here for your reference and archival interest. Please note that any illustrations on the original didactics have not been retained, and that the text may contain errors as a result of the scanning process. We welcome your feedback about corrections.
    For select exhibitions, we have made available some or all of the objects from the Brooklyn Museum collection that were in the installation. These objects are listed here for your reference and archival interest, but the list may be incomplete and does not contain objects owned by other institutions or lenders.
    This section utilizes the New York Times API in order to display related materials in New York Times publications.