Impressionism: The Art of Landscape

January 28 to May 28, 2017

Precise observations of nature not only gained in importance in the natural sciences during the nineteenth century—the impressionists also reacted to this trend by painting outdoors and recording ever-changing light and weather phenomena. Their landscape motifs were no longer charged with historical or symbolic significance. Rather, impressionist artists focused on capturing the present.

This exhibition presents various themes in Impressionist landscape painting, which made it the first distinctly modern movement in painting. They emancipated themselves from earlier generations in their depictions of the sea and forest tracks. In garden paintings, they began to use color freely. Winter landscapes became a place to experiment with the color white. In landscapes of the south they wove together light and air to create shimmering visual effects. In river landscapes they explored reflective surfaces. To this day, the very act of seeing continues to make viewers an integral part of their works.

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Precise observations of nature not only gained in importance in the natural sciences during the nineteenth century—the impressionists also reacted to this trend by painting outdoors and recording ever-changing light and weather phenomena. Their landscape motifs were no longer charged with historical or symbolic significance. Rather, impressionist artists focused on capturing the present.

Precise observations of nature not only gained in importance in the natural sciences during the nineteenth century—the impressionists also reacted to this trend by painting outdoors and recording ever-changing light and weather phenomena. Their landscape motifs were no longer charged with historical or symbolic significance. Rather, impressionist artists focused on capturing the present.

This exhibition presents various themes in Impressionist landscape painting, which made it the first distinctly modern movement in painting. They emancipated themselves from earlier generations in their depictions of the sea and forest tracks. In garden paintings, they began to use color freely. Winter landscapes became a place to experiment with the color white. In landscapes of the south they wove together light and air to create shimmering visual effects. In river landscapes they explored reflective surfaces. To this day, the very act of seeing continues to make viewers an integral part of their works.

Tickets

Calendar

Groups

Learn More: Virtual Discoveries
Our Virtual Pinacotheca invites you to explore individual works and presents an entertaining way to learn about aspects of the exhibition before you visit

In ancient Greece, pinacothecas were public galleries that housed art. We have expanded the concept of the picture gallery to include the digital world.

Our Virtual Pinacotheca provides you with information on the exhibition through interviews with experts and artist biographies before you set foot in the museum. The gallery with its possibilities of viewing artworks digitally allows you to encounter art from anywhere. At the same time, it provides a foretaste of the virtual information available at the museum.

Our Virtual Pinacotheca invites you to explore individual works and presents an entertaining way to learn about aspects of the exhibition before you visit

In ancient Greece, pinacothecas were public galleries that housed art. We have expanded the concept of the picture gallery to include the digital world.

Our Virtual Pinacotheca provides you with information on the exhibition through interviews with experts and artist biographies before you set foot in the museum. The gallery with its possibilities of viewing artworks digitally allows you to encounter art from anywhere. At the same time, it provides a foretaste of the virtual information available at the museum.

Claude Monet

"Impressionism is only direct sensation."

Claude Monet
Claude Monet in an interview, 1926
Claude Monet: Self Portrait with a Beret, 1886, private collection, Photo © Lefevre Fine Art Ltd., London/Bridgeman Images

Claude Monet: Self Portrait with a Beret, 1886, private collection, Photo © Lefevre Fine Art Ltd., London/Bridgeman Images

"Impressionism is only direct sensation."

Claude Monet in an interview, 1926
About the artist

Born in 1840 in Paris, Claude Monet was introduced to painting outdoors while still a youth by Eugène Boudin, who was sixteen years his senior and well-known for his beach scenes. This became a central theme of Monet’s creative process. He explored the effect of light by repeatedly painting series of the same landscape at various times of day and during all seasons. He died in Giverny in 1926 – at the place where he had planted his magnificent garden full of flowers.

Impressionist Landscapes: Yesterday and Today
Claude Monet: Low Tide at Les Petites-Dalles, 1884, private collection
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Photo: Christoph Irrgang
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The Cliffs at Les Petites-Dalles, Normandy
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We searched for the places that served as motifs for the impressionist works you can see in our exhibition. We travelled to these places and took photographs of what they look like today. Although the artists’ styles are different, their paintings accurately reflect their surroundings. Here you can see what the places looked like then and how they look now by comparing the paintings and the photographs. Discover both what has changed and what has remained the same in the landscapes.

Catalogue
On the occasion of the Exhibition Impressionism: The Art of Landscape

The catalogue for the exhibition Impressionism: The Art of Landscape is published by Prestel Verlag and edited by Ortrud Westheider and Michael Philipp with essays by Stephen F. Eisenman, Christoph Heinrich, Nancy Ireson, Stefan Koldehoff, Richard Shiff, and Ortrud Westheider. They demonstrate that impressionism is no longer about narrating a story but about the act of seeing. Freed of historical and symbolic references, landscapes therefore became the central genre in impressionism.

24 x 30 cm, approx. 248 pages, approx. 170 ills.

Price at the museum shop: € 29.90 (sold out)

Booktrade edition: € 39.95

On the occasion of the Exhibition Impressionism: The Art of Landscape

The catalogue for the exhibition Impressionism: The Art of Landscape is published by Prestel Verlag and edited by Ortrud Westheider and Michael Philipp with essays by Stephen F. Eisenman, Christoph Heinrich, Nancy Ireson, Stefan Koldehoff, Richard Shiff, and Ortrud Westheider. They demonstrate that impressionism is no longer about narrating a story but about the act of seeing. Freed of historical and symbolic references, landscapes therefore became the central genre in impressionism.

24 x 30 cm, approx. 248 pages, approx. 170 ills.

Price at the museum shop: € 29.90 (sold out)

Booktrade edition: € 39.95

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