More significantly, they had an “interest in the sensual and the contemporary” that “far outweighed any . There was no reason to go off and investigate the radical world of Impressionism.
Rose--who visited the art colony in Giverny in the 1890s and lived there from 1904 to 1912, before heading to Pasadena--knew Claude Monet socially.
Although many others flocked to the picturesque French village, no other California painter apparently had anything to do with its most famous resident.
Back home, enthusiasm for painting the sun-kissed landscape of Southern California was tempered by a couple of sobering realities.
For all the love--and money--lavished on them, however, California Impressionist paintings have always seemed to me a fundamentally different animal than their French forebears.
To be sure, the American works were painted decades after the French ones, and they describe a drier, less domesticated landscape.
Impressionnisme (and its Anglophone cognate, “Impressionism”) was coined in 1874 to designate a group of painters who had formed a cooperative and exhibited their works in a small Parisian gallery.
The group included Claude Monet, Edgar Degas, Pierre-Auguste Renoir, Berthe Morisot, Camille Pissarro, Alfred Sisley, and Paul Cézanne, many of whom had worked together since the 1860s.
As happened in many academic disciplines, art history took new directions in the latter 20th century, when alternative methodologies offered further modes of inquiry.
Shiff 1984 looks to 19th-century critics and analyzes the vocabulary they used to discuss Cézanne’s paintings.