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Eleanore McDaniel

Prof. Kretzer

ENG 1201

1 May 2020

Impressionism and the Art of Oil Painting

Art is an ever-changing form of human expression. From cave paintings on walls to

Michelangelo’s David, human passion and creativity never fails to express itself in any number

of ways. While the definition of art is always subject to change, one of the most classical

examples is that of oil painting. It has remained a favorite and an expertise of many artists for

centuries, however, there are obvious differences between the paintings of the classical era and

contemporary art. While there were many factors that lead to this change in technique, style, and

presentation of oil painting, one era in particular stands out as responsible for the change

between renaissance classical and the contemporary forms that exists today. The impressionist

era of art was the turning point which changed oil painting techniques because it abolished

layered painting, used new painting materials, and was the first major movement to fully separate

from Royal Art Academies.

Oil painting itself is credited to Jan van Eyck, a commissioned artist who painted

portraits for royals in fifteenth century Europe. This time period is widely referred to in art

communities as the Early Northern Renaissance. Eyck is the first documented artist to use oil

paint (“European Renaissance”). Oil paint itself is defined by pigment suspended in an oil, such

as linseed or poppy. This paint is a slow-drying medium, taking days or weeks to harden via

oxidization (“Oil Paint”).

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For the purpose of distinction between styles, art is divided up into eras. The Earl

Northern Renaissance consisted of art heavily focusing on realism and portrait art as paintings

were used in the place of modern-day cameras. These paintings were extensively composed of

religious symbolism and highly regulated by the Roman Catholic church in areas such as Italy,

France, and England. Paintings were often dark compositions, created with heavy symbolism in

order to portray a message (“European Renaissance”). For all intensive purposes, the renaissance

era of art is also the classical era, as it was the birth of the technique and style that would remain

popular for centuries.

Painting during the time of the renaissance was based on a three-layer strategy, invoking

both science and artistic eye. The canvas, often made of fabric and primed with gesso, was

painted first with a layer of imprimatura. This layer is a defining practice to the time period. The

imprimatura layer tinted the hue of the piece, allowing all of the components to appear in the

same shade of light as one cohesive image. Imprimatura was semi-opaque, allowing light

through to reflect off of the canvas in order to prevent the painting from looking flat, and would

set the tone as the base color. This layer is the main difference between classical paintings and

contemporary. Once dry, the second layer was applied. At this stage, the artist painted the subject

of the painting in opaque oil paint. These subjects in classical art ranged from portraits of royals

to still life compositions. The final layer consisted of a glaze, which would not only protect the

painting in a seal but allow for a sheen of light over the painting (Gamblin, “Classical and

Contemporary”).

One of the defining characteristics of the Renaissance era of art is its cohesion. This can

be attributed to the Royal Academies of Art in France and Britain. These institutions were large

proponents of the three-layer techniques and simple, yet elegant compositions. Societies like
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these and others were composed of upper-class citizens, which held lectures and taught students

the ways of the three-layer technique. The Academies also held exhibitions which showcased art.

This was a venue that provided many jobs for artists who would otherwise be forced to find work

on their own. Subsequently, the Academies also held standards for art that would be exhibited,

such as the way religious figures such as Jesus and Mary were to be portrayed, the style of

composition, and a technique of using multiple layers to build a painting up. This ensured a

consensus throughout most all classical renaissance art and left little room for those who strayed

(Rosenfeld, “Royal Academy”).

Following the Renaissance era of art are those of Mannerism and Baroque eras. These

hold little deviation from the practices of the Renaissance. The Mannerism era heavily focused

on the figures and movements subject to the paintings. Artists such as Michelangelo and Raphael

in fifteen hundred used exaggerated movements in order to express emotion within their

paintings. Similarly, the Baroque era, featuring strong Dutch painters such as Vermeer and

Rembrandt, was particularly strong in areas such as architecture and drama. Short eras followed

these including Rococo, Neoclassism, Romanticism, Realism, and Art Nouveau. Some of these

fleeting, others for longer periods of time (“Art History Timeline”).

The impressionist era originates from France in the late 1800s, lasting through to the mid

1900s. The painters who primarily took part were those who specifically rebelled against the

classical teachings of the Royal Academies. Painters such as Degas, Renoir, and Monet were at

the height of the impressionist movement, gaining support for their new technique which was

specifically contradictory to the teachings of the Royal Academies. The era is defined mostly by

its study of light, using natural light as opposed to staged studio settings. The technique of
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painting impasto- with broad brush strokes, and alla prima- all at once without layers, are also

keystones of the time period, differing heavily from pervious painting eras (“Impressionism”).

The first deconstruction of the classical technique began with the dismissal of

imprimatura- the first layer which was used to set the chromatic tone of the piece. The

impressionist artists did not paint the imprimatura layer because they painted alla prima, or all at

once. One of the most defining characteristics of the impressionist era was the transition from

studio art to live subjects, painted outside in ever-changing weather conditions. This did not

allow for the setting and drying of layers, particularly in oil paint which may take several days to

fully dry (“Impressionism Painting”).

The final gloss over a fully dried painting that was standard for classical technique may

have occasionally been added to the impressionistic paintings later, however the smooth surface

of finished paintings were uncommon in the impressionistic period, making this uncommon. Fine

details and realism of the paintings diminished, the artists instead choosing to paint impasto, with

quick and blocky brush strokes, leaving textured paint and a rough surface on the final product.

This was another result of painting outdoors, in which the conditions were never stagnant and

thus artists were forced to capture the moment as fast as possible. The final painting incorporated

more physical texture as a way to reflect light without the multiple layers included in classical

paintings. As opposed to relying on many layers to keep the effect of a three-dimensional

painting, impressionist artists used color and physical texture. The shape that light took, often

natural light on outdoor scenery, played a major role in the creation of the composition. This

contrast of light and dark colors was able to create the same effect as a multi-layered painting did

(“Impressionism”). This tactic simultaneously disallowed for layering, as a gloss over the
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finished work would congeal in empty spaces rather than settle out evenly as it did for the

smooth and small brush strokes painted by classical artists.

Impressionism was the first break from the classical art styles of the Renaissance. It was

this era that lead to the disuse of multi-layered oil paintings. Previous eras, while not technically

categorized by being part of the Renaissance, still held tight to the teachings and the practices

that were employed back in the Early Northern Renaissance. It was the refusal of the

impressionists to adhere to layered painting that would lead to the complete detachment from

classical methods. No other era prior to impressionism used alla prima as a primary technique.

This coupled with the use of outside models and a startling lack of detail as compared to

previous eras concludes that impressionism was the point at which the classical technique was

ditched in favor of more contemporary practices (“Impressionsim”). Today, modern artists have

access to any number of paint thinners and stand oils that have brought back some layered

painting, however the art of using the imprimatura has long since gone by the wayside,

originally cast out by the impressionist era. It was also impressionist artists who began the first

tear from highly detailed and realistic art. Art of impressionism focuses on movement and shape,

the combination of values and light as opposed to tiny details. Most oil paintings today focus

rather on the shape and colors than on the minute details, leading all the way back to the

Impressionist movement (Pendergrass, “25 Oil Painting Techniques”).

Acrylic paints solved the problem of speed when it came to drying time. Paints of the

Renaissance were composed of organic pigments. Chemical test of oil paintings found traces of

arsenic and sulfides in yellow paints, lead in whites, and red textile (Wallert, 122). Some of these

pigments have been found to be toxic to humans and thus their manufacturing has been

discontinued, causing artists to look for other ways to create such colors. The impressionism
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movement caused a need for paint that could dry fast enough that artists could reasonably work

with it in outdoor conditions. Because of this and developing technologies, acrylic paint was

created in the early 1900s. Acrylic paint is composed of pigment, a polymer, and water in place

of oil. Whereas oil paint requires oxidization to harden, acrylic dries by evaporation of the water.

This process takes minutes as opposed to the hours or days that it takes for oil paints to do so.

The polymer in acrylic paint also allows for flexibility that oils do not possess (“What is Acrylic

Paint”).

It was the need for fast drying paints that lead to the creation of acrylics. Many post-

impressionism eras have favored acrylics, such as pop art, featuring artists like Andy Warhol.

Without the debasement of the classical technique, which began in impressionism, there would

have been no need for a paint that dried fast in outdoor conditions as acrylics.

Finally, it was the deconstruction of the Royal Academies of Art that lead to the

Impressionistic era fully severing the classical techniques from those of contemporary oil

paintings. With the downfall of the Academies came the acceptance of many different forms of

art. Those who partook in the impressionism movement were those who specifically challenged

the role of the Art Academies in society. By refusing to attend exhibits or lectures held by the

Academies, these artists chose to not be held to the same standards as the classical era artists.

With no standard of realism imposed, impressionist artists were able to create paintings using

color blocking, a technique that is used to encourage the eye to blend the colors of the painting as

opposed to the artist doing this. This technique is most often paired with the previously

mentioned impasto technique of quick brushstrokes (“Impressionist Painting Techniques”).

What started with the Impressionist movement, quickly transitioned into other art

movements, further testing the boundaries of what is considered art with movements such as
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modern art and cubism. It was the Impressionist movement that was the hinge at which the Royal

Academies fell out of favor. The Impressionist artists were those who specifically targeted the art

societies and defied their teachings, paving the way for other artists in the future, and leading to

the current contemporary oil painting.

From the Impressionist movement was born the major movements of Post-

Impressionism, marked by artists such as Van Gough and Cézanne, each exhibiting a continual

detachment from realism and layered painting, each having more and more access to new and

improved materials. Post-Impressionism led way to Cubism, which fostered artists such as Picasso.

Acrylic painting, a pigment suspended in water as opposed to oil, evaporates in contrast to oxidizing,

allows for faster drying and faster brushstrokes. Acrylic paint has little layering capabilities and is

painted alla prima, as favored by the Impressionists. Cubism and Post-Impressionism exhibit further

detachments from realism, opting for expression, shape, and line quality (“Art History Timeline”).

There are those who argue that the transition between classical oil painting and the modern

techniques formed as a curve over the whole art timeline as opposed to a definite point. Other forms

of art, for example, sculpting and printing forms of art in Europe and Asian cultures certainly exhibit

a much smoother transition between classical techniques and the modern standard. It goes to show,

however, that the Impressionist era provided a catalyst with not only the disregard for layered

painting entirely but the dismissal of the Royal Academies. Traces of the Impressionist era are still

visible in today’s art, including alla prima technique and textured painting. The periods post

renaissance and pre-impressionistic of course exhibit several deviations from classical techniques.

None were quite so dramatic as the impressionist era, who’s techniques of painting, subject matter,

and materials were all completely different from those practiced in the renaissance era. Art, indeed,

evolves as a curve, however the impressionistic movement is set apart from the others as the point at

which art was indefinitely changed.

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There is also the argument that the separation between classical and modern oil painting

began not in the impressionist era, but in the Art Nouveau era prior to it. This era featured artists such

as Alphose Mucha, showcasing poster-like prints of ink styled with words and advertisements, which

subsequently inspired oil paintings in the same style. While this art is indeed different considerably

from the classical styles and does in fact occur prior to the impressionist era, it does not have all of

the distinctions that impressionism does. Art Nouveau was still painted in layers of varying detail

depending on the artist. These paintings were compositions in staged areas heavy in symbolism,

similar indeed to classical techniques. This art was typically used not as paintings for the purposes of

aesthetics, but served a purpose of advertisement, and was thus not subject to such prevalent

standards of the Art Academies. Impressionism was the first era to truly disregard the teachings of

the Academies and devolve into single layered paintings and impromptu compositions with natural

light and outdoor settings (“Art History Timeline”).

Regardless of when and how, art throughout the centuries has changed both dramatically and

irrevocably. From the renaissance to the current artistic culture, nothing ever remains stagnant in the

realm of oil painting. The impressionist movement is symbol of this trend- changing the way that art

was not only created, but the way it was received. The disuse of multi-layered paintings caused a new

venue in which art could be spontaneous and reflect daily life. Art did not have to be o the upmost

realism and could capture candid images of life. The need for fast-drying paints created a demand for

acrylic paints and new materials which could move painting as a whole into the contemporary styles.

The detachment from art societies that mandated standards and specifics of what art is lead to artistic

expression not recognized in classical art. The impressionist movement caused irrevocable change in

the way oil painting is done and the what it means to both the artist and the viewer. Without it, art as

it is known today would not exist.

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Works Cited

“Art History Timeline: Western Art Movements and Their Impact.” Invaluable, 4 Nov. 2019,

www.invaluable.com/blog/art-history-timeline/.

“Impressionism.” History.com, A&E Television Networks, 3 Aug. 2017,

www.history.com/topics/art-history/impressionism.

“Impressionism: Impressionist Painting Techniques.” USEUM,

useum.org/exhibition/curated/Impressionism/techniques.

“Oil Paint – Art Term.” Tate, www.tate.org.uk/art/art-terms/o/oil-paint.

Gamblin, Robert. “Why Classical and Contemporary Paintings Look So Different.” Gamblin

Artists Colors, gamblincolors.com/why-classical-and-contemporary-paintings-look-so-

different/.

“Northern European Renaissance Overview.” The Art Story,

www.theartstory.org/movement/northern-renaissance/.

“Oil Painting Techniques.” Edited by C J Holcombe, History of Oil Painting, Litlangs Ltda,

www.oil-painting-techniques.com/history-of-oil-painting.html.

Pendergrass, Kimberly. “25 Oil Painting Techniques You Should to Learn.” Udemy Blog, 29 Oct.

2013, www.udemy.com/blog/oil-painting-techniques/.

Rosenfeld, Jason. “The Salon and the Royal Academy in the Ninteenth Century.” Metmuseum.org,

Oct. 2004, www.metmuseum.org/toah/hd/sara/hd_sara.htm.

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Wallert, Arie, et al. Historical Painting Techniques, Materials, and Studio Practice. Getty

Conservation Institute, 1996.

“What Is Acrylic Paint.” Liquitex, www.liquitex.com/us/knowledge/what-is-acrylic-paint/.