Oil on canvas, 100,5 x 81,3 cm, Städel Museum, Frankfurt am Mainīerthe Morisot: Eugène Manet auf der Isle of Wight / Eugène Manet on the Isle of Wight / Eugène Manet à l’Île de Wight, 1875 Oil on canvas, 54,5 x 65 cm, Museo Thyssen-Bornemisza, MadridĪuguste Renoir: Nach dem Mittagessen / After the Luncheon / La Fin du déjeuner, 1879 © The Nelson-Atkins Museum of Art, Kansas City, MissouriĪuguste Renoir: Frau mit Sonnenschirm in einem Garten / Woman with a Parasol in a Garden / Femme à l’ombrelle dans un jardin, 1875 Oil on canvas, 80,3 x 60,3 cm, The Nelson-Atkins Museum of Art, Kansas City, Missouri © Musée d'Orsay, Paris, donation de Jacques Laroche, 1947Ĭlaude Monet: Der Boulevard des Capucines / The Boulevard des Capucines / Le Boulevard des Capucines, 1873/74 Oil on canvas, 81 x 58 cm, musée d’Orsay, Paris, Donated by Jacques Laroche, 1947įoto: bpk | RMN - Grand Palais | Hervé Lewandowski Havemeyer, 1929įoto: bpk | The Metropolitan Museum of ArtĬlaude Monet: Das Hôtel des Roches Noires in Trouville / The Hôtel des Roches Noires, Trouville / L’Hôtel des Roches Noires, à Trouville, 1870 Oil on canvas, 74,6 x 99,7 cm, The Metropolitan Museum of Art, New York, H. © Musée d'Orsay, legs de Gustave Caillebotte, 1894 Oil on canvas, 160 x 201 cm, musée d’Orsay, Paris, Bequest of Gustave Caillebotte, 1894įoto: bpk | RMN - Grand Palais | Patrice Schmidt EdelmannĬlaude Monet: Das Mittagessen / The Luncheon / Le Déjeuner, 1868/69, Röntgenaufnahme, DetailĬlaude Monet: Das Mittagessen: dekorative Tafel / The Luncheon: decorative panel / Le Déjeuner : panneau décoratif, ca. Oil on canvas, 231,5 x 151 cm, Städel Museum, Frankfurt am Mainįoto: Städel Museum - ARTOTHEK - U. © Galerie Neue Meister, Staatliche Kunstsammlungen DresdenĬlaude Monet: Das Mittagessen / The Luncheon / Le Déjeuner, 1868/69 Oil on canvas, 55,5 x 46 cm, Galerie Neue Meister, Staatliche Kunstsammlungen Dresden Oil on canvas, 97 x 130,5 cm, Ordrupgaard, KopenhagenĬlaude Monet: Pfirsichglas / Jar of Peaches / Bocal de pêches, ca. It was no longer necessary to mix the paint and it was easy to transport – a crucial factor when it comes to the increasing currency of plein air painting.Ĭlaude Monet: Die Straße von Chailly durch den Wald von Fontainebleau / The Chailly Road through the Forest of Fontainebleau / Le Pavé de Chailly dans la forêt de Fontainebleau, 1865 In addition the invention of the collapsible metal tube in 1841 had made painting outdoors easier. The Impressionists, too, had taken to these woods, especially as they were easily accessible with the railways since 1849. The group received its name because its members frequently worked in the Forest of Fontainebleau near the village of Barbizon. The artists of this movement had turned their backs on traditional landscape painting and instead pursued plein air painting. The so-called School of Barbizon had a great influence. This practice accommodated their interest in the representation of atmosphere and fleeting moments observed in nature. The Impressionists were fascinated with working out of doors. At the time nature was often sketched on location, however, the sketches merely served as the basis of the work later to be conducted in the studio. Especially in the first half of the 19th century plein air painting was not common practice.
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