Now we’ve studied impressionist subjects, it’s time to take a closer look at the paintings themselves! These days, thanks to scientific advances, we can analyse the materials impressionist artists used and, by doing so, better understand their creative processes.
In the impressionists’ days, these various materials (supports, paint, etc.) can be purchased from colour merchants or prepared by the artists themselves!
A painting is composed of a variety of materials (canvas, chassis, paint, etc.) that can be studied nowadays thanks to scientific advances.
Let’s start with the support. The impressionists use cardboard and paper but they much prefer painting on canvases (pieces of fabric) stretched on a wooden chassis.
There are several types of chassis: simple ones are fixed, while key frames are equipped with wooden wedges (the keys) for adjusting the tension of the canvas. They’re more expensive but they keep the canvas well stretched, which is essential in order to avoid eventual deformations.
The impressionists prefer to pay more for their materials so that they’ll be top quality: it’s a way of showing future purchasers how committed they are.
As regards the size of their canvases, the impressionists are known for their small formats, easier to transport when you’re painting in the open air. But they also create large formats in their studios, by combining several small canvases or ordering made-to-measure supports from dealers.
The impressionists paint on supports of varying sizes – but always the best quality, even if they’re more expensive.
Before you start to paint, you have to prepare your canvas. You apply a coating to protect the support and ensure that the paint adheres to it.
It’s up to each artist to choose their preparation colour. This undercoat has a subtle influence on the final hues as it acts as a base that shows through the layers of paint. It also brings a measure of luminosity to the finished work.
As regards the impressionists, the preparation stage plays an even more crucial role… They often leave areas of the undercoat visible, a technique known as “reserve”. The method, which consists of not covering the whole canvas with paint, shocked the critics of the day. In their eyes, the paintings seemed to be unfinished!
The painting’s coloured preparation is often left “on reserve” by the impressionists.
Once the canvas is prepared, the artists’ don’t usually get to work on it straightaway! Despite the apparent spontaneity of their painting, they often make preparatory drawings.
The objective? To study the motifs and composition of the scene to come.
The painters may then use charcoal to sketch their scene on their canvas. Such underlying drawings act as guidelines for the painting. However, this isn’t a systematic practice among the impressionists.
In order to study and set their composition, the impressionists often make preparatory and underlying drawings.
It’s finally time to take a look at the paint! To make it, you mix pigments with a binder (usually oil-based). As regards colours, the impressionists have plenty to choose from: scientific advances in the 19th century have developed new ones, including zinc white, Prussian blue and chrome green.
The impressionists use these colours pure. And contrary to a common misconception, they don’t completely reject black!
A number of these artists like to think outside the box! One of them being Edgar Degas, who invents and explores some amazing techniques, mixing different types of paint with pastel. Enough to create truly unique works…
Painting with pure colours, the impressionists are always ready to experiment, like Degas.
Paint, okay, but how exactly? If the impressionists have made their place in art history, it’s very much thanks to their “touch”. In practical terms, this means the way they put the paint on the canvas.
Unlike the very smoothly executed academic canvases of their day, the impressionists leave their brushstrokes visible… whence the critics’ impression that their works are unfinished.
But when you look closely, you realise that each artist has their own style.
The impressionists’ touch is freer and more varied that that of academic painters.
One last step remains in order to finish our painting: the varnish. It protects the work, unifies it and provides intensity. Except that the impressionists usually prefer to do without it. Pissarro even writes on the back of his works that on no account should they be varnished!
This coating yellows over time and alters the effects of brilliance and colour contrasts…to the point of spoiling the effects sought by the artists.
Unfortunately, as time passes, that doesn’t stop certain thoughtless owners from varnishing their paintings. These days, the Musée d’Orsay’s restorers prefer to remove these layers in compliance with the artists’ wishes, so returning these canvases to their former glory!
The impressionists prefer not to varnish their paintings.
An episode produced under the academic supervision of Bénédicte Trémolières and adapted from her lecture “The Impressionist Adventure · The Technique”.
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