As the century began, the academic style favored by the official Salon still dictated the success of artists and public taste. But soon that began to change. Realists turned convention on its head to give heroic character to everyday subjects. Manet scandalized the public with his images of modern life. Impressionists tried to capture fleeting effects of light and atmosphere.Fine Oil Painting in the first half of the nineteenth century was dominated by Ingres and Delacroix, the first continuing in the neoclassical tradition in his emphasis on linear purity and the second championing the expressive, romantic use of color as opposed to line. Both significantly influenced a new generation of painters who sought to communicate their own personal responses to the political upheavals of their time.
For two hundred years, the Academy, the School of Fine Arts, and the Salon, the official exhibition, had fostered the French national artistic tradition. But by the middle of the nineteenth century the academic system had degenerated.
During the 1860s and 1870s, the oil painting artists who later became known as the impressionists concluded that the smoothly idealized presentation of academic art was formulaic and artificial. Their relatively loose, open brushwork underscored their freedom from the meticulously detailed academic manner. They were innovative in their subject matter, too, choosing motifs that did not teach or preach, such as landscape original oil painting or ordinary activities of daily life, which were considered trivial or degenerate by the Academy. Often juries, dominated by academic attitudes, rejected the young artists' paintings altogether.
For two hundred years, the Academy, the School of Fine Arts, and the Salon, the official exhibition, had fostered the French national artistic tradition. But by the middle of the nineteenth century the academic system had degenerated.
During the 1860s and 1870s, the oil painting artists who later became known as the impressionists concluded that the smoothly idealized presentation of academic art was formulaic and artificial. Their relatively loose, open brushwork underscored their freedom from the meticulously detailed academic manner. They were innovative in their subject matter, too, choosing motifs that did not teach or preach, such as landscape original oil painting or ordinary activities of daily life, which were considered trivial or degenerate by the Academy. Often juries, dominated by academic attitudes, rejected the young artists' paintings altogether.
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