The relationship between photography and Impressionism is a fascinating one, showcasing how two distinct art forms can influence each other. As photography emerged in the mid-19th century, it offered new ways of seeing the world—ways that Impressionist painters eagerly embraced. Here are three compelling examples that illustrate this profound influence.
In the late 19th century, Claude Monet’s series of paintings featuring water lilies reflects a pivotal moment in art history. Monet was captivated by the beauty of his flower garden at Giverny, and he aimed to capture the essence of light and color in a way that felt spontaneous and fleeting.
The influence of photography is evident in his brushstrokes and compositions. Just as a photographer captures a split-second moment, Monet painted with quick, loose strokes that suggested movement and atmosphere rather than meticulous detail. His approach mirrored the snapshots of life that early photographers sought to immortalize, emphasizing the transient beauty of nature.
This technique not only invited viewers into the scene but also encouraged them to engage with the emotional experience of the moment rather than merely observing it. Monet’s work exemplifies how photography inspired Impressionist artists to embrace the ephemeral, forever changing the landscape of art.
Edgar Degas, known for his dynamic depictions of ballet dancers, utilized the influence of photography to explore unconventional perspectives. In the 1870s, the advent of photography allowed artists to experiment with angles and compositions that were previously unconsidered in painting.
Degas often employed cropping techniques similar to those found in photography. For instance, in his painting