Frontiers of Impressionism: A Journey Through Art History at Fubon Art Museum

Following the success of Van Gogh: Journey of Light in August last year, Fubon Art Museum in Taiwan presents another remarkable international touring exhibition this summer: Frontiers of Impressionism: Paintings from the Worcester Art Museum. Featuring 52 original works by 38 artists from Europe and the United States, including Claude Monet’s iconic Water Lilies (1908), the exhibition traces the evolution of Impressionism and its roots. Our team visited the exhibition to engage with these masterpieces, which are presented in chronological order, spanning the mid-19th-century Barbizon School, Parisian Impressionism, American Impressionism, and new directions into Tonalism. The vibrant energy of these works, with their bold colors and dynamic brushstrokes, left me in awe, inspiring me to appreciate the courage of artists who dared to break from tradition and express their unique vision of the world.

To appreciate the artworks on display, it is essential to understand Impressionism’s origins. Impressionism, a revolutionary art movement that emerged in France during the 1860s and 1870s, redefined the portrayal of light, shadow, and color. It marked a bold departure from the academic realism and historical themes upheld by the French Academy. Artists like Claude Monet prioritized sensory perception, capturing fleeting effects of light and atmosphere over meticulous detail.

The roots of Impressionism lie in Realism, particularly the Barbizon School of the mid-19th century. Breaking from the idealized depictions of nature in academic art, Barbizon painters sought to represent the natural world as it truly appeared. Amid France’s growing industrialization, they turned to the serene landscapes of the Fontainebleau Forest and its rural surroundings. Their works emphasized detailed observations of nature and explored the interplay of light and shadow across times of day and seasons. 

Les faneuses (The Haymakers) by Julien Dupre (Image taken at Fubon Art Museum, Taiwan)

A standout example of Realism’s influence in the exhibition is Julien Dupré’s Les Faneuses (The Haymakers) (1886), a vivid depiction of rural labor in 19th-century France. The painting portrays peasant women engaged in the strenuous task of haymaking, gathering and stacking hay in a field. Dupré’s Realist approach is evident in the detailed rendering of the women’s robust postures, textured clothing, and tools, which convey the physicality and dignity of their work. Unlike the idealized pastoral scenes of earlier art, Les Faneuses grounds itself in the lived reality of agricultural life, reflecting the Realist commitment to portraying unembellished truth. This painting, rooted in the Realism period, serves as a precursor to the innovative techniques of Impressionism. The dignity and strength depicted in the women’s labor moved me profoundly, reminding me of the resilience and beauty in everyday human experiences, which I aspire to capture in my own creative expressions.

Opal by Anders Leonard Zorn (Image taken at Fubon Art Museum, Taiwan)

As Paris remained the centre of the creative network in the 20th century, many artists who studied there returned to their hometown, spreading on the Impressionist techniques. Many adapted elements such as a brighter colour palette, looser brushstrokes, etc; proceeded to develop their own style. 

One artists whose style was influenced was the Swedish artist Anders Leonard Zorn, who is best known for his nude paintings, for which the movement’s networking allowed subject matter other than the French landscapes to be seen. In ‘Opal’, he depicted an airy imagery of two bathing women by the lake. In use of the soft and fleeting impressionist brushwork, and the palette of basic colours he was known for, including Lead White, Yellow Ochre, Vermilion and Ivory black, bringing about capture of the intimate moment vividly. The beaming ray of sun filtering through the leaves were painted by dashes of pale, brightly shimmering on the women’s back. These few strokes instantly captured my attention, and how bold and distinct the strokes are the way I aspire to draw, with much courage, confidence, and dedication in practicing.

Gathering Flowers in a French Garden by Childe Hassam (Image taken at Fubon Art Museum, Taiwan)

Moving onto Impressionism, a memorable piece is Childe Hassam’s Gathering Flowers in a French Garden. Hassam’s time in Paris from 1886 to 1889 was pivotal in shaping his Impressionist style. While studying at the Académie Julian, he found the rigid academic system stifling but was profoundly influenced by Impressionist exhibitions and the works of artists like Monet, Renoir, and Camille Pissarro. He adopted their techniques of loose brushwork, bright colors, and a focus on modern life, while developing a distinctly American perspective that later defined his contributions to American Impressionism.

In Gathering Flowers, Hassam’s immersion in French Impressionism is evident. The painting’s garden setting recalls the plein air studies of French Impressionists, who often depicted gardens as spaces of beauty and leisure. However, Hassam’s work also hints at his individuality, with a slightly more structured composition and a nod to American sensibilities in its clarity and optimism.

The Breakfast Room, Winter Morning, New York by Childe Hassam (Image taken at Fubon Art Museum, Taiwan)

The depiction of a middle class woman in the early 20th century New York city. Separating the bustling city from the private space were a layer of soft curtains. Quietly peeling orange indoors facing away from the windows, dressed in an Asian gown reveals Hassam’s appreciation for Japanese art and design. The calm expression contrasts with the noises of a modern city. 

Water lilies by Claude Monet (Image taken at Fubon Art Museum, Taiwan)

One cannot overlook Claude Monet’s Water Lilies, the most renowned piece in this exhibition. It was painted in his garden at Giverny. Through shimmering light and reflections on water, the work evokes a serene atmosphere and pushes Impressionist landscapes toward near-abstraction. Monet’s words resonate deeply here: “It took me a long time to understand my water lilies… I cultivated them without thinking of painting them… A landscape doesn’t take hold of you in a day… And then, all of a sudden, I had a revelation of the enchantment of my pond. I picked up my palette. Since then, I’ve hardly had another model.” This quote captures the patience and profound connection to nature that I find so inspiring in Monet’s work. Water Lilies feels like a meditation, inviting me to slow down and immerse myself in the subtle beauty of the moment, encouraging a deeper appreciation for the interplay of light and color in my surroundings.

Hermit Creek Canyon, Grand Canyon by DeWitt Parshall (1910) (Image taken at Fubon Art Museum, Taiwan)

Beyond Impressionism, the exhibition explores its new directions into Tonalism. DeWitt Parshall’s Hermit Creek Canyon, Grand Canyon (c. 1910), exemplifies Impressionism through its vibrant depiction of the Grand Canyon’s dramatic landscape. Characterized by swift, loose brushstrokes and a luminous palette of pale pinks, yellows, and blue-purple shadows, the painting captures the fleeting play of sunlight on the canyon walls. Unlike the detailed realism of earlier landscape traditions, Parshall’s work emphasizes the sensory experience of light and atmosphere, a hallmark of Impressionism, conveying the majestic, almost otherworldly quality of the natural wonder. Parshall’s Tonalist tendencies add a romantic, emotive quality. The grandeur and emotional depth of this painting stir a sense of wonder in me, reminding me of the power of art to evoke awe and connect us to the sublime beauty of nature.

In conclusion, the exhibition offered a stimulating experience, presenting a curated selection of artists who boldly challenge conventional traditions and engage in nuanced explorations of self-expression across diverse historical and cultural contexts.