‘Impressionism’ began life as a derogatory term aimed by art critics at what they mistakenly considered a fad in painting, and then music. Public appreciation didn’t take long to turn the insult on its head, making a triumphant banner of it. Undoubtedly, the longevity of this art can be attributed to how precisely and scientifically it was conceived, drawing on the most recent discoveries about optics, sound, the eye and the ear. It was also infused with rediscovered skills of Asian art, which burst upon France through the arrival of Japanese prints from the 1860s onwards, followed by the varied Asian music and drama that featured in the 1889 Paris Exposition universelle.
We’re still coming to grips with the technical and compositional precision with which Debussy’s and Ravel’s music was conceived, something that can be linked to the precision of not only painting but also French poetry, in the hands of writers with whom the composers mingled. Probably the purest ‘Impressionist’ of all the composers was Emmanuel Chabrier, who bought now-famous paintings from friends including Manet, Renoir, Degas and Monet through the 1870s and 1880s. His scintillating music formed an acknowledged bedrock for following generations of composers.
This study day will explore the links and the ingenious techniques that underlie the art and the music.
Please note: this event will close to enrolments at 23:59 UTC on 19 February 2025.