Preparatory Course 1-1: What actually inspired the birth of Impressionism was a pile of “waste paper”

At the moment when the most valuable piece of waste paper in history was shipped, it indirectly sparked the birth of Impressionism painting.

When it comes to Impressionist painting, it is now well-known by everyone. Let’s take a look at some of the most common representative works of Impressionism. Figure 1 is Vincent van Gogh’s famous painting Sunflowers, which fetched a high price of $80 million at auction. Figure 2 is Claude Monet’s renowned painting Impression, Sunrise, which is considered the seminal work of Impressionism.

Note: Post-Impressionism developed on the basis of Impressionism, with representatives such as Cézanne, van Gogh, and Gauguin. They adjusted the painting concepts of Impressionism, not being satisfied with the rigid and superficial pursuit of light and color, and began to experiment with the use of color and form (we will introduce Post-Impressionism in detail later).

I. The Core Concept of Impressionism

 

1. 1. The Two Dimensions of Painting: “Form” and “Color”

Impressionist painting emerged in the latter half of the 19th century in France as a method and concept of painting. The basic means of expression in painting are primarily two dimensions: shape and color. When you judge whether an object in a painting resembles reality, you mainly rely on the dimension of shape.

For example, in a photograph. Whether the photo is in color or black and white does not hinder your ability to discern what the photo depicts or who is in it. This expressive dimension is “shape,” which is primarily responsible for “looking like” something. The art of the Renaissance and Baroque periods, as well as the art before Impressionism, was essentially focused on pursuing realism and the goal of “looking like.” At that time, lifelike representation was almost the highest praise for a painting.

In the painting before Impressionism, the main focus was on “shape.” People placed great importance on drawing skills and composition, while the pursuit of color was not as high.

First, we need to correct the misconception that Impressionism was about painting unrealistically or not resembling reality, or that Impressionism simply pursued “impression.” This is a misunderstanding.

 

2. 2. Impressionism Essentially Pursues a More Genuine Reality

For example, classical painting emphasizes foundational skills and many “methods” of painting. For instance, there are specific techniques for painting watermelons and apples. Through long-term academic training, many “basic skills” and established methods have emerged.

However, the concept of Impressionism is that “to pursue reality, we cannot follow routines; we should go out into nature and observe what we see.” Thus, Impressionism highly values en plein air painting. Nowadays, we often see many fine arts students going out to paint from life, but the practice of painting from life was greatly advocated only when Impressionism emerged; before that, painters often sought inspiration in their studios.

 

3. 3. The Concept of Impressionist Painting: Seeing is Believing

Impressionism pursues “seeing is believing.” They only paint what they see, which leads to some very interesting outcomes.

For instance, Impressionist painters observed that under sunlight, tree shadows or the shadows of people are not pure black but rather have hints of blue or purple. Therefore, in Impressionist painting, all shadows do not incorporate black; instead, they are replaced by colors like ultramarine blue and purple, which have lower saturation.

Let’s look at Figure 3, which is a landscape by Monet. You will notice that there is no black in the shadows; instead, they are primarily blue, gray, and purple.

Note: The terms “Impressionism” and “Impressionist” are nearly equivalent. Here, we often interchangeably use Impressionism and Impressionist; both terms translate the word “impressionism.” We will explain the origins of “impressionism” in detail later.

The core idea of Impressionism is to only paint what the eye can see, focusing solely on light rather than any specific object. In this case, when we look at Impressionist painting, we may feel: “Although it doesn’t look particularly realistic from the perspective of ‘shape,’ compared to classical painting that emphasizes ‘likeness,’ Impressionist painting brings more sensory experiences beyond visual perception.”

It is precisely this extreme honesty in expression that can convey something beyond visual sensations. Therefore, Impressionists pursued a more genuine and scientific approach to painting.

II. The Opportunities for the Birth of Impressionism

 

1. 1. The Invention of Photography

Before Impressionism, fine art primarily pursued “shape” and lifelike representation. However, the invention of the camera put an end to the pursuit of “shape” because no painting could ever replicate the likeness of a photograph. As a result, everyone turned away from the pursuit of “shape,” leading them to explore expression methods beyond it. When an old means of expression reaches its peak, it necessitates the invention of new means of expression.

Beyond “shape,” there is another dimension: “color.” Thus, Impressionism took its first step in expressing reality through color.

 

2. 2. Ukiyo-e “Waste Paper” Inspired Artistic Creation

Next, let’s introduce today’s main character—particularly valuable “waste paper.” In the latter half of the 19th century, Japan exported a large quantity of lacquerware and porcelain to Europe. During transport, the workers deliberately wrapped the items in a layer of waste paper.

When we move houses, we often stuff old newspapers into porcelain to prevent breakage. This layer of waste paper was indeed intended to protect these items. At that time, the waste paper used for wrapping lacquerware and porcelain happened to be a unique art form from Japan called “Ukiyo-e.”

Let’s take a look at Figure 4, which is The Great Wave off Kanagawa by the famous Japanese Ukiyo-e master Katsushika Hokusai.

Katsushika Hokusai was a Ukiyo-e painter from Japan’s Edo period. His painting style had a significant impact on European art, and he was the only Japanese person selected as one of “The Hundred Most Influential People in the Millennium.”

III. The Most Valuable “Waste Paper”—Ukiyo-e

Ukiyo-e initially represented very secular and even vulgar subjects.

Japan’s sex industry has been well-developed since ancient times. During that period, major brothels, which from today’s perspective would be called nightclubs, were known in Japan as “fuzoku.” They needed to post numerous advertisements to attract customers, so a significant portion of Ukiyo-e themes at that time was filled with obscene content related to spring scenes, portraying sexual situations.

This is akin to the small posters we see posted outside today or the landscape paintings on calendars. Consequently, there was a substantial amount of discarded waste paper, which consisted of Ukiyo-e advertisements. These discarded waste papers, used as protection for lacquerware and porcelain, traveled across the ocean to Europe on merchant ships.

The masters of Impressionism were greatly inspired when they encountered Ukiyo-e artworks. They felt that Ukiyo-e paintings, which did not focus on perspective, lacked a sense of three-dimensionality, and did not pursue realism, could still express strong emotions using very direct colors. This held high artistic value.

Today, if you visit Monet’s former residence, you can see many artworks that came from Japan. Monet created many paintings with Japanese elements, such as Figure 5, which depicts his wife in a kimono.

It was precisely these Ukiyo-e advertising prints that stimulated the creative inspiration of Impressionist masters. Advertising art does not need to be realistic in form; it aims to be stimulating and grab your attention immediately. This disregard for perspective, form, and the simple, direct method of expression was exactly what the Impressionist masters were pursuing.

Visiting Monet’s Home in Paris

If you plan to travel to Paris, France, remember to take a few more steps and buy a train ticket. I strongly recommend visiting a small town called Giverny, located west of Paris. This town is home to Monet’s residence, where you can see what real water lilies look like, as Monet painted over 200 works featuring these water lilies. Of course, the town is very pleasant, and the natural scenery is beautiful, making it worth a visit.