Their paintings may look like greeting cards from a nursing home, but the Freverists were punk rockers. They raised the establishment by presenting what was seen as bad, timeless art. And when the Conservative Des Beaux-Arts Refused, this ragtag group of starving painters, including Claude Monet, Camille Degas, Paul Cézan, Paul Cézan, Paul Chézan, began to be charged and agreed to enter.
Their work can be seen in the Touring Show “Transformation: Matisse,” Currently at the Santa Barbara Museum of Art, and “Nort: 19th-century French.” The Dallas Show will then travel to the Frist Art Museum in Nashville, Toronto’s Art Gallery of Ontario in the summer and, in late 2026, the Virginia Museum of Fine Arts.
“They’ve changed museums and how we interact with exhibitions and they’re made of art and who’s going to see it,” Dallas Museum of Art Curator Nicole Myers told the audience. “A lot of the things they brought to the table, which were really new at the time, remain as a proto-method of making modern art.”
It is a temporary moment but in the history of art that ran for 10 years, but the stylistic and intellectual victims that emphasized the vitality that marked a sea change, revealing the way of art of the 20th century. Starting with Monet’s The view, sunrise .
The salon’s favorites were Jean-Léon Gérôme and Antonin Mernié, subjects who produced Orientalist and historical paintings that often depicted scenes from Greek mythology. Impressionist paintings, both in terms of tone and subject matter, were determined, traditionally restricted standards such as brown wash to prepare the canvas and the necessary coat of varnish as a final step. They raise aggressive issues such as sex workers, manual workers and factories, presenting themselves with a sketchy brushstroke as opposed to a clean application of paint.
“It would be political for them to grow their show and bend the government in that way. It was a war that they would launch,” where there is no turles Albert, “known as turles Albert D’arnoux, known as charles albert d’arnoux. vision; full colors, so to speak, randomly.”
The black restriction in their palette, is shown in shadow by deepening the colored tones of the subject, while poillillies such as Pissarro, Signac and Seurat placed the colored dots side by side, leaning on the eyes of the viewer to combine them. He uses color as a shadow to set the stage for residents like Henri Matisse and André Derain and Vincent van Gogh, who was there to call himself an assistant even if no one else did. Most important is their use of heavy strokes rather than clear and detailed ones to show composition or figure, and they rely on the eye to draw conclusions based on context.
“Fauvism, the idea of separation (pointillism), taking color and using it in different strokes, terwers woke up. “They began to divorce color and brush from types. What makes your brain learn everything since the image is about correlation, what’s next.”
Gauguin, whose only work at the Santa Barbara Show is a typical Tahitian phenomenon, Under the Pandanus (1891), he paints on someone else’s burgundy ground. Discusses the second exhibition of two works by Edvard Munch with the title The Thoringian Forest (1904), which shows the area on the side of the forest road as pink and meaty, more like raw meat than earth.
“Everything was about the outside world, of the objective, but it should be filtered through the thought, the references, the thoughts, the feelings of this artist to interpret what they saw, which shows that something burned in the passage of time began to exceed. “He was the first to bring this idea of a different kind of spirituality, a lyrical quality, something meaningful but very difficult to find.”
Four paintings by Piet Mondrian in the first two decades of the 20th century include a farm, a windmill and a castle, as well as a stabbing Wutlul Mill (1908). Among them is not a sign of his signature minimalism with bright colors that work over time New York City and Broadway Boogie Woogie (1942-43). And there is nothing like its title, yet both of them take the breath and feel of the city.
“For Mondrian, it was this spiritual entity with perfect balance and perfect harmony. He felt that if he could just communicate that with lines and grids, he would feel that perfect harmony with the Cosmos,” Eyen said. “He thought that art should convey what cameras can’t capture, because the images are finished. What you can do is provide color or look down at the past and make firerestones of the images.”
Most of the helpers died before the end of this century and many did not live to see World War I. But it is water, the man who first became their work, it is the work of his life everywhere. The show also covers his past life Tea service .
Water lily lily pond (clouds) (1903) Shows the sky reflected in a lake, interrupted by floating lilies. The long bank of the lake is visible at the top of the frame, helping to locate the viewer (although one critic thinks the image is looking down at the sky and clouds reflected in the water). Water lilies (1908) is a circular structure with no direction point. It’s a lot of blue and green, the sky and trees reflected in the lake, with purple patches showing the lilies. It is not an unpleasant task but, like the next lily painting, the emphasis on color and light is very little in the story.
“Monet, UniFier was the desire to paint light and how it interacts with different places,” said the commissioned “In fact, you have a dance of light only on the surface of the water or fill the plants below. It can be captured in an amazing way.”
Another word in the title of the show is matisse, his first painting Books and candles . One of his works shown here, Still life: flower and compotier .
“We take it for granted today because it is the foundation, the building blocks that have created various aspects of production, from the concept of colors to be removed from the style of abstraction, which uses brushwork to convey more than what is visible,” he concluded. “Feeling and emotion, the sense of sight, these are the things that artists use today and absorb.”
“The Impressionist Revolution: Monet to Matisse“It’s at the Santa Barbara Museum of Art on January 25, 2026.
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