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IMPRESSIONISM AND SURREALISM
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Contents
INTRODUCTION...........................................................................................................................................2
UNDERSTAND THE MOVEMENTS................................................................................................................3
IMPRESSIONISM AND SURREALISM.............................................................................................................4
INFLUENCES.................................................................................................................................................5
CONCLUSION...............................................................................................................................................5
REFERENCES................................................................................................................................................6
INTRODUCTION
In the history of art, both impressionism and surrealism are considered as major
movements. Both of them broke contemporary painting style of their own time,
contributing large in fixing the course of art history and influencing other artists of

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following decades. From an artistic point of view, they can be described as a revolution
in the art world as they cut through the academic painting style and introduced new
styles with distinctive artistic approaches. However, apart from the fact that they
introduced a new style to art, impressionism and surrealism do not have many
similarities between them in terms of painting style. The most important fact about these
movements is they had significant influences on other form of visual artworks as well as
literature, music, architecture and film; specially the surrealism which is generally
referred as a cultural movement because of its wide influence in almost every field of
creative works.
UNDERSTAND THE MOVEMENTS
Impressionism was a Paris based art moment that was originated in the 19th century by
a group of artists who strictly opposed the French art community during the 1870s and
1880s. The name, impressionism was derived from an artwork with the same title by
Claude Monet, one of the most influential artists of all time. Breaking the tradition, the
impressionism introduced tiny brush strokes, which were barely visible, in the form of an
open composition with perfect depiction of light and its effects depending on the
passage of time. From an unusual angle, the artists usually try to illustrate an ordinary
subject, keeping movement as an imperative element of human acuity.
Surrealism, on the other hand, was introduced right after the First World War. The
artworks of this movement feature surprising elements and unexpected combinations.
The base of this movement was also Paris. Starting in the early 1920s, surrealism
established revolutionary changes in intellectual world by initiating new ways of thinking

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in every aspects of life including visual art, music, literature, language, film, political
thoughts and philosophical theories.
IMPRESSIONISM AND SURREALISM
Rather than focusing on the subject, the most important feature of impressionism is
related with the painting style, inspiring the artists to use short brush strokes and to
experiment with both unmixed and mixed colors. Instead of being concerning about the
detailing, it concentrates more overall visual effects. On the contrary, the surrealism is
mostly about selecting the subject. Although, impressionism prefers modern life with a
touch of movement, it specifically does avoid traditional subjects. As for surrealism, it
prefers unconventional way of thinking and its expression. It advocates that the
depictive and ordinary concepts are important but it keeps its options to the significance
of imagination.
In parallel to reality, surrealism developed method of independent imagination
regardless how strange they are. Sometimes, it can even underlie madness by
embracing idiosyncrasy. Surrealism supports the idea that the power of imagination and
poetic reality is much more than actual reality and thus the artistic approach of
surrealism may break the traditional smooth painting style but it does not rule out art
from it. The power of imagination is not discarded for impressionism; but it is restricted
within the limit of reality and the artists can paint their imagination while keeping the
reality intact and understandable within general consent in such way that it resembles a
snapshot (Rosenblum, 1989) and that is the main difference between impressionism
and surrealism.

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In general terms, impressionism follows a definitive painting style with short broken
strokes to achieve intense color vibration against customary smooth blends. On the
other hand, surrealism does not have any authoritative drawing techniques and the
founders of the movements developed several techniques. The main purpose here is to
reflect the subject in any way possible; without having any restriction or regulation for
drawing the imagination. That allows the artists to do whatever they like without feeling
obligated by established painting methods. However, instead of outlining the details of
the subject, impressionism recreates sensation to the viewer which makes it popular,
giving the idea of original and fresh vision.
INFLUENCES
The impressionism mostly created an impression among the artist with some influences
on sculpture, film, music, literature and photography. Following its techniques and
painting style, several other new styles were instituted including Neo-Impressionism,
Post-Impressionism, Cubism and Fauvism.
Similarly, surrealism had significant influences on visual art, literature, music and film. In
addition to all these, it also had crucial role in developing theories in philosophy, social
study and politics. Sigmund Freud also used techniques of surrealism for
psychoanalysis, known as dream analysis.
CONCLUSION
In terms of painting methods and subject selection, impressionism and surrealism do
not have many similarities. However, both of them were revolutionary ideas to bring a

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whole new realm of painting as well as the way of thinking for both the artists and the
audiences.
REFERENCES
Rosenblum, R. (1989). Paintings in the Musée d'Orsay. New York: Stewart, Tabori &
Chang. ISBN 1-55670-099-7

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