Why are the French Impressionist painters so beloved? While there's no league table of artistic movements across the centuries, there's a strong argument to be made that the Impressionists are the people's world champions. The work of Degas, Renoir, Manet, Morisot and - especially – Monet has timeless universal appeal. It's why – every year – 800,000 art lovers visit Monet's Water Lilies at the Musée de l'Orangerie.
Artist Bruce Yardley has his own theories to explain this enduring appeal. In his book Painting Like The Impressionists, he describes the dozen or so years during which Impressionism came to the fore as “the extended moment when painting was at its most humane."
Compare this, Bruce argues, with the work of other eras. In the medieval and renaissance rooms of a public gallery you will find "gurning faces belonging to saints and sinners." In the 17th and 18th century rooms will be "the stern countenances of the rich and powerful." Meanwhile in the 20th century space, "the emotional and mental health of the artist can assume the role of the subject itself."
Of course, says Bruce, there are outstanding works produced in every century. But "it's hard to deny that for many of us there is more comfort and joy to be had from Impressionism than from any other era."
Bruce is well-qualified to give his opinion. He is one of the world's leading impressionist painters, and a lifelong devotee of the school. He is also a worthy torch-bearer for the uniquely English flavour of the movement, which was handed down to him via pioneers such as Sickert and Whistler and his great hero Ken Howard, who died in 2022.
Bruce's dedication to Impressionism has been a lifelong pursuit. He grew up immersed in the world of painting. His parents were acclaimed British artists John and Brenda Yardley, and he completed his first oil paintings while still at school. He later trained as a historian at the universities of Bristol and Oxford. After a career in the wine industry, Bruce became a full-time painter in 1996. He is now an Associate of the Royal Institute of Oil Painters.
Bruce's association with the Catto goes back many decades. During this time, his career has flourished and his fan base has multiplied. No doubt his admirers will be eager to view his latest show. Across more than 40 canvases, it showcases all the skills Bruce has developed over 30 years – and his intense interest in the magical effects of light, colour and spatial harmony. Compare for example, the muted crimson sunsets of England in Dusk on the High Oxford and Tewkesbury Abbey with the intense midday brilliance of La Giralda, Seville.
This is masterful work. And elsewhere in the show Bruce applies his skills to still lives and also travels to the world's most beautiful cities (Paris, Venice, Rome, New York) to give us a 21st century impressionist take on iconic locations: San Marco, Pont Neuf, Grand Central Station and more.
In Painting Like The Impressionists, Bruce Yardley concludes that a successful painting emerges "when skill intersects with taste." He would be too modest to admit it, but Bruce has plenty of both. See for yourself at his new Catto showcase.
