Spring (le printemps):
The Impressionists depicted the (tree) blossoms in spring and the fresh green of the grass and the leaves, like in these paintings of Victor Vignon and of Alfred Sisley.
Victor Vignon, 18xx, Paysage de campagne avec une jeune fille de repos (spring on the edge of the village), 46×55, A2015/11/13 (iR11;iR13;iR2). Compare: GP1906/05/07-96, Sbr, Le repos de la paysanne, 53×63, former Stumpf collection (aR17=iR40;R232;R272,p30)
Alfred Sisley: 1IE-1874-164, Verger =? 1873, SDbr, CR62=CCPP88, Apple trees in bloom, Spring morning (Pommiers en fleurs, Louveciennes), 50×73, A2013/05/08 (iR2;iR11;R2,p123;R90I,p25;R410,p176+272;R129,CR62;R396,CCPP88) Provenance: 1891 Durand-Ruel till 1936/10/19. Expos: =DR1899-128; =London-GG-1905-290.
Summer (L’été):
The Impressionists depicted the bright sunlight in the summer, with it’s shades. In the early summer the colours are still fresh and bright, like we see with Claude Monet. Weeks later the dryness of summer changes the colours, like we see with Victor Vignon.
Claude Monet: 1875, Sbl, CR377, Poppy field, summertime, 60×81, private (iR51;R22,no377) Provenance: =? Ernest Chesnau; 1881 Durand-Ruel; 1882 Ephrussi; 1882ca Bernstein; 1908 Max Liebermann. Expos: =Berlin-Gurlitt-IP-1883-24 (loan by Bernstein).
Victor Vignon, 1884ca, Summer Landscape in Provence with Olive Tree and Haystacks, 55×65, A2014/11/14 (iR2;iR11;iR13;iR41) =? JC1927-8, Meules, paysage d’été (R272,p31); =?? BJ1894-40, , Les Meules (aR9=iR19)
Autumn / Fall (l’automne):
In the early fall we see some trees still green and other trees turn orange / red, like in the painting of Claude Monet. Weeks later some trees stand bare and other turn orange / brown, like in the painting of Alfred Sisley.
Claude Monet, 2IE-1876-158, Effet d’automne. Probably: 1873, CR291, Autumn on the Seine at Argenteuil, 54×73, HMA Atlanta (M150,no.2000.205;R2,p162;R90II,p57;R22+R127,CR291)
Alfred Sisley: 1IE-1874-165+hc, L’Automne, bords de la Seine près Bougival = 1873, SDbr, CR94 =CCPP78, Autumn, Banks of the Seine near Bougival, 46×62, Montreal MFA (iR10;iR2;R90I,p23+35;R90II,p29;R2,p142;R129,CR94;R396,CCPP78;M110,no.45.924)
Winter (l’hiver):
A cloudy winterday does produce greyish and subdued colours (not typical impressionist), like in the painting of Ferdinand Attendu. The bright sun produces orange hues and bluish shadows on the snow, like in the painting of Mary Fairchild-MacMonnies. She was a pupil of Claude Monet, who than lived in Giverny and is part of a second generation Impressionists, who clearly used an impressionist painting style.
A serie of (symbolic) seasons:
Some artists depicted the seasons in an symbolic way, mostly depicting women. Artists that did so were Berthe Morisot, Edouard Manet and Bouguereau. For the last one it just seems to be an excuse to render (half naked) well formed young women. In these paintings the effect of seasonal light on the colours is hardly rendered, so in this way they are not in an impressionist painting style. They more render an idea of a season depicted within a figure painting. It is interesting to investigate the similarities of these paintings with the ideas within symbolist art-movements.
Berthe Morisot, 5IE-1880-113, Été Compare: 1878, CR75, Summer (Young woman by a window), 76×61, MF Montpellier (iR2;iR59;R2,p326;R90II,p151)
Berthe Morisot, 5IE-1880-114, Hiver =1880, CR86, Winter (Woman with a Muff), 74×59, Dallas MA (iR2;iR59;R90II,p151)
Edouard Manet (1832-83): 1881, RW372, Spring (Jeanne Demarsy), 74×52, Getty Los Angeles (iR2;iR1;aR1;R71,no352;R213,no229;R120,no372;M31) =SdAF-1882-1754, Jeanne; =ENBA-1884-105, Jeanne (le Printemps); =EU-C-1889-495, Le Printemps; Jeanne (app. à M. Antonin Proust)
Bouguereau (1825-1905): Les Quatre Saisons: Le Printemps, L’Été, L’Automne, L’Hiver =!? S1857-321+322 (1st class medal)