A new day at #steemit asking all the gods to put an end to the constant blackouts, Internet failures and all the other serious problems affecting my #venezuela--

Due to a strong fall that I suffered entering the Caracas Metro, which has became a big Leviathan, and that affected my lips and my mouth a lot I am coming out to the air a little late. However, here is the third lesson of the STEEM-SCHOOL OF CONTEMPORARY ART, an initiative that I will take with the hope of contributing to give value to our platform through the creation of a permanent space for training in relation to Contemporary Art, and, hopefully, so that more and more Steemians dare to develop innovative and creative projects within the many alternatives offered by the new paths of art.

Here is the first lesson: Bauhaus, one hundred years of a great creative explosion that changed our lives

And here is the second lesson: The Aesthetic Evolution of Bauhaus, from Expressionism to Neoplasticism

Impressionism. The culmination of illusionist painting and the beginning of modernity in art.

As a hinge between an art that for centuries had dominated Europe and whose goal was a pretended imitation of reality and the abrupt irruption of new artistic formulas more in tune with the new century that was announced after the dusk of a century, the pictorial movement or tendency known worldwide as Impressionism was formed within the framework of French society, between 1860 and 1870. However, as is often the case in the arts, it is considered to have already been announced by the work of painters who took up the postulates of Romanticism, such as the English landscape painters John Constable (1776-1837) and William Turner (1775-1851); and the French Gustave Courbet (1819 - 1877), founder and greatest exponent of Realism and closely linked to revolutionary socialism; and Jean-Baptiste-Camille Corot (1796 - 1875), who was the most direct precedent of the Impressionists, being the first to give preponderance to outdoor painting.

Joseph William Turner: The Fighting Temeraire tugged to her Last Berth to be broken up, 1839, 3 Parts Frame, Oil on canvas, 91 cm × 122 cm (36 in × 48 in). National Gallery, London Source

It could be said that the new social conditions that were consolidated in the West, especially in the middle of the 19th century, generated, in their own way, a radically new vision of the world that evidenced a growing secularization of life in general and of art, thought, and customs in particular. The loss of control of society by the Catholic Church and the preponderance of reason and science, whose immediate consequence was the Industrial Revolution and, with it, the emergence of liberal capitalism and its new modes of production, and the displacement of agricultural man by urban man, implied new ways of seeing and understanding reality which, obviously, were also reflected in the arts, culture and thought.

The new ideas were leaving their fruits in all the fields of the artistic creation as, for example, in the music, as it can be appreciated in the compositions of Claude Debussy, who is considered, in spite of the opposition of the own composer, an impressionist musician. His symphonic work La Mer is considered "the greatest example of an orchestral impressionist work". The complete symphony can be enjoyed below according to the interpretation of the New York Philharmonic under the direction of Pierre Boulez, in a 1992 recording.