The term "impressionism" arose with the light hand of the critic of the magazine Le Charivari Louis Leroy, who titled his feuilleton about the Salon of the Les Misérables "Impressionist Exhibition", taking as a basis the title of Claude Monet's painting "Impression. Rising sun" (fr. Impression, soleil levant). Initially, this term was somewhat disparaging, indicating a corresponding attitude towards artists who wrote in a new "careless" manner.

Impressionism in painting

origins

By the mid-1880s, impressionism gradually ceased to exist as a single direction, and disintegrated, giving a noticeable impetus to the evolution of art. By the beginning of the 20th century, the trend away from realism gained momentum, and a new generation of artists turned away from impressionism.

The emergence of the name

The first important exhibition of the Impressionists took place from 15 April to 15 May 1874 in the studio of the photographer Nadar. There were presented 30 artists, 165 works in total. Canvas Monet - “Impression. Rising Sun " ( Impression, soleil levant), now in the Musée Marmottin, Paris, written in 1872, gave birth to the term "Impressionism": the little-known journalist Louis Leroy, in his article in the magazine Le Charivari, called the group "Impressionists" to express his disdain. Artists, out of a challenge, accepted this epithet, later it took root, lost its original negative meaning and came into active use.

The name "impressionism" is rather empty, in contrast to the name " Barbizon school", Where at least there is an indication of the geographical location artistic group. There is even less clarity with some artists who were not formally included in the circle of the first impressionists, although their techniques and means are completely “impressionistic” - Whistler, Edouard Manet, Eugene Boudin, etc. In addition technical means The Impressionists were known long before the 19th century, and Titian and Velasquez used them (partially, to a limited extent), without breaking with the dominant ideas of their era.

There was another article (authored by Emile Cardon) and another title - "Rebel Exhibition", absolutely disapproving and condemning. It was it that accurately reproduced the disapproving attitude of the bourgeois public and criticism towards the artists (Impressionists), which dominated for years. The Impressionists were immediately accused of immorality, rebellious moods, failure to be respectable. AT currently this is surprising, because it is not clear what is immoral in the landscapes of Camille Pissarro, Alfred Sisley, the everyday scenes of Edgar Degas, the still lifes of Monet and Renoir.

Decades have passed. And a new generation of artists will come to a real collapse of forms and impoverishment of content. Then both the critics and the public saw in the condemned Impressionists - realists, and a little later, the classics of French art.

The specificity of the philosophy of impressionism

French impressionism did not raise philosophical problems and did not even try to penetrate the colored surface of everyday life. Instead, Impressionism, being art to a certain extent campy and mannerist, focuses on superficiality, the fluidity of a moment, mood, lighting, or angle of view.

Like the art of the Renaissance (Renaissance), impressionism is built on the features and skills of perceiving perspective. At the same time, the Renaissance vision explodes with the proven subjectivity and relativity of human perception, which makes color and form autonomous components of the image. For impressionism, it is not so important what is shown in the figure, but how it is shown is important.

Impressionist paintings do not carry social criticism, do not affect social problems, such as hunger, disease, death, representing only the positive aspects of life. This later led to a split among the Impressionists themselves.

Impressionism and Society

Impressionism is characterized by democracy. By inertia, art in the 19th century was considered a monopoly of aristocrats, higher strata population. It was they who acted as the main customers for murals, monuments, it was they who were the main buyers of paintings and sculptures. Plots with the hard work of the peasants, the tragic pages of our time, the shameful aspects of wars, poverty, social turmoil were condemned, not approved, not bought. Criticism of the blasphemous morality of society in the paintings of Theodore Gericault, Francois Millet found a response only from supporters of artists and a few experts.

The Impressionists in this matter occupied quite compromise, intermediate positions. Biblical, literary, mythological, historical plots inherent in official academicism were discarded. On the other hand, they ardently desired recognition, respect, even awards. Indicative is the activity of Edouard Manet, who for years sought recognition and awards from the official Salon and its administration.

Instead, a vision of everyday life and modernity appeared. Artists often painted people in motion, during fun or relaxation, imagined a view of a certain place in a certain light, nature was also the motive of their work. They took subjects of flirting, dancing, staying in cafes and theaters, boat trips, on beaches and in gardens. Judging by the paintings of the Impressionists, life is a series of small holidays, parties, pleasant pastimes outside the city or in a friendly environment (a number of paintings by Renoir, Manet and Claude Monet). The Impressionists were among the first to paint in the air, without finalizing their work in the studio.

Technics

The new trend was different from academic painting both technically and conceptually. First of all, the Impressionists abandoned the contour, replacing it with small separate and contrasting strokes, which they applied in accordance with the color theories of Chevreul, Helmholtz and Rude. The sunbeam splits into its components: violet, blue, blue, green, yellow, orange, red, but since blue is a variety of blue, their number is reduced to six. Two colors placed side by side reinforce each other and, conversely, when mixed, they lose their intensity. In addition, all colors are divided into primary, or primary, and dual, or derivatives, with each dual paint being additional to the first:

• Blue - Orange
• Red Green
• Yellow - Purple

Thus, it became possible not to mix paints on the palette and to obtain the desired color by correctly applying them to the canvas. This later became the reason for the rejection of black.

Then the Impressionists stopped concentrating all the work on the canvases in the workshops, now they prefer the open air, where it is more convenient to grab a fleeting impression of what they saw, which became possible thanks to the invention of steel tubes for paint, which, unlike leather bags, could be closed so that the paint did not dry out.

Also, the artists used opaque paints that do not transmit light well and are unsuitable for mixing because they quickly turn gray, this allowed them to create paintings not with " internal", a " external» light reflecting off the surface.

Technical differences contributed to the achievement of other goals, first of all, the Impressionists tried to capture a fleeting impression, the smallest changes in each subject depending on the lighting and time of day, the highest embodiment was Monet's cycles of paintings "Haystacks", "Rouen Cathedral" and "Parliament of London".

In general, many masters worked in the Impressionist style, but the basis of the movement were Édouard Manet, Claude Monet, Auguste Renoir, Edgar Degas, Alfred Sisley, Camille Pissarro, Frédéric Bazille and Berthe Morisot. However, Manet always called himself an "independent artist" and never participated in exhibitions, and although Degas participated, he never painted his works en plein air.

Timeline by artists

Impressionists

Exhibitions

• First exhibition(April 15 - May 15)

• Second exhibition(April )

The address: st. Lepeletier, 11 (Durand-Ruel Gallery). Members: Basil (posthumously, the artist died in 1870), Beliar, Bureau, Debutin, Degas, Caillebotte, Cals, Lever, Legros, Lepic, Millet, Monet, Morisot, L. Otten, Pissarro, Renoir, Rouar, Sisley, Tillo, Francois

• Third Exhibition(April )

The address: st. Lepelletier, 6. Members: Guillaumin, Degas, Caillebotte, Cals, Cordeil, Lever, Lamy, Monet, Morisot, Alphonse Moreau, Piette, Pissarro, Renoir, Rouard, Cezanne, Sisley, Tillo, Francois.

• Fourth exhibition(April 10 - May 11)

The address: Opera Avenue, 28. Members: Bracquemont, Madame Bracquemont, Gauguin, Degas, Zandomeneghi, Caillebotte, Cals, Cassatt, Lebourg, Monet, Piette, Pissarro, Rouart, Somm, Tillo, Forain.

• Fifth Exhibition(April 1 - April 30)

The address: st. Pyramids, 10. Members: Bracquemont, Mrs. Bracquemont, Vidal, Vignon, Guillaumin, Gauguin, Degas, Zandomeneghi, Caillebotte, Cassatt, Lebour, Lever, Morisot, Pissarro, Raffaelli, Rouart, Tillo, Forain.

• Sixth exhibition(April 2 - May 1)

The address: Boulevard des Capucines, 35 (studio of the photographer Nadar). Members: Vidal, Vignon, Guillaume, Gauguin, Degas, Zandomeneghi, Cassatt, Morisot, Pissarro, Raffaelli, Rouar, Tillo, Forain.

• Seventh Exhibition(March )

The address: Faubourg-Saint-Honoré, 251 (At Durand-Ruel). Members: Vignon, Guillaume, Gauguin, Caillebotte, Monet, Morisot, Pissarro, Renoir, Sisley.

• Eighth exhibition(May 15 - June 15)

The address: st. Laffitt, 1. Members: Madam Braquemont, Vignon, Guillaumin, Gauguin, Degas, Zandomeneghi, Cassette, Morisot, Camille Pissarro, Lucien Pissarro, Redon, Rouart, Seurat, Signac, Tillo, Forain, Schuffenecker.

Impressionism in literature

In literature, impressionism did not develop as a separate trend, but its features were reflected in naturalism and symbolism.

First of all, it is characterized by the expression of the author’s private impression, the rejection of an objective picture of reality, the depiction of every moment, which should have entailed the absence of a plot, history and the replacement of thought with perception, and reason with instinct. The main features of the impressionist style were formulated by the Goncourt brothers in their work "Diary", where the famous phrase " Seeing, feeling, expressing - this is all art has become a central position for many writers.

Interregional Academy of Personnel Management

Severodonetsk Institute

Department of General Education and Humanities

Control work in cultural studies

Impressionism as a direction in art

Completed:

group student

ІН23-9-06 BUB (4. Od)

Sheshenko Sergey

Checked:

Candidate of Laws, Assoc.

Smolina O.O.

Severodonetsk 2007

Introduction

4. Post-impressionism

Conclusion

Bibliography

Applications

Introduction

An important phenomenon European culture second half of the 19th century. was the artistic style of impressionism, which became widespread not only in painting, but in music and fiction. And yet it arose in painting. Impressionism (French impressionism, from impression - impression), a trend in art of the last third of the 19th - early 20th centuries. Developed in french painting late 1860s - early 1870s (the name arose after the exhibition in 1874, which exhibited the painting by C. Monet "Impression. Rising Sun").

Signs of the impressionistic style are the absence of a clearly defined form and the desire to convey the subject in fragmentary, instantly fixing every impression strokes, which, however, revealed their hidden unity and connection when reviewing the whole. As a special style, impressionism, with its principle of the value of the "first impression", made it possible to tell the story through such, as it were, seized at random details that apparently violated the strict coherence of the narrative plan and the principle of selecting the essential, but with their "lateral truth" gave the story extraordinary brightness and freshness.

In temporal arts, the action unfolds in time. Painting, as it were, is capable of capturing only one single moment in time. Unlike cinema, she always has one "frame". How to convey movement in it? One of these attempts to capture the real world in its mobility and variability was the attempt of the creators of the direction in painting, called impressionism (from the French impression). This direction brought together various artists, each of which can be characterized as follows. An impressionist is an artist who conveys his direct impression of nature, sees in it the beauty of variability and impermanence, recreates the visual sensation of bright sunlight, the play of colored shadows, using a palette of pure unmixed colors, from which black and gray are banished. Sunlight streams, vapors rise from the damp earth. Water, melting snow, plowed land, swaying grass in the meadows do not have clear, frozen outlines. Movement, which was previously introduced into the landscape as an image of moving figures, as a result of the action of natural forces - the wind, driving clouds, swaying trees, is now replaced by peace. But this peace of inanimate matter is one of the forms of its movement, which is conveyed by the very texture of painting - dynamic strokes of different colors, not constrained by the rigid lines of the drawing.

1. The birth of impressionism and its founders

The formation of impressionism began with the painting by E. Manet (1832-1893) "Breakfast on the Grass" (1863). New manner painting was not immediately accepted by the public, who accused the artists of not being able to draw, throwing paint scraped off the palette onto the canvas. So, the pink Rouen cathedrals of Monet seemed implausible to both the audience and fellow artists - the best of the artist's pictorial series ("Morning", "With the first rays of the sun", "Noon"). The artist did not seek to represent the cathedral on canvas in different time day - he competed with the masters of Gothic to absorb the viewer with the contemplation of magical light and color effects. The facade of the Rouen Cathedral, like most Gothic cathedrals, hides the mystical spectacle of the bright colored stained-glass windows of the interior coming to life from the sunlight. The lighting inside the cathedrals varies depending on which direction the sun is shining from, cloudy or clear weather. One of Monet's paintings owes its appearance to the word "impressionism". This canvas was indeed an extreme expression of the innovation of the emerging pictorial method and was called "Sunrise at Le Havre". The compiler of the catalog of paintings for one of the exhibitions suggested that the artist call it something else, and Monet, having crossed out "in Le Havre", put "impression". And a few years after the appearance of his works, they wrote that Monet "reveals a life that no one before him was able to catch, about which no one even knew." In the paintings of Monet, they began to notice the disturbing spirit of the birth of a new era. So, in his work appeared "serial" as a new phenomenon of painting. And she drew attention to the problem of time. The artist's painting, as noted, snatches one "frame" from life, with all its incompleteness and incompleteness. And this gave impetus to the development of the series as successive shots. In addition to the "Rouen Cathedrals" Monet creates a series of "Station Saint-Lazare", in which the paintings are interconnected and complement each other. However, it was impossible to combine the "frames" of life into a single tape of impressions in painting. This has become the task of cinema. Historians of cinema believe that the reason for its emergence and wide distribution was not only technical discoveries, but also an urgent artistic need for a moving image, and the paintings of the Impressionists, in particular Monet, became a symptom of this need. It is known that one of the plots of the first film session in history, arranged by the Lumiere brothers in 1895, was "Arrival of the Train". Steam locomotives, station, rails were the subject of a series of seven paintings "Gare Saint-Lazare" by Monet, exhibited in 1877.

Pierre Auguste Renoir (1841-1919), together with C. Monet and A. Sisley, created the core of the impressionist movement. During this period, Renoir is working on the development of a lively, colorful artistic style with a feathery brushstroke (known as Renoir's iridescent style); creates many sensual nudes ("Bathers"). In the 80s, he gravitated more and more towards the classical clarity of images in his work. Most of all, Renoir liked to write children's and youthful images and peaceful scenes. Parisian life("Flowers", "Young Man Walking the Dogs in the Forest of Fontainebleau", "Vase of Flowers", "Bathing in the Seine", "Lisa with an Umbrella", "Lady in a Boat", "Riders in the Bois de Boulogne", "Ball in Le Moulin de la Galette", "Portrait of Jeanne Samary" and many others). His work is characterized by light and transparent landscapes, portraits, glorifying the sensual beauty and joy of being. But Renoir owns the following thought: "For forty years I have been going to the discovery that the queen of all colors is black paint." The name Renoir is synonymous with beauty and youth, of that time human life when spiritual freshness and the flowering of physical strength are in perfect harmony.

2. Impressionism in the works of C. Pissarro, C. Monet, E. Degas, A. Toulouse-Lautrec

Camille Pissarro (1830-1903) - a representative of impressionism, the author of light, clean-colored landscapes ("Plowed Land"). His paintings are characterized by a soft restrained gamut. AT late period creativity turned to the image of the city - Rouen, Paris (Boulevard Montmartre, Opera passage in Paris). In the second half of the 80s. was influenced by neo-impressionism. He also worked as a scheduler.

Claude Monet (1840-1926) - the leading representative of impressionism, the author of landscapes thin in color, filled with light and air. In the series of canvases "Haystacks", "Rouen Cathedral" he sought to capture the fleeting, instantaneous states of the light and air environment at different times of the day. From the name of Monet's landscape Impression. The rising sun happened and the name of the direction is impressionism. In a later period, features of decorativeism appeared in the work of C. Monet.

The creative style of Edgar Degas (1834-1917) is characterized by impeccably accurate observation, the strictest drawing, sparkling, exquisitely beautiful coloring. He became famous for his freely asymmetrical angular composition, knowledge of facial expressions, postures and gestures of people. different professions, exact psychological characteristics: "Blue dancers", "Star", "Toilet", "Ironers", "Dancers' rest". Degas is an excellent master of the portrait. Under the influence of E. Manet, he moved to everyday genre, depicting the Parisian street crowd, restaurants, horse races, ballet dancers, laundresses, the rudeness of the smug bourgeois. If the works of Manet are bright and cheerful, then in Degas they are colored with sadness and pessimism.

Closely connected with Impressionism is the work of Henri Toulouse-Lautrec (1864-1901). He worked in Paris, where he painted cabaret dancers and singers and prostitutes in his own particular style, characterized by bright colors, bold composition and brilliant technique. His lithographic posters enjoyed great success.

3. Impressionism in sculpture and music

A contemporary and colleague of the Impressionists was the great french sculptor Auguste Rodin (1840-1917). His dramatic, passionate, heroically sublime art glorifies the beauty and nobility of a person, it is permeated with an emotional impulse (the Kiss group, The Thinker, etc.), it is characterized by the courage of realistic searches, the vitality of images, and energetic pictorial modeling. Sculpture has a fluid form, acquires a kind of unfinished character, which makes his work related to impressionism and at the same time makes it possible to create the impression of the painful birth of forms from spontaneous amorphous matter. The sculptor combined these qualities with the drama of the idea, the desire for philosophical reflections("Bronze Age", "Citizens of Calais"). The artist Claude Monet called him the greatest of the greats. Rodin owns the words: "Sculpture is the art of recesses and bulges."

Introduction

Impressionism as a phenomenon in art

Impressionism in painting

Artists - Impressionists

3.1 Claude Monet

3.2 Edgar Degas

3.3 Alfred Sisley

3.4 Camille Pissarro

Conclusion

Bibliographic list

Introduction

This essay is dedicated to impressionism in art - painting.

Impressionism is one of the brightest and most important phenomena in European art, which largely determined the entire development of contemporary art. Currently, the works of the Impressionists, who were not recognized at the time, are highly valued and their artistic merit is undeniable. The relevance of the chosen topic is explained by the need for every modern person to understand the styles of art, to know the main milestones of its development.

I chose this topic because Impressionism was a kind of revolution in art that changed the idea of ​​works of art as integral, monumental things. Impressionism brought to the fore the individuality of the creator, his own vision of the world, pushed political and religious subjects, academic laws into the background. It is interesting that emotions and impressions, and not plot and morality, played leading role in the works of the Impressionists.

Impressionism (fr. impressionnisme, from impression- impression) - direction in the art of the latter thirds of XIX- the beginning of the 20th century, which originated in France and then spread throughout the world, whose representatives sought to most naturally and impartially capture the real world in its mobility and variability, to convey their fleeting impressions. Usually, the term "impressionism" means a direction in painting, although its ideas have also found their embodiment in literature and music.

The term "Impressionism" originated with light hand critic of the magazine "Le Charivari" Louis Leroy, who titled his feuilleton about the Salon of the Les Misérables "Exhibition of the Impressionists", taking as a basis the name of this painting by Claude Monet.

Auguste Renoir Paddling pool, Metropolitan Museum of Art, New York

origins

During the Renaissance painters Venetian school tried to convey a living reality using bright colors and intermediate tones. The Spaniards took advantage of their experiences, this is most clearly expressed by such artists as El Greco, Velazquez and Goya, whose work subsequently had a serious influence on Manet and Renoir.

At the same time, Rubens makes the shadows on his canvases colored using transparent intermediate shades. According to Delacroix, Rubens displayed light with subtle, refined tones, and shadows with warmer and more saturated colors, conveying the effect of chiaroscuro. Rubens did not use black, which would later become one of the main principles of Impressionist painting.

Édouard Manet was influenced by the Dutch artist Frans Hals, who painted with sharp strokes and loved the contrast of bright colors and black.

The transition of painting to impressionism was also prepared by English painters. During the Franco-Prussian War (1870-1871), Claude Monet, Sisley and Pissarro traveled to London to study the great landscape painters Constable, Bonington and Turner. As for the latter, already in his later works it is noticeable how the connection with the real image of the world disappears and the withdrawal into the individual transmission of impressions.

Eugène Delacroix had a strong influence, he already distinguished local color and color acquired under the influence of lighting, his watercolors painted in North Africa in 1832 or in Etretat in 1835, and especially the painting "The Sea at Dieppe" (1835) allow us to speak of him as a forerunner of the Impressionists.

The last element that influenced the innovators was Japanese art. Since 1854, thanks to exhibitions held in Paris, young artists have been discovering masters of Japanese printmaking such as Utamaro, Hokusai and Hiroshige. A special, hitherto unknown in European fine art, arrangement of an image on a sheet of paper - a displaced composition or composition with an inclination, a schematic transfer of form, a penchant for artistic synthesis, won the favor of the Impressionists and their followers.

History

Edgar Degas, blue dancers, 1897, Pushkin Museum im. Pushkin, Moscow

The beginning of the search for the Impressionists dates back to the 1860s, when young artists were no longer satisfied with the means and goals of academicism, as a result of which each of them independently seeks other ways to develop his style. In 1863, Edouard Manet exhibited the painting “Luncheon on the Grass” in the “Salon of the Rejected” and actively spoke at the meetings of poets and artists in the Guerbois cafe, which were attended by all the future founders of the new movement, thanks to which he became the main defender of modern art.

In 1864, Eugene Boudin invited Monet to Honfleur, where he lived all autumn, watching his teacher paint sketches in pastels and watercolors, while his friend Jonkind applied paint to his work with vibrating strokes. It was here that they taught him to work in the open air and write in light colors.

In 1871, during the Franco-Prussian War, Monet and Pissarro leave for London, where they get acquainted with the work of the forerunner of Impressionism, William Turner.

Claude Monet. Impression. Sunrise. 1872, Marmottan Monet Museum, Paris.

The emergence of the name

The first important exhibition of the Impressionists took place from 15 April to 15 May 1874 in the studio of the photographer Nadar. There were presented 30 artists, in total - 165 works. Canvas Monet - “Impression. Rising Sun" ( Impression, soleil levant), now in the Musée Marmottin, Paris, written in 1872, gave birth to the term "Impressionism": the little-known journalist Louis Leroy, in his article in the magazine "Le Charivari", called the group "Impressionists" to express his disdain. Artists, out of a challenge, accepted this epithet, later it took root, lost its original negative meaning and came into active use.

The name "Impressionism" is rather empty, unlike the name "Barbizon School", where at least there is an indication of the geographical location of the artistic group. There is even less clarity with some artists who were not formally included in the circle of the first impressionists, although their techniques and means are completely “impressionistic” (Whistler, Edouard Manet, Eugene Boudin, etc.) In addition, the technical means of the Impressionists were known long before the 19th centuries and they were (partially, limitedly) used by Titian and Velasquez, without breaking with the dominant ideas of their era.

There was another article (authored by Emile Cardon) and another title - "The Rebel Exhibition", absolutely disapproving and condemning. It was it that accurately reproduced the disapproving attitude of the bourgeois public and criticism towards the artists (Impressionists), which dominated for years. The Impressionists were immediately accused of immorality, rebellious moods, failure to be respectable. At the moment, this is surprising, because it is not clear what is immoral in the landscapes of Camille Pissarro, Alfred Sisley, the everyday scenes of Edgar Degas, the still lifes of Monet and Renoir.

Decades have passed. And a new generation of artists will come to a real collapse of forms and impoverishment of content. Then both the critics and the public saw in the condemned Impressionists - realists, and a little later, the classics of French art.

Impressionism as a phenomenon in art

Impressionism, one of the most striking and interesting trends in French art of the last quarter of the 19th century, was born in a very difficult environment, characterized by variegation and contrasts, which gave impetus to the emergence of many modern trends. Impressionism, despite its short duration, had a significant impact on the art of not only France, but also other countries: the USA, Germany (M. Lieberman), Belgium, Italy, England. In Russia, the influence of impressionism was experienced by K. Balmont, Andrei Bely, Stravinsky, K. Korovin (the closest in aesthetics to the impressionists), the early V. Serov, and also I. Grabar. Impressionism was the last major art movement in France XIX century, paving the line between the art of modern and modern times.

According to M. Aplatov, “pure impressionism probably did not exist. Impressionism is not a doctrine, it could not have canonized forms...French Impressionist painters, to varying degrees, have one or another of its features.” Usually, the term "impressionism" means a direction in painting, although its ideas have found their embodiment in other forms of art, for example, in music.

Impressionism is, first of all, the art of observing reality, conveying or creating an impression, which has reached unprecedented refinement, an art in which the plot is not important. This is a new, subjective artistic reality. The Impressionists put forward their own principles of perception and display of the surrounding world. They erased the line between the main objects worthy of high art and secondary objects.

An important principle of Impressionism was the departure from typicality. Transience, a casual look has entered art, it seems that the canvases of the Impressionists were written by a simple passer-by walking along the boulevards and enjoying life. It was a revolution in vision.

The aesthetics of impressionism took shape in part as an attempt to decisively free itself from the conventions of classic art, as well as from the persistent symbolism and thoughtfulness of late romantic painting, which offered to see encrypted meanings in everything that needed careful interpretation. Impressionism affirms not only the beauty of everyday reality, but also makes artistically significant the perceived variability of the surrounding world, the naturalness of a spontaneous, unpredictable, random impression. The Impressionists strive to capture its colorful atmosphere without detailing or interpreting it.

As an artistic movement, impressionism, in particular in painting, quickly exhausted its possibilities. Classical French impressionism was too narrow, and few remained true to its principles all their lives. In the process of development of the impressionist method, the subjectivity of pictorial perception overcame objectivity and rose to an ever higher formal level, opening the way for all currents of post-impressionism, including Gauguin's symbolism and Van Gogh's expressionism. But, despite the narrow time frame - some two decades, impressionism brought art to a fundamentally different level, having a significant impact on everything: modern painting, music and literature, as well as cinema.

Impressionism introduced new themes; works of a mature style are distinguished by their bright and spontaneous vitality, the discovery of new artistic possibilities of color, the aestheticization of a new pictorial technique, the very structure of the work. It is these features that arose in impressionism that are further developed in neo-impressionism and post-impressionism. The influence of impressionism as an approach to reality or as a system of expressive techniques was found in almost all art schools of the early 20th century; it became the starting point for the development of a number of trends, up to abstractionism. Some of the principles of impressionism - the transmission of instantaneous movement, the fluidity of form - manifested themselves to varying degrees in the sculpture of the 1910s, by E Degas, Fr. Rodin, M. Golubkina. Artistic impressionism to a large extent enriched the means of expression in literature (P. Verlaine), music (C. Debussy), and theater.

2. Impressionism in painting

In the spring of 1874, a group of young painters, including Monet, Renoir, Pizarro, Sisley, Degas, Cezanne and Berthe Morisot, neglected the official Salon and staged their own exhibition, later becoming the central figures of the new direction. It took place from April 15 to May 15, 1874 in the studio of the photographer Nadar in Paris, on the Boulevard des Capucines. There were presented 30 artists, in total - 165 works. Such an act was in itself revolutionary and broke with age-old foundations, while the paintings of these artists at first glance seemed even more hostile to tradition. It took years before these, later recognized, classics of painting were able to convince the public not only of their sincerity, but also of their talent. All these very different artists were united by a common struggle against conservatism and academicism in art. The Impressionists held eight exhibitions, the last in 1886.

It was at the first exhibition in 1874 in Paris that a painting by Claude Monet appeared, depicting a sunrise. She attracted everyone's attention primarily with an unusual title: “Impression. Sunrise". But the painting itself was unusual, it conveyed that almost elusive, changeable play of colors and light. It was the name of this painting - "Impression" - thanks to the mockery of one of the journalists, that marked the beginning of a whole trend in painting, called impressionism (from the French word "impression" - impression).

Trying to express their immediate impressions of things as accurately as possible, the Impressionists created a new method of painting. Its essence was to convey the external impression of light, shadow, reflexes on the surface of objects with separate strokes of pure colors, which visually dissolved the form in the surrounding light-air environment.

Credibility was sacrificed to personal perception - the Impressionists, depending on their vision, could write the sky green and the grass blue, the fruits in their still lifes were unrecognizable, human figures were vague and sketchy. What was important was not what was depicted, but the “how” was important. The object became an occasion for solving visual problems.

The brevity, etude nature of the creative method of impressionism is characteristic. After all, only a short study made it possible to accurately record individual states of nature. What was previously allowed only in etudes has now become main feature completed canvases. Impressionist artists tried with all their might to overcome the static nature of painting, to forever capture all the charm of an elusive moment. They began to use asymmetrical compositions to better highlight the characters and objects they were interested in. In some methods of impressionist construction of composition and space, the influence of passion for one’s age is tangible - not antiquity as before, Japanese engraving (by such masters as Katsushika Hokusai, Hiroshige, Utamaro) and partly photography, its close-ups and new points of view.

The Impressionists also updated coloring, they abandoned dark, earthy paints and varnishes and applied pure, spectral colors to the canvas, almost without mixing them first on the palette. Conditional, "museum" blackness in their canvases gives way to the play of colored shadows.

Thanks to the invention of ready-to-carry metal paint tubes, which replaced the old hand-made paints from oil and powdered pigments, artists were able to leave their studios to work in the open air. They worked very quickly, because the movement of the sun changed the lighting and color of the landscape. Sometimes they squeezed the paint onto the canvas directly from the tube and got pure sparkling colors with a brushstroke effect. By placing a dab of one paint next to another, they often left the surface of the paintings rough. In order to preserve the freshness and variety of colors of nature in the picture, the Impressionists created a pictorial system that is distinguished by the decomposition of complex tones into pure colors and the interpenetration of separate strokes of pure color, as if mixing in the eye of the viewer, with colored shadows and perceived by the viewer according to the law of complementary colors.

Striving for maximum immediacy in the transfer of the surrounding world, the Impressionists for the first time in the history of art began to write mainly on outdoors and raised the importance of the study from nature, which almost supplanted the traditional type of painting, carefully and slowly created in the studio. By virtue of the very method of working in the open air, the landscape, including the urban landscape they discovered, occupied a very important place in the art of the Impressionists. The main theme for them was quivering light, air, in which people and objects are, as it were, immersed. In their paintings, one could feel the wind, the damp, sun-warmed earth. They sought to show the amazing richness of color in nature.

Impressionism introduced new themes into art - the daily life of the city, street landscapes and entertainment. Its thematic and plot range was very wide. In their landscapes, portraits, and multi-figured compositions, the artists strive to preserve the impartiality, strength, and freshness of the “first impression,” without going into individual details, where the world is an ever-changing phenomenon.

Impressionism is distinguished by its bright and immediate vitality. It is characterized by the individuality and aesthetic value of the canvases, their deliberate randomness and incompleteness. In general, the works of the Impressionists are distinguished by cheerfulness, passion for the sensual beauty of the world.

History of Impressionism:

Impressionism (fr.impressionisme, from impression - impression) - artistic direction in art, which arose in France in the second half of the 19th century.

The new movement arose as a reaction to the stagnation of the academicism that dominated those years, but its appearance was prepared by several factors: the invention of photography in 1839 by L. Daguerre, which introduced a new vision into art; scientific discoveries E. Shevrelya and O. Ruda in the field of color separation; the appearance in 1941 of tin tubes for perishable paints, which made it possible for artists to work in the open air. Fertile ground for the development of impressionism was prepared by the artists of the Barbizon school: they were the first to paint sketches from nature.

The Impressionists presented their art at exhibitions held at irregular intervals from 1874 to 1886. The history of the origin of the term "Impressionism" is connected with the first exhibition of the then anonymous group of artists. Critic Louis Leroy, speaking ironically about the presented works, especially noted the painting by C. Monet “Impression. Sunrise "(1872), noting that "the wallpaper in the initial stage of processing is more finished than this seascape ...". The new name was to the liking of the supporters of the movement (although not all), because it corresponded to the creative method that they professed: conveying an impression, fixing the elusive moments of life.

In 1886, the last exhibition of the Impressionists took place. However, as a pictorial method, impressionism did not cease to exist: similar searches were carried out by masters of other countries - England (J. Winstler), Germany (M. Lieberman and L. Corinth), Russia (I. Grabar and K. Korovin).

Features of Impressionism:

The artistic concept of impressionism was based on the desire to naturally and naturally capture the surrounding world in its variability, conveying their fleeting impressions. The principle of “painting what you see in the midst of light and air” formed the basis of the plein air painting of the Impressionists.

Masters of Impressionism:

Edouard Manet, Auguste Renoir, Edgar Degas, Claude Monet, Camille Pissarro, Alfred Sisley, Berthe Morisot, Gustave Caillebotte, James Whistler, Konstantin Korovin, Lovis Corinth and others.

Examples of works by impressionist artists:

Explanatory dictionary of the Russian language. D.N. Ushakov

impressionism

impressionism, pl. no, m. (fr. impressionisme) (art.). A direction in art that aims to convey, reproduce direct, subjective impressions of reality.

Explanatory dictionary of the Russian language. S.I. Ozhegov, N.Yu. Shvedova.

impressionism

A, m. Art direction of the late 19th - early 20th centuries. striving for a direct reproduction of the experiences, moods and impressions of the artist.

adj. impressionistic, -th, -th and impressionistic, -th, -th.

New explanatory and derivational dictionary of the Russian language, T. F. Efremova.

impressionism

m. A direction in the art of the last third of the 19th century - the beginning of the 20th century, based on the desire to reflect the real world in its mobility, variability and capture the artist's, composer's own feelings, etc.

Encyclopedic Dictionary, 1998

impressionism

IMPRESSIONISM (from the French impression - impression) a direction in the art of the last third of the 19th - early. 20 centuries, whose representatives strove to capture the real world in its mobility and variability in the most natural and unbiased way, to convey their fleeting impressions. Impressionism originated in the 1860s, in French painting: E. Manet, O. Renoir, E. Degas introduced freshness and immediacy of perception of life into art, the image of instantaneous, as it were, random movements and situations, apparent imbalance, fragmentary composition, unexpected points of view, angles, cuts of figures. In the 1870-80s. impressionism was formed in the French landscape: C. Monet, C. Pissarro, A. Sisley developed a consistent plein air system; working in the open air, they created a feeling of sparkling sunlight, the richness of the colors of nature, the dissolution of three-dimensional forms in the vibration of light and air. The decomposition of complex tones into pure colors (imposed on the canvas in separate strokes and designed for their optical mixing in the eye of the viewer), colored shadows and reflections gave rise to an unparalleled light, quivering painting. In addition to painters (American - J. Whistler, German - M. Lieberman, L. Corinth, Russians - K. A. Korovin, I. E. Grabar), sculptors perceived the interest of impressionism in instantaneous movement, fluid form (French - O. Rodin , Italian - M. Rosso, Russian - P. P. Trubetskoy). For musical impressionism con. 19 - beg. 20th century (in France - C. Debussy, partly M. Ravel, P. Duke, etc.), which developed under the influence of impressionism in painting, are characterized by the transmission of subtle moods, psychological nuances, an inclination towards landscape programming, an interest in timbre and harmonic colorfulness. In the literature, the features of the impressionistic style are spoken of in relation to European literature the last third of the 19th century, Russian poetry early. 20th century (K. Hamsun in Norway, I. F. Annensky in Russia, etc.).

Impressionism

(French impressionnisme, from impression ≈ impression), a direction in the art of the last third of the 19th ≈ early 20th centuries. I. took shape in French painting in the late 1860s and early 1870s. At the time of his maturity (the 1870s - the first half of the 1880s), I. was represented by a group of artists (C. Monet, O. Renoir, E. Degas, C. Pissarro, A. Sisley, B. Morisot and others .), united to fight for the renewal of art and overcoming the official salon academicism and organized 8 exhibitions from 1874 to 1886 for this purpose; E. Manet, who back in the 1860s. predetermined the orientation of I. and which also in the 1870s-80s. was associated with him in many respects, was not included in this group. Title "I." arose after the exhibition of 1874, which exhibited the painting by C. Monet “Impression. Rising Sun” (“Impression, Soleil levant”, 1872, now in the Musée Marmottan, Paris).

I. continues what the realistic art of the 1840s-60s began. liberation from the conventions of classicism, romanticism and academicism and affirms the beauty of everyday reality, simple, democratic motives, achieves a living authenticity of the image. I. makes the authentic, aesthetically significant, modern life in its naturalness, in all the richness and sparkle of its colors, capturing the visible world in its inherent constant variability, recreating the unity of man and his environment. Emphasizing, as it were, a transient moment of the continuous flow of life, as if accidentally caught by the eye, the Impressionists abandon the narration, the plot. In their landscapes, portraits, and multi-figure compositions, the artists strive to preserve the impartiality, strength, and freshness of the “first impression,” which allows them to capture the uniquely characteristic in what they see, without going into individual details. Portraying the world as ever-changing optical phenomenon, I. does not seek to emphasize its permanent, deep qualities. The knowledge of the world in visual arts is based mainly on sophisticated observation, the visual experience of the artist, who uses works and the laws of natural optical perception to achieve artistic persuasiveness. The process of this perception, its dynamics are reflected in the structure of the work, which, in turn, actively directs the viewer's perception of the picture. However, the emphatic empiricism of the I. method, which made it related to naturalism, sometimes led representatives of I. to self-sufficient visual and pictorial experiments, limiting the possibilities artistic knowledge essential moments of reality. In general, the works of the Impressionists are distinguished by cheerfulness, enthusiasm for the sensual beauty of the world; and only in some works of Degas and Manet there are bitter, sarcastic notes.

Impressionists for the first time create a multifaceted picture of everyday life modern city, conveying the originality of its landscape and the appearance of the people inhabiting it, their way of life and, less often, labor; The theme of specifically urban entertainment also appears in India. At the same time, in the art of I., the moment of social criticism is weakening. Aiming for true image close to a person of everyday nature, the Impressionist landscape painters (especially Pissarro and Sisley) develop the traditions of the Barbizon school. Continuing the plein air (see Plein air) searches of J. Constable, the Barbizons, as well as C. Corot, E. Boudin and J. B. Jongkind, the Impressionists developed a complete plein air system. In their landscapes, the everyday motif is often transformed into an all-pervasive, mobile sunlight bringing a sense of festivity to the picture. Working on a painting directly in the open air made it possible to reproduce nature in all its real vivacity, to subtly analyze and instantly capture its transitional states, to capture the slightest color changes that appear under the influence of a vibrating and fluid light-air medium (organically uniting man and nature), which sometimes it becomes in I. an independent object of the image (mainly in the works of Monet). In order to preserve the freshness and variety of colors of nature in the picture, the Impressionists (with the exception of Degas) created a pictorial system that is distinguished by the decomposition of complex tones into pure colors and the interpenetration of separate strokes of pure color, as if mixing in the eye of the viewer, light and bright colors, richness of valery and reflexes, colored shadows. Volumetric forms, as it were, dissolve in the light-air shell that envelops them, dematerialize, acquire unsteadiness of outlines: the play of various strokes, pasty and liquid, gives the colorful layer a quivering, relief; this creates a peculiar impression of incompleteness, the formation of an image in front of a person contemplating the canvas. All this is connected with the artist's desire to preserve in the picture the effect of improvisation, which in the previous era was allowed only in sketches and which usually disappeared when they were processed into finished works .; Thus, in I. there is a rapprochement between the sketch and the picture, and often the merging of several stages of work into one continuous process. An impressionistic picture is a separate frame, a fragment of a moving world. This explains, on the one hand, the equivalence of all parts of the picture, simultaneously born under the brush of the artist and equally participating in the figurative construction of the work; on the other hand, apparent randomness and imbalance, asymmetry of composition, bold cuts of figures, unexpected points of view and complex angles that activate spatial construction; losing depth, space sometimes “turns out” onto a plane or goes to infinity. In some methods of constructing composition and space, the influence of Japanese engraving and, to some extent, photography is noticeable.

By the mid 1880s. I., having exhausted its possibilities as complete system and a single direction, disintegrates, giving impulses for the subsequent evolution of art. I. introduced new themes into art, comprehending the aesthetic significance of many aspects of reality. The works of mature I. are distinguished by their bright and direct vitality. At the same time, I. is also characterized by the identification of aesthetic intrinsic value and new expressive possibilities colors, emphasized aestheticization of the method of execution, exposure of the formal structure of the work; it is precisely these traits, which are only emerging in I., that receive further development in neo-impressionism, post-impressionism. In the 1880≈1910s. I. had a significant influence on many painters in other countries (M. Lieberman, L. Corinth in Germany; K. A. Korovin, V. A. Serov, I. E. Grabar, early M. V. Larionov in Russia, etc.). ), which manifested itself in the development of new aspects of reality, in mastering the effects of plein air, highlighting the palette, sketchy manner, mastering certain technical techniques. Certain principles of visual arts—the transmission of instantaneous movement and the fluidity of form—were reflected to varying degrees in sculpture in the 1880s and 1910s. (E. Degas and O. Rodin in France, M. Rosso in Italy, P. P. Trubetskoy and A. S. Golubkina in Russia); at the same time, the increased picturesqueness of impressionistic sculpture sometimes came into conflict with the tangibility and corporality inherent in the very nature of the sculptural image. The traditions of I. are palpable in many realistic movements in the art of the 20th century. I. in the visual arts had a certain influence on the formation of some principles of I. and on the development of expressive means in literature, music and theater; however, in these forms of art, art did not become an integral artistic system of milestone significance.

In relation to literature, style is widely regarded as a stylistic phenomenon that arose in the last third of the 19th century. and captured writers of various beliefs and methods, and narrowly - as a trend with a certain method and a worldview that gravitated towards decadence, which developed at the turn of the 19th and 20th centuries. Signs of the “impressionistic style” are the absence of a clearly defined form and the desire to convey the subject in fragmentary, instantly fixing every impression strokes, which, however, revealed, when reviewing the whole, their hidden unity and connection. As a special style, I., with his principle of the value of the first impression, made it possible to narrate through such, as it were, seized at random, details that apparently violated the strict coherence of the narrative plan and the principle of selection of the essential, but with their “lateral” truth imparted to the story extraordinary brightness and freshness and artistic idea≈ unexpected branching and diversity. Remaining a stylistic phenomenon, I. did not mean, especially among great writers(for example, A. P. Chekhov, I. A. Bunin, etc.), breaking artistic principles realism, but was reflected in the enrichment of these principles and the steadily increasing art of description (for example, Chekhov's description of a thunderstorm in the story The Steppe; L. N. Tolstoy noted the features of I. in Chekhov's style). By the beginning of the 20th century several style varieties I. on a general realistic basis. The brothers J. and E. Goncourt (“poets of nerves”, “connoisseurs of imperceptible sensations”) were the founders of “psychological I.”, the sophisticated technique of which can be observed in K. Hamsun’s novel “Hunger”, in the early T. Mann (in short stories) , S. Zweig, in the lyrics of I. F. Annensky. “Plein air”, quivering picturesqueness is felt by the same Goncourt brothers, by E. Zola in the style of descriptions of Paris (“Page of Love”), by the Danish writer E. P. Jacobsen (in the short story “Mogens”); picturesquely expresses lyrical situations by means of impressionistic technique (including syntax and rhythm) by the German poet D. von Lilienkron. The English neo-romantic writers R. L. Stevenson and J. Conrad developed the exotic colorful properties of I.; their manner was continued in later literature on "southern" themes, up to the stories of S. Maugham. In P. Verlaine's Romances Without Words, the thrill of the soul and picturesque flickering (“certain shades captivate us”) are accompanied by a musical mood, and his poem “Poetic Art” (1874, published 1882) sounds both like a manifesto of poetic I. and like foreshadowing the poetics of symbolism.

Later, Hamsun and some other writers of the early 20th century. I. to a lesser or greater extent is isolated from realistic principles and turns into a special vision and attitude (or method) - a vague, indefinite subjectivism, partially anticipating the literature of the "stream of consciousness" (the work of M. Proust). Such I., with his “philosophy of the moment,” questioned the semantic and moral foundations of life. The cult of "impression" locked man in himself; only that which is fleeting, elusive, inexpressible by anything but sensations became valuable and the only real. Fluid moods revolved predominantly around the theme of "love and death"; artistic image was built on unsteady understatements and vague hints that lifted the "veil" over the fatal play of unconscious elements in a person's life. Decadent motifs are characteristic of Viennese school I. (G. Bar; A. Schnitzler, especially his one-act plays The Green Parrot, 1899, The Puppets, 1906, etc.), in Poland - for J. Kasprowicz, K. Tetmayer. The influence of I. was experienced, for example, by O. Wilde, G. von Hoffmannsthal (lyrics, including “Ballad outer life»; libretto dramas), in Russian literature - B. K. Zaitsev (psychological studies), K. D. Balmont (with his lyrics of "transitory"). By the middle of the 20th century I. as an independent method has exhausted itself.

The use of the term "I." Musical painting is in many respects conditional—musical painting does not constitute a direct analogy with painting and does not coincide chronologically with it (its heyday was in the 1990s and the first decade of the 20th century). The main thing in musical I. is the transmission of moods that acquire the meaning of symbols, subtle psychological nuances, and a tendency towards poetic landscape programming. He is also characterized by refined fantasy, poetization of antiquity, exoticism, interest in timbre and harmonic brilliance. With the main line of I. in painting, he has in common an enthusiastic attitude to life; moments of intense conflict social contradictions cost in it. The classical expression of musical I. found in the work of C. Debussy; its features also appeared in the music of M. Ravel, P. Duke, F. Schmitt, J. J. Roger-Ducas, and other French composers.

Musical I. inherited many features of the art of late romanticism and national musical schools of the 19th century. (" mighty bunch”, F. Liszt, E. Grieg and others). At the same time, the Impressionists contrasted the clear relief of contours, the purely materiality and oversaturation of the musical palette of the late romantics with the art of restrained emotions and transparent, stingy texture, and a fluent changeability of images.

The work of impressionist composers greatly enriched the expressive means of music, especially the sphere of harmony, which reached great beauty and sophistication; the complication of chord complexes is combined in it with simplification and archaization modal thinking; the orchestration is dominated by pure colors, whimsical reflections, rhythms unsteady and elusive. The brilliance of harmonic and timbre means comes to the fore: the expressive meaning of each sound, chord is enhanced, previously unknown possibilities for expanding the modal sphere are revealed. A special freshness to the music of the Impressionists was given by their frequent appeal to song and dance genres, to the elements musical language peoples of the East, Spain, early forms Negro jazz.

At the beginning of the 20th century musical I. spread beyond the borders of France. It was originally developed by M. de Falla in Spain, A. Casella and O. Respighi in Italy. Original features are inherent in English musical I. with its "northern" landscape (F. Delius) or spicy exoticism (S. Scott). In Poland, the exotic line of musical I. was represented by K. Szymanowski (until 1920), who gravitated toward the ultra-refined images of antiquity and the Ancient East. Influence of I. aesthetics at the turn of the 20th century. some Russian composers also experienced it, in particular A. N. Scriabin, who was simultaneously influenced by symbolism; In the mainstream of the Russian I., whimsically combined with the influence of the school of N. A. Rimsky-Korsakov, I. F. Stravinsky began his journey, in subsequent years he led the anti-impressionist trend in Western European music.

O. V. Mamontova (I. in the fine arts), I. V. Nestiev (I. in music).

In the theater of the late 19th - early 20th centuries. the attention of directors and performers to conveying the atmosphere of the action, the mood of a particular scene, and revealing its subtext increased. At the same time, the authenticity and meaningfulness of life were conveyed with the help of deliberately cursory characteristics in combination with individual brightly expressive details that revealed the hero's shadowed experiences, his thoughts, and impulses of actions. Sudden changes in rhythms, the use of sounds, painterly color spots were used by the stage director to create a certain emotional richness in the performance, thereby revealing the internal increase in drama hidden behind the move. everyday life. Expressive means of I. were used in the productions of A. Antoine (France), M. Reinhardt (Germany), V. E. Meyerhold (Russia), in the performances of the Moscow Art Theater(for example, in productions of plays by A.P. Chekhov). Contemporaries noted the features of I. in the acting of G. Rezhan (France), E. Duse (Italy), V. F. Komissarzhevskaya, and other actors.

T. M. Motherland.

Lit .: Mauclair K., Impressionism. His history, his aesthetics, his masters, trans. from French, M.,; Meyer-Grefe Yu., Impressionists, trans. from German., M., 1913; Venturi L., From Manet to Lautrec, trans. from Italian., M., 1958; Rewald, J., A History of Impressionism, trans. from English, L.≈M., 1959; Impressionism, trans. from French, L., 1969; Chegodaev A. D., Impressionists, M., 1971; Bazin G., L "époque impressionniste, 2 ed., P., 1953; Leymarie J., L" impressionisme, v. 1≈2, Gen., 1959; Danckert W., Das Wesen des musikalischen Impressionismus, "Deutsche Vierteljiahrsschrift für Literaturwissenschaft und Geistesgeschichte", 1929, Bd 7, N. 1; Koelsch H. F., Der Impressionismus bei Debussy, Düsseldorf, 1937 (Diss.); Schulz H.≈G., Musikalischer Impressionismus und impressionistischer Klavierstil, Würzburg, 1938; Kroher, E., Impressionismus in der Musik, Lpz., 1957.

Wikipedia

Impressionism

Impressionism(, from impression- impression) - a trend in art of the last third of the 19th - early 20th centuries, which originated in France and then spread throughout the world, whose representatives sought to develop methods and techniques that made it possible to most naturally and vividly capture the real world in its mobility and variability, to convey their fleeting impressions. Usually, the term "impressionism" refers to a direction in painting, although its ideas also found their embodiment in literature and music, where impressionism also acted in a certain set of methods and techniques for creating literary and musical works in which the authors sought to convey life in a sensual, direct form, as a reflection of their impressions.

The term "impressionism" arose from the light hand of the critic of the magazine "Le Charivari" Louis Leroy, who titled his feuilleton about the Salon of the Les Misérables "Exhibition of the Impressionists", taking as a basis the title of the painting "Impression. Rising Sun by Claude Monet. Initially, this term was somewhat disparaging and indicated a corresponding attitude towards artists who painted in this manner.

Impressionism (disambiguation)

Impressionism

• Impressionism- direction in art.
• Impressionism - Musical direction.
• Impressionism is a trend in cinema.
• Impressionism is a literary style.

Impressionism (music)

musical impressionism- a musical trend similar to impressionism in painting and parallel to symbolism in literature, which developed in France in the last quarter of the 19th century - the beginning of the 20th century, primarily in the work of Eric Satie, Claude Debussy and Maurice Ravel.

The starting point of "impressionism" in music can be considered 1886-1887, when the first impressionistic opuses of Eric Satie were published in Paris - and as a result, five years later, the first works of Claude Debussy in the new style, which received resonance in the professional environment (above all, "The Afternoon of a Faun").

Impressionism (literature)

Impressionism in literature- one of the literary styles that spread in the world in the late XIX - early XX centuries, based on associations.

Appeared under the influence of the eponymous European artistic style. Developed in many European countries, including Russia.

In literature, this style did not develop as a separate direction, and its features were reflected in naturalism and symbolism. The main features of the impressionist style were formulated by the Goncourt brothers in their work "Diary", where the phrase: "Seeing, feeling, expressing - this is all art", has become a central position for many writers.

Impressionism is expressed in the novels of Emile Zola. Also representatives of impressionism in literature are Thomas Mann, Oscar Wilde, Stefan Zweig. An example of poetic impressionism is Paul Verlaine's collection Romances Without Words (1874). In Russia, the influence of impressionism was experienced by Konstantin Balmont and Innokenty Annensky.

The mood of impressionism also touched dramaturgy (impressionist drama), where passive perception of the world, mood analysis, mental states, disparate impressions are concentrated in the dialogues. These signs are reflected in the works of Arthur Schnitzler, Maurice Maeterlinck, Hugo von Hoffmanstl.

Impressionism in literature in particular, and in art in general, lost its significance in the mid-1920s.

Impressionism (cinema)

Impressionism in cinema- current in cinema.

Cinema, being visual art, like painting, has become the successor of the traditions French artists Impressionists at the beginning of the 20th century. It appeared under the influence of the painting style of the same name and also developed mainly in France.

The term "film-impressionism" was introduced by Henri Langlois, a French film enthusiast, and was actively used by the film theorist Georges Sadoul. The French director and actor Abel Gance is considered to be a representative of film impressionism. A photogenic vision of reality and a visual reflection of psychological emotions became the program concept of a new trend formulated by Louis Delluc. The actress Eva Francis, Delluc's wife, played in many Impressionist films, among them "Fever" (1921) and "The Woman from Nowhere" (1922) by Delluc and "El Dorado" (1921) by L'Herbier.

The film impressionists believed that cinema should speak to the viewer in its own language, using only its own set of expressive means. They made a significant contribution to the theory and aesthetics of cinema. In the early 1920s, articles appeared in periodicals and books about the specifics of film impressionism, about the composition of the film image in it, about rhythm in cinema.

Examples of the use of the word impressionism in literature.

The passion for photography was, of course, embedded in the Japanese long before the invention of Daguerre - sincere impressionism, the desire to fix the moment.

This music - younger sister poetic symbolism of Verlaine and Laforgue and impressionism in painting.

Opinions were exchanged on the steps, bad words flashed: impressionism, post impressionism and even symbolism.

This is the opposition of a camera obscura working according to Cartesian laws. linear perspective, impressionism with its spreading of the color layer over the surface, is extremely significant.

Germany, which gave the world Dürer and Cranach, was unable to nominate a single outstanding master in the field of contemporary visual arts, although German expressionism in painting and the Munich urban school in architecture were interesting and original trends, and German artists reflected in their work all the evolutions and ups that were characteristic of impressionism, Cubism and Dadaism.

This political impressionism, of course, does no credit to oppositional analytical minds.

picturesque style impressionism lies in the negation of the external form of real things and the reproduction of their internal form - a polychrome mass.

Although Ravel is rightly called an impressionist composer, however specific traits impressionism manifested itself in him only in some works, while in the rest classical clarity and proportionality of structures, purity of style, clarity of lines and jewelry in finishing details prevail.

Subsequently, the composer attacked the epigones impressionism, contrasting its vagueness and refinement with the clarity, simplicity, and rigor of linear writing.

But not only this connected the Polish composer with the French impressionism: the years of the First World War include the formation of a new style of Shimanovsky, a more modern harmonic language that no longer fits into the framework of classical romantic harmony.

Much really makes Debussy related to the picturesque impressionism: self-sufficing brilliance of elusive, fluid-moving moments, love for the landscape, airy trembling of space.

It is no coincidence that Debussy is considered the main representative impressionism in music.