In this article you will see the Petersburg cityscape presented in the art gallery "Art-Breeze". Here are collected works of various authors, which are made in various styles and techniques. All these works have one thing in common - they depict St., as the artist saw him.
urban landscape as a genre of painting was formed quite late, in the 18th century. It was then that cities began to acquire their modern character and the number of urban residents began to increase rapidly. Prior to this, only a few medieval artists depicted cities on their canvases. These images were very primitive, they lacked topographic accuracy and they served to indicate the location of the events to which the plot was dedicated. Ancestors cityscape in painting, we can name the Dutch artists of the 17th century, Vermeer of Delft, J. Goyen and J. Ruisdael. It is on their works that one can meet the urban landscape as we are used to seeing it in modern paintings.
The contemporary artists who exhibit their own cityscapes at St. Petersburg's Art Breeze Gallery depict St. Petersburg as a largely foggy seaside city with vibrant life and magnificent architecture. Most of the paintings were created in the style of impressionism and classics. The saturation of colors and the ability to fill the canvas with light, which is provided by the Impressionist painting technique, most fully reflects the spirit of this city on the Neva!
One of the largest trends in art in the last decades of the nineteenth century and the beginning of the twentieth is impressionism, which spread throughout the world from France. Its representatives were engaged in the development of such methods and techniques of painting that would make it possible to most vividly and naturally reflect the real world in dynamics, to convey fleeting impressions of it.
Many artists created their canvases in the style of impressionism, but the founders of the movement were Claude Monet, Edouard Manet, Auguste Renoir, Alfred Sisley, Edgar Degas, Frederic Bazille, Camille Pissarro. It is impossible to name their best works, since they are all beautiful, but there are the most famous ones, which will be discussed further.
Claude Monet: “Impression. Rising Sun"
The canvas with which to start a conversation about the best paintings of the Impressionists. Claude Monet painted it in 1872 from life in the old port of French Le Havre. Two years later, the painting was shown to the public for the first time in the former workshop of the French artist and cartoonist Nadar. This exhibition has become a life-changing event for the art world. Impressed (not in the best sense) by the work of Monet, whose original name sounds like “Impression, soleil levant”, journalist Louis Leroy first coined the term “impressionism”, denoting a new direction in painting.
The painting was stolen in 1985 along with the works of O. Renoir and B. Morisot. Discovered five years later. Currently Impression. The Rising Sun" belongs to the Marmottan Monet Museum in Paris.
Edouard Monet: Olympia
The painting "Olympia", created by the French impressionist Edouard Manet in 1863, is one of the masterpieces of modern painting. It was first presented at the Paris Salon in 1865. Impressionist artists and their paintings often found themselves at the center of high-profile scandals. However, Olympia caused the largest of them in the history of art.
On the canvas we see a naked woman, with her face and body facing the audience. The second character is a dark-skinned maid holding a luxurious bouquet wrapped in paper. At the foot of the bed there is a black kitten in a characteristic pose with an arched back. Not much is known about the history of the painting, only two sketches have come down to us. The model was, most likely, Manet's favorite model, Quiz Menard. There is an opinion that the artist used the image of Marguerite Bellanger - Napoleon's mistress.
During that period of creativity, when Olympia was created, Manet was fascinated by Japanese art, and therefore deliberately refused to work out the nuances of dark and light. Because of this, his contemporaries did not see the volume of the depicted figure, they considered it flat and rough. The artist was accused of immorality, vulgarity. Never before have Impressionist paintings caused such a stir and mockery from the crowd. The administration was forced to put guards around her. Degas compared Manet's fame through the Olympia and the courage with which he accepted criticism with Garibaldi's life story.
For almost a quarter of a century after the exhibition, the canvas was kept inaccessible to prying eyes by the master artist. Then it was exhibited again in Paris in 1889. It was almost bought, but the artist's friends collected the required amount and bought the Olympia from Manet's widow, and then donated it to the state. The painting is now owned by the Musée d'Orsay in Paris.
Auguste Renoir: The Great Bathers
The painting was painted by a French artist in 1884-1887. Taking into account all the currently known Impressionist paintings between 1863 and the beginning of the twentieth century, the "Great Bathers" is called the largest canvas with nude female figures. Renoir worked on it for more than three years, and during this period many sketches and sketches were created. There was no other painting in his work that he would devote so much time to.
In the foreground, the viewer sees three naked women, two of which are on the shore, and the third is in the water. The figures are painted very realistically and clearly, which is a characteristic feature of the artist's style. Renoir's models were Alina Charigot (his future wife) and Suzanne Valadon, who in the future became a famous artist herself.
Edgar Degas: Blue Dancers
Not all of the well-known Impressionist paintings listed in the article are painted in oil on canvas. The photo above allows you to understand what the painting "Blue Dancers" is. It was done in pastel on a paper sheet measuring 65x65 cm and belongs to the late period of the artist's work (1897). He painted it with already weakened vision, so the decorative organization is of paramount importance: the image is perceived as large colored spots, especially when viewed close up. The theme of dancers was close to Degas. She repeatedly repeated in his work. Many critics believe that in terms of the harmony of color and composition, Blue Dancers can be considered the artist's best work on this topic. Currently, the painting is kept in the Museum of Art. A. S. Pushkin in Moscow.
Frederic Bazille: "Pink Dress"
One of the founders of French Impressionism, Frederic Bazille was born into a bourgeois family of a wealthy winemaker. Even in the years of study at the Lyceum, he began to get involved in painting. After moving to Paris, he made acquaintance with C. Monet and O. Renoir. Unfortunately, the fate of the artist was destined for a short life path. He died at the age of 28 at the front during the Franco-Prussian War. However, his, albeit few, canvases are rightfully included in the list of “The Best Impressionist Paintings”. One of them is “Pink Dress”, written in 1864. By all indications, the canvas can be attributed to early impressionism: color contrasts, attention to color, sunlight and a stopped moment, the very thing that was called “impression”. One of the artist's cousins Teresa de Horse acted as a model. The painting is currently owned by the Musée d'Orsay in Paris.
Camille Pissarro: Boulevard Montmartre. Afternoon, sunny"
Camille Pissarro became famous for his landscapes, a characteristic feature of which is the depiction of light and illuminated objects. His work had a notable influence on the genre of impressionism. The artist independently developed many of the principles inherent in him, which formed the basis of creativity in the future.
Pissarro liked to write the same place at different times of the day. He has a whole series of paintings with Parisian boulevards and streets. The most famous of them is Boulevard Montmartre (1897). It reflects all the charm that the artist sees in the seething and restless life of this corner of Paris. Looking at the boulevard from the same place, he shows it to the viewer on a sunny and cloudy day, in the morning, in the afternoon and late in the evening. In the photo below - the painting "Boulevard Montmartre at night."
This style was subsequently adopted by many artists. We will only mention which Impressionist paintings were written under the influence of Pissarro. This trend is clearly seen in the work of Monet (a series of paintings "Hacks").
Alfred Sisley: Lawns in Spring
"Lawns in the Spring" is one of the latest paintings by the landscape painter Alfred Sisley, written in 1880-1881. On it, the viewer sees a forest path along the banks of the Seine with a village on the opposite bank. In the foreground is a girl - the artist's daughter Jeanne Sisley.
The artist's landscapes convey the true atmosphere of the historical region of Ile-de-France and retain the special softness and transparency of natural phenomena characteristic of specific seasons. The artist was never a supporter of unusual effects and adhered to a simple composition and a limited palette of colors. The painting is now in the National Gallery in London.
We have listed the most famous Impressionist paintings (with titles and descriptions). These are masterpieces of world art. The unique style of painting, which originated in France, was at first perceived with derision and irony, critics emphasized the blatant carelessness of the artists in writing canvases. Now hardly anyone would dare to challenge their genius. Impressionist paintings are exhibited in the most prestigious museums in the world and are a desirable exhibit for any private collection.
The style has not sunk into oblivion and has many followers. Our compatriot Andrei Koch, French painter Laurent Parcelier, Americans Diana Leonard and Karen Tarleton are well-known modern impressionists. Their paintings are made in the best traditions of the genre, filled with bright colors, bold strokes and life. In the photo above - the work of Laurent Parcelier "In the rays of the sun."
“A new world was born when the Impressionists painted it”
Henri Kahnweiler
XIX century. France. The unthinkable happened in painting. A group of young artists decided to shake the 500-year-old tradition. Instead of a clear drawing, they used a wide “sloppy” brushstroke.
And they completely abandoned the usual images, depicting everyone in a row. And ladies of easy virtue, and gentlemen of dubious reputation.
The public was not ready for Impressionist painting. They were ridiculed and scolded. And most importantly, they did not buy anything from them.
But the resistance was broken. And some Impressionists lived to see their triumph. True, they were already over 40. Like Claude Monet or Auguste Renoir. Others waited for recognition only at the end of their lives, like Camille Pissarro. Someone did not live up to it, like Alfred Sisley.
What revolutionary did each of them? Why did the public not accept them for so long? Here are 7 of the world's most famous French Impressionists.
1. Edouard Manet (1832-1883)
Edward Mane. Self portrait with palette. 1878 Private collectionManet was older than most of the Impressionists. He was their main inspiration.
Manet himself did not claim to be the leader of the revolutionaries. He was a man of the world. Dreamed of official awards.
But he waited a very long time for recognition. The public wanted to see Greek goddesses or still lifes at worst, so that they looked beautiful in the dining room. Manet wanted to paint modern life. For example, courtesans.
The result was "Breakfast on the Grass". Two dandies are relaxing in the company of ladies of easy virtue. One of them, as if nothing had happened, sits next to dressed men.
Edward Mane. Breakfast on the grass. 1863, Paris Compare his "Breakfast on the Grass" with Thomas Couture's "Romans in the Decline". Couture's painting made a splash. The artist instantly became famous.
"Breakfast on the Grass" was accused of vulgarity. Pregnant women were absolutely not recommended to look at her.
Thomas Couture. Romans in decline. 1847 Musée d'Orsay, Paris. artchive.ru In Couture's painting, we see all the attributes of academicism (traditional painting of the 16th-19th centuries). Columns and statues. Apollonian people. Traditional muted colors. The mannerism of postures and gestures. A plot from a distant life of a completely different people.
“Breakfast on the Grass” by Manet is a different format. Before him, no one portrayed courtesans like this easily. Close to respectable citizens. Although many men of that time spent their leisure time in this way. It was the real life of real people.
Once he portrayed a respectable lady. Ugly. He couldn't flatter her with a brush. The lady was disappointed. She left him in tears.
Edward Mane. Angelina. 1860 Musée d'Orsay, Paris. wikimedia.commons.org So he continued to experiment. For example, with color. He did not try to portray the so-called natural color. If he saw gray-brown water as bright blue, then he depicted it as bright blue.
This, of course, annoyed the public. “After all, even the Mediterranean Sea cannot boast of such a blue as the water at Manet,” they quipped.
Edward Mane. Argenteuil. 1874 Museum of Fine Arts, Tournai, Belgium. wikipedia.org But the fact remains. Manet fundamentally changed the purpose of painting. The picture became the embodiment of the individuality of the artist, who writes as he pleases. Forget about patterns and traditions.
Innovations did not forgive him for a long time. Recognition waited only at the end of life. But he no longer needed it. He was agonizingly dying from an incurable disease.
2. Claude Monet (1840-1926)
Claude Monet. Self-portrait in a beret. 1886 Private collection Claude Monet can be called a textbook impressionist. Since he was faithful to this direction all his long life.
He painted not objects and people, but a single color construction of highlights and spots. Separate strokes. Air trembling.
Claude Monet. Paddling pool. 1869 Metropolitan Museum of Art, New York. Metmuseum.org Monet painted not only nature. He was also good at urban landscapes. One of the most famous - .
There is a lot of photography in this painting. For example, motion is conveyed using a blurry image.
Pay attention: distant trees and figures seem to be in a haze.
Claude Monet. Boulevard des Capucines in Paris. 1873 (Gallery of European and American Art of the 19th-20th centuries), Moscow Before us is a stopped moment of the bustling life of Paris. No staging. Nobody is posing. People are depicted as a collection of strokes. Such plotlessness and the “freeze frame” effect is the main feature of impressionism.
By the mid-1980s, artists had become disillusioned with Impressionism. Aesthetics is, of course, good. But the plotlessness of many oppressed.
Only Monet continued to persist, exaggerating impressionism. This developed into a series of paintings.
He depicted the same landscape dozens of times. At different times of the day. At different times of the year. To show how much temperature and light can change the same view beyond recognition.
So there were countless haystacks.
Paintings by Claude Monet at the Museum of Fine Arts, Boston. Left: Haystacks at sunset at Giverny, 1891 Right: Haystack (snow effect), 1891
Please note that the shadows in these paintings are colored. And not gray or black, as was customary before the Impressionists. This is another one of their inventions.
Monet managed to enjoy success and material well-being. After 40, he already forgot about poverty. Got a house and a beautiful garden. And he did it for his pleasure for many years to come.
Read about the most iconic painting by the master in the article
3. Auguste Renoir (1841-1919)
Pierre-Auguste Renoir. Self-portrait. 1875 Sterling and Francine Clark Institute of Art, Massachusetts, USA. Pinterest Impressionism is the most positive painting. And the most positive among the Impressionists was Renoir.
You will not find drama in his paintings. He didn't even use black paint. Only the joy of being. Even the most banal Renoir looks beautiful.
Unlike Monet, Renoir painted people more often. Landscapes for him were less significant. In the paintings, his friends and acquaintances are relaxing and enjoying life.
Pierre-Auguste Renoir. Rowers breakfast. 1880-1881 Phillips Collection, Washington, USA. wikimedia.commons.org You will not find in Renoir and thoughtfulness. He was very glad to join the Impressionists, who completely refused subjects.
As he himself said, finally he has the opportunity to paint flowers and call them simply “Flowers”. And don't make up any stories about them.
Pierre-Auguste Renoir. Woman with an umbrella in the garden. 1875 Thyssen-Bormenis Museum, Madrid. arteuam.com Renoir felt best in the company of women. He asked his maids to sing and joke. The more stupid and naive the song was, the better for him. A man's chatter tired him. No wonder Renoir is known for nude paintings.
The model in the painting “Nude in Sunlight” seems to appear against a colorful abstract background. Because for Renoir there is nothing secondary. The eye of the model or the area of the background are equivalent.
Pierre-Auguste Renoir. Nude in the sunlight. 1876 Musée d'Orsay, Paris. wikimedia.commons.org Renoir lived a long life. And never put down the brush and palette. Even when his hands were completely shackled by rheumatism, he tied the brush to his arm with a rope. And he painted.
Like Monet, he waited for recognition after 40 years. And I saw my paintings in the Louvre, next to the works of famous masters.
Read about one of the most charming portraits of Renoir in the article
4. Edgar Degas (1834-1917)
Edgar Degas. Self-portrait. 1863 Calouste Gulbenkian Museum, Lisbon, Portugal. cultured.com Degas was not a classical impressionist. He did not like to work in the open air (outdoors). You will not find a deliberately brightened palette with him.
On the contrary, he loved a clear line. He has plenty of black. And he worked exclusively in the studio.
But still he is always put on a par with other great impressionists. Because he was an impressionist of gesture.
Unexpected angles. Asymmetry in the arrangement of objects. Characters caught off guard. Here are the main attributes of his paintings.
He stopped the moments of life, not allowing the characters to come to their senses. Look at least at his “Opera Orchestra”.
Edgar Degas. Opera Orchestra. 1870 Musée d'Orsay, Paris. commons.wikimedia.org In the foreground is the back of a chair. The musician has his back to us. And in the background, the ballerinas on the stage did not fit into the “frame”. Their heads are mercilessly “cut off” by the edge of the picture.
So his favorite dancers are not always depicted in beautiful poses. Sometimes they just stretch.
But such improvisation is imaginary. Of course, Degas carefully thought out the composition. This is just a freeze frame effect, not a real freeze frame.
Edgar Degas. Two ballet dancers. 1879 Shelbourne Museum, Wermouth, USA Edgar Degas loved to paint women. But the disease or the characteristics of the body did not allow him to have physical contact with them. He never married. Nobody ever saw him with a lady.
The absence of real plots in his personal life added a subtle and intense eroticism to his images.
Edgar Degas. Ballet star. 1876-1878 Musee d'Orsay, Paris. wikimedia.comons.org Please note that in the picture “Ballet Star” only the ballerina herself is drawn. Her backstage colleagues are barely distinguishable. Just a few legs.
This does not mean that Degas did not finish the picture. Such is the reception. Keep only the most important things in focus. Make the rest disappear, illegible.
Read about other paintings by the master in the article.
5. Berthe Morisot (1841-1895)
Edward Mane. Portrait of Berthe Morisot. 1873 Marmottan Monet Museum, Paris. Bertha Morisot is rarely put in the forefront of the great Impressionists. I'm sure it's undeserved. Just in her you will find all the main features and techniques of impressionism. And if you like this style, you will love her work with all your heart.
Morisot worked quickly and impetuously, transferring her impression to the canvas. The figures seem to be about to dissolve into space.
Berthe Morisot. Summer. 1880 Fabre Museum, Montpellier, France. Like Degas, she often left some details unfinished. And even body parts of the model. We cannot distinguish the hands of the girl in the painting “Summer”.
Morisot's path to self-expression was difficult. Not only was she engaged in “sloppy” painting. She was still a woman. In those days, a lady was supposed to dream of marriage. After that, any hobby was forgotten.
Therefore, Bertha refused marriage for a long time. Until she found a man who respectfully treated her occupation. Eugene Manet was the brother of the painter Edouard Manet. He dutifully carried an easel and paints for his wife.
Berthe Morisot. Eugene Manet with his daughter in Bougival. 1881 Marmottan Monet Museum, Paris. But it was still in the 19th century. No, Morisot didn't wear trousers. But she could not afford complete freedom of movement.
She could not go to the park to work alone, without being accompanied by someone close to her. I couldn't sit alone in a cafe. Therefore, her paintings are people from the family circle. Husband, daughter, relatives, nannies.
Berthe Morisot. A woman with a child in a garden in Bougival. 1881 National Museum of Wales, Cardiff. Morisot did not wait for recognition. She died at the age of 54 from pneumonia, having sold almost none of her work during her lifetime. On her death certificate, there was a dash in the “occupation” column. It was unthinkable for a woman to be called an artist. Even if she really was.
Read about the paintings of the master in the article
6. Camille Pissarro (1830 - 1903)
Camille Pissarro. Self-portrait. 1873 Musée d'Orsay, Paris. wikipedia.org Camille Pissarro. Non-confrontational, reasonable. Many considered him as a teacher. Even the most temperamental colleagues did not speak badly of Pissarro.
He was a faithful follower of impressionism. In dire need, with a wife and five children, he still worked hard in his favorite style. And never switched to salon painting to become more popular. It is not known where he got the strength to fully believe in himself.
In order not to die of hunger at all, Pissarro painted fans, which were eagerly sold out. And the real recognition came to him after 60 years! Then at last he was able to forget about the need.
Camille Pissarro. Stagecoach at Louveciennes. 1869 Musée d'Orsay, Paris The air in Pissarro's paintings is thick and dense. Unusual fusion of color and volume.
The artist was not afraid to paint the most changeable phenomena of nature, which appear for a moment and disappear. First snow, frosty sun, long shadows.
Camille Pissarro. Frost. 1873 Musée d'Orsay, Paris His most famous works are views of Paris. With wide boulevards, vain motley crowd. At night, during the day, in different weather. In some ways, they echo the series of paintings by Claude Monet.
The further development of European painting is associated with impressionism. This term was born by chance. The reason was the name of the landscape by C. Monet “Impression. Sunrise ”(see Appendix No. 1, Fig. 3) (from the French impression - impression), which appeared at the Impressionist exhibition in 1874. This is the first public performance of a group of artists, which included C. Monet, E. Degas, O. Renoir, A. Sisley, C. Pissarro and others, was met with rude ridicule and harassment by official bourgeois criticism. True, already from the end of the 1880s, the formal methods of their painting were picked up by representatives of academic art, which gave Degas reason to bitterly remark: “We were shot, but at the same time our pockets were ransacked.”
Now that the heated debate about Impressionism is a thing of the past, hardly anyone will dare to dispute that the Impressionist movement was a further step in the development of European realistic painting. “Impressionism is, first of all, the art of observing reality, which has reached unprecedented refinement” (V. N. Prokofiev). Striving for maximum immediacy and accuracy in the transfer of the visible world, they began to paint mainly in the open air and raised the importance of a sketch from nature, which almost supplanted the traditional type of painting, carefully and slowly created in the studio.
Consistently clarifying their palette, the Impressionists freed painting from earthy and brown varnishes and paints. Conditional, "museum" blackness in their canvases gives way to an infinitely diverse play of reflexes and colored shadows. They immeasurably expanded the possibilities of fine arts, discovering not only the world of the sun, light and air, but also the beauty of fogs, the restless atmosphere of big city life, the scattering of night lights and the rhythm of continuous movement.
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. How organically tradition and innovation merged in the art of the Impressionists is evidenced, first of all, by the work of the outstanding painter of the 19th century Edouard Manet (1832-1883). True, he himself did not consider himself a representative of impressionism and was always exhibited separately, but in ideological and worldview terms, undoubtedly, he was at the same time the forerunner and ideological leader of this movement.
At the beginning of his career, E. Manet is ostracized (a mockery of society). In the eyes of the bourgeois public and critics, his art becomes synonymous with the ugly, and the artist himself is called "a madman who paints a picture, shaking in delirium tremens" (M. de Montifo) (see Appendix No. 1, Fig. 4). Only the most insightful minds of that time were able to appreciate Manet's talent. Among them was C. Baudelaire and the young E. Zola, who declared that "Mr. Manet is destined for a place in the Louvre."
Impressionism received its most consistent, but also far-reaching expression in the work of Claude Monet (1840-1926). His name is often associated with such achievements of this pictorial method as the transfer of elusive transitional states of lighting, the vibration of light and air, their relationship in the process of incessant changes and transformations. “This, undoubtedly, was a great victory for the art of the New Age,” writes V.N. Prokofiev and adds: “But also its final victory.” It is no coincidence that Cezanne, although somewhat polemically sharpening his position, later argued that Monet's art is "only an eye."
Monet's early work is quite traditional. They still contain human figures, which in the future more and more turn into staffage and gradually disappear from his paintings. In the 1870s, the impressionistic style of the artist finally took shape, from now on he devoted himself entirely to the landscape. Since that time, he has worked almost exclusively in the open air. It is in his work that the type of large painting, the etude, is finally affirmed.
One of the first Monet begins to create a series of paintings in which the same motif is repeated at different times of the year and day, with different lighting and weather conditions (see Appendix No. 1, fig. 5, 6). Not all of them are equal, but the best canvases of these series amaze with the freshness of colors, the intensity of color and the artistry of rendering lighting effects.
In the late period of creativity in Monet's painting, the tendencies of decorativeism and flatness are intensifying. The brightness and purity of colors turn into their opposite, some kind of whitishness appears. Speaking about the abuse of the late impressionists by “a light tone that turns some works into a discolored canvas”, E. Zola wrote: “And today there is nothing but an open air ... only spots remain: a portrait is only a spot, figures are only spots, only spots” .
Other Impressionist painters were also mostly landscape painters. Their work often undeservedly remained in the shadows next to the truly colorful and impressive figure of Monet, although they were not inferior to him in vigilant vision of nature and in pictorial skill. Among them, the names of Alfred Sisley (1839-1899) and Camille Pissarro (1831-1903) should be named first of all. The works of Sisley, an Englishman by origin, are characterized by a special pictorial elegance. A brilliant master of plein air, he was able to convey the clear air of a clear winter morning, a light haze of fog warmed by the sun, clouds running across the sky on a windy day. Its gamut is distinguished by the richness of shades and the fidelity of tones. The artist's landscapes are always imbued with a deep mood, reflecting his basically lyrical perception of nature (see Appendix No. 1, fig. 7, 8, 9).
The creative path of Pissarro, the only artist who participated in all eight exhibitions of the Impressionists, was more complicated - J. Revald called him the "patriarch" of this movement. Starting with landscapes close in painting to the Barbizons, he, under the influence of Manet and his young friends, began to work en plein air, consistently brightening the palette. Gradually, he develops his own impressionistic method. One of the first he refused to use black paint. Pissarro has always been inclined towards an analytical approach to painting, hence his experiments in the decomposition of color - "divisionism" and "pointellism". However, he soon returns to the impressionistic manner in which his best works are created - a wonderful series of urban landscapes Paris (see Appendix No. 1, fig. 10,11,12,13). Their composition is always thought out and balanced, the painting is refined in color and virtuoso in technique.
In Russia, the urban landscape in impressionism was enlightened by Konstantin Korovin. “Paris came as a shock to me… the Impressionists… in them I saw what I was scolded for in Moscow.” Korovin (1861-1939), along with his friend Valentin Serov, were the central figures of Russian Impressionism. Under the great influence of the French movement, he created his own style, which mixed the main elements of French impressionism with the rich colors of Russian art of that period (see Appendix No. 1, fig. 15).
