Impressionism is a trend in painting that originated in France in the 19th-20th centuries, which is an artistic attempt to capture any moment of life in all its variability and mobility. Impressionist paintings are like a qualitatively washed-out photograph, reviving in fantasy the continuation of the story seen. In this article, we take a look at 10 of the world's most famous impressionists. Fortunately, there are more than ten, twenty or even a hundred talented artists, so let's focus on those names that you need to know for sure.
In order not to offend either the artists or their admirers, the list is given in Russian alphabetical order.
1. Alfred Sisley
This French painter of English origin is considered the most famous landscape painter of the second half of the 19th century. There are more than 900 paintings in his collection, of which the most famous are “Country Alley”, “Frost in Louveciennes”, “Bridge in Argenteuil”, “Early Snow in Louveciennes”, “Lawns in Spring”, and many others.
2. Van Gogh
Known to the whole world for the sad story about his ear (by the way, he did not cut off the whole ear, but only the lobe), Wang Gon became popular only after his death. And in his life he was able to sell a single painting, 4 months before his death. It is said that he was both an entrepreneur and a priest, but often ended up in psychiatric hospitals due to depression, so all the rebelliousness of his existence resulted in legendary works.
3. Camille Pissarro
Pissarro was born on the island of St. Thomas, in a family of bourgeois Jews, and was one of the few impressionists whose parents encouraged his hobby and soon sent him to Paris to study. Most of all, the artist liked nature, and he depicted it in all colors, and more precisely, Pissarro had a special talent for choosing the softness of colors, compatibility, after which air seemed to appear in the pictures.
4. Claude Monet
From childhood, the boy decided that he would become an artist, despite the prohibitions of the family. Having moved to Paris on his own, Claude Monet plunged into the gray everyday life of a hard life: two years in the service in the armed forces in Algeria, litigation with creditors due to poverty, illness. However, one gets the feeling that the difficulties did not oppress, but rather inspired the artist to create such vivid paintings as “Impression, Sunrise”, “Parliament Building in London”, “Bridge to Europe”, “Autumn in Argenteuil”, “On the Shore Trouville, and many others.
5. Konstantin Korovin
It is nice to know that among the French, the parents of impressionism, one can proudly place our compatriot Konstantin Korovin. Passionate love for nature helped him intuitively give unimaginable liveliness to a static picture, thanks to the combination of suitable colors, width of strokes, choice of theme. It is impossible to pass by his paintings "Pier in Gurzuf", "Fish, Wine and Fruit", "Autumn Landscape", "Moonlight Night. Winter” and a series of his works dedicated to Paris.
6. Paul Gauguin
Until the age of 26, Paul Gauguin did not even think about painting. He was an entrepreneur and had a large family. However, when I first saw the paintings of Camille Pissarro, I decided that I would certainly begin to paint. Over time, the artist's style has changed, but the most famous impressionistic paintings are Garden in the Snow, By the Cliff, On the Beach in Dieppe, Nude, Palms in Martinique and others.
7. Paul Cezanne
Cezanne, unlike most of his colleagues, became famous during his lifetime. He managed to organize his own exhibition and gain considerable income from it. People knew a lot about his paintings - he, like no one else, learned to combine the play of light and shadow, made a loud emphasis on regular and irregular geometric shapes, the severity of the themes of his paintings were in harmony with romance.
8. Pierre Auguste Renoir
Until the age of 20, Renoir worked as a fan decorator for his older brother, and only then he moved to Paris, where he met Monet, Basil and Sisley. This acquaintance helped him in the future to take the road of impressionism and become famous on it. Renoir is known as the author of a sentimental portrait, among his most outstanding works are “On the Terrace”, “Walk”, “Portrait of the Actress Jeanne Samary”, “The Lodge”, “Alfred Sisley and his Wife”, “On the Swing”, “The Frog” and a lot others.
9. Edgar Degas
If you haven't heard anything about the "Blue Dancers", "Ballet Rehearsals", "Ballet School" and "Absinthe" - hurry up to learn more about the work of Edgar Degas. The selection of original colors, unique themes for paintings, the feeling of movement of the picture - all this and much more made Degas one of the most famous artists in the world.
10. Edouard Manet
Do not confuse Manet with Monet - these are two different people who worked at the same time and in the same artistic direction. Manet was always attracted by everyday scenes, unusual appearances and types, as if by chance "caught" moments, subsequently captured for centuries. Among the famous paintings of Manet: "Olympia", "Breakfast on the Grass", "Bar at the Folies Bergère", "Flutist", "Nana" and others.
If you have even the slightest opportunity to see the paintings of these masters live, you will fall in love with impressionism forever!
Everything has its origins somewhere in the past, including paintings that have changed with the times, and the current trends are far from clear to everyone. But everything new is well-forgotten old, and in order to understand contemporary painting, one does not need to know the history of art from ancient times, it is enough just to recall the painting of the 19th and 20th centuries.
The middle of the 19th century is a time of change not only in history, but also in art. Everything that was before: classicism, romanticism, and even more so academicism - currents limited by certain limits. In France in the 1950s and 1960s, the trends in painting were set by the official Salon, but the typical “Salon” art did not suit everyone, and this explained the new trends that had appeared. In the painting of that time there was a revolutionary explosion, which broke with centuries-old traditions and foundations. And one of the epicenters was Paris, where in the spring of 1874 young painters, among whom were Monet, Pissarro, Sisley, Degas, Renoir and Cezanne, organized their own exhibition. The works presented there were completely different from the salon ones. The artists used a different method - reflexes, shadows and light were conveyed with pure colors, separate strokes, the shape of each object seemed to dissolve in the air-light environment. No other direction in painting knew such methods. These effects helped to express as much as possible their impressions of ever-changing things, nature, people. One journalist called the group "Impressionists", thus he wanted to show his disdain for young artists. But they accepted this term, and it eventually took root and entered into active use, losing its negative meaning. This is how impressionism appeared, unlike all other trends in painting of the 19th century.
At first, the reaction to the innovation was more than hostile. Nobody wanted to buy too bold and new painting, and they were afraid, because all the critics did not take the Impressionists seriously, they laughed at them. Many said that the Impressionist artists wanted to achieve quick fame, they were not satisfied with the sharp break with conservatism and academicism, as well as the unfinished and "sloppy" look of the work. But even hunger and poverty could not force the artists to abandon their beliefs, and they persisted until their painting was finally recognized. But it took too long to wait for recognition, some impressionist artists were no longer alive then.
As a result, the trend that originated in Paris in the 60s was of great importance for the development of world art in the 19th and 20th centuries. After all, future trends in painting were repelled precisely from impressionism. Each subsequent style appeared in search of a new one. Post-Impressionism was born by the same Impressionists who decided that their method was limited: deep and ambiguous symbolism was a response to painting that had “lost its meaning”, and Art Nouveau, even with its name, calls for a new one. Of course, many changes have taken place in art since 1874, but all modern trends in painting are somehow repelled by a fleeting Parisian impression.
At the turn of the 18th and 19th centuries, a new leap in the development of science and technology took place in most countries of Western Europe. Industrial culture has done a great job of strengthening the spiritual foundations of society, overcoming rationalistic guidelines and cultivating the human in man. She very keenly felt the need for beauty, for the affirmation of an aesthetically developed personality, for the deepening of real humanism, taking practical steps to embody freedom, equality, and the harmonization of social relations.
During this period, France was going through a difficult time. The Franco-Prussian War, a short bloody uprising and the fall of the Paris Commune marked the end of the Second Empire.
After clearing the ruins left by the terrible Prussian bombardments and the furious civil war, Paris once again proclaimed itself the center of European art.
After all, it became the capital of European artistic life back in the time of King Louis XIV, when the Academy and annual art exhibitions were established, which received the names of the Salons - from the so-called Square Salon in the Louvre, where new works of painters and sculptors were exhibited every year. In the 19th century, it was the Salons, where a sharp artistic struggle would unfold, that would reveal new trends in art.
The acceptance of the painting for the exhibition, the approval of its jury of the Salon, was the first step towards the public recognition of the artist. Since the 1850s, the Salons have increasingly turned into grandiose reviews of works selected to suit official tastes, which is why the expression "salon art" even appeared. Pictures that did not correspond in any way to this nowhere prescribed, but rigid "standard", were simply rejected by the jury. The press discussed in every way which artists were admitted to the Salon and which were not, turning almost every one of these annual exhibitions into a public scandal.
In the years 1800-1830, Dutch and English landscape painters began to influence French landscape painting and fine art in general. Eugene Delacroix, a representative of romanticism, brought to his paintings a new brightness of colors and virtuosity of writing. He was an admirer of Constable, who strove for a new naturalism. Delacroix's radical approach to color and his technique of applying large strokes of paint to enhance form would later be developed by the Impressionists.
Of particular interest to Delacroix and his contemporaries were Constable's studies. Trying to capture the infinitely changing properties of light and color, Delacroix noticed that in nature they "never stay still." Therefore, the French romantics got into the habit of painting in oils and watercolors faster, but by no means superficial sketches of individual scenes.
By the middle of the century, the realists, led by Gustave Courbet, became the most significant phenomenon in painting. After 1850 in French art for a decade there was an unprecedented fragmentation of styles, partly permissible, but never approved by the authorities. These experiments pushed young artists on a path that was a logical continuation of trends that had already emerged, but seemed stunningly revolutionary to the public and arbitrators of the Salon.
Art, which occupied a dominant position in the halls of the Salon, was distinguished, as a rule, by external craft and technical virtuosity, interest in anecdotal, entertainingly told plots of a sentimental, everyday, fake historical nature and an abundance of mythological plots that justify all kinds of images of a naked body. It was an eclectic and entertainingly unprincipled art. Relevant personnel were trained under the auspices of the Academy by the School of Fine Arts, where such masters of late academicism as Couture, Cabanel and others ran the whole business. Salon art was distinguished by its exceptional vitality, artistic vulgarization, spiritually uniting and adapting the achievements of the main creative quests of its time to the level of philistine tastes of the public.
The art of the Salon was opposed by various realistic trends. Their representatives were the best masters of the French artistic culture of those decades. The work of realist artists is associated with them, continuing in the new conditions the thematic traditions of realism of the 40-50s. 19th century - Bastien-Lepage, Lermitte and others. Of decisive importance for the fate of the artistic development of France and Western Europe as a whole were the innovative realistic quests of Edouard Manet and Auguste Rodin, the sharply expressive art of Edgar Degas, and, finally, the work of a group of artists who most consistently embodied the principles of impressionist art: Claude Monet, Pissarro, Sisley and Renoir. It was their work that marked the beginning of the rapid development of the period of impressionism.
Impressionism (from the French impression-impression), a trend in art of the last third of the 19th - early 20th centuries, whose representatives sought to most naturally and impartially capture the real world in its mobility and variability, to convey their fleeting impressions.
Impressionism constituted an era in French art in the second half of the 19th century and then spread to all European countries. He reformed artistic tastes, rebuilt visual perception. In essence, it was a natural continuation and development of the realistic method. The art of the Impressionists is just as democratic as the art of their direct predecessors, it does not distinguish between "high" and "low" nature and completely trusts the testimony of the eye. The way of "looking" changes - it becomes the most intent and at the same time more lyrical. The connection with romanticism is being eroded - the impressionists, as well as the realists of the older generation, want to deal only with modernity, avoiding historical, mythological and literary themes. For great aesthetic discoveries, the simplest, daily observed motifs were enough for them: Parisian cafes, streets, modest gardens, the banks of the Seine, the surrounding villages.
The Impressionists lived in an era of struggle between modernity and tradition. We see in their works a radical and stunning for that time break with the traditional principles of art, the culmination, but not the end of the search for a new look. The abstractionism of the 20th century was born out of experiments with the art that existed then, just as the innovations of the Impressionists grew out of the work of Courbet, Corot, Delacroix, Constable, as well as the old masters who preceded them.
The Impressionists abandoned the traditional distinction between study, sketch and painting. They started and finished work right in the open air - in the open air. If they had to finish something in the studio, they still tried to preserve the feeling of a captured moment and convey the light-air atmosphere that envelops the objects.
Plein air is the key to their method. In this way they have reached an exceptional subtlety of perception; they managed to reveal in the relationship of light, air and color such enchanting effects that they had not noticed before, and without the painting of the Impressionists, they probably would not have noticed. Not without reason, they said that Monet invented the fogs of London, although the Impressionists did not invent anything, relying only on the testimony of the eye, without adding to them prior knowledge of the depicted.
Indeed, the Impressionists most of all valued the contact of the soul with nature, attaching great importance to direct impression, observation of various phenomena of the surrounding reality. No wonder they patiently waited for clear warm days to write in the open air in the open air.
But the creators of a new type of beauty never sought to carefully imitate, copy, objectively "portrait" nature. In their works there is not just a virtuoso operation of the world of impressive appearances. The essence of impressionistic aesthetics lies in the amazing ability to condense beauty, highlight the depth of a unique phenomenon, fact and recreate the poetics of a transformed reality, warmed by the warmth of the human soul. Thus, a qualitatively different, aesthetically attractive world, saturated with spiritualized radiance, emerges.
As a result of an impressionistic touch on the world, everything, at first glance, ordinary, prosaic, trivial, momentary was transformed into poetic, attractive, festive, striking everything with the penetrating magic of light, richness of colors, quivering highlights, vibration of the air and faces radiating purity. In contrast to academic art, which relied on the canons of classicism - the obligatory placement of the main characters in the center of the picture, the three-dimensionality of space, the use of a historical plot for the purpose of a very specific semantic orientation of the viewer - the Impressionists stopped dividing objects into main and secondary, sublime and low. From now on, the picture could embody multi-colored shadows from objects, a haystack, a lilac bush, a crowd on a Parisian boulevard, the colorful life of a market, laundresses, dancers, saleswomen, the light of gas lamps, a railway line, a bullfight, seagulls, rocks, peonies.
The Impressionists are characterized by a keen interest in all the phenomena of everyday life. But this did not mean some kind of omnivorous, promiscuous. In ordinary, everyday phenomena, the moment was chosen when the harmony of the surrounding world manifested itself most impressively. The impressionistic worldview was extremely responsive to the most subtle shades of the same color, the state of an object or phenomenon.
In 1841, the London-based American portraitist John Goffrand first conceived the idea of a tube to extrude paint, and paint dealers Winsor and Newton quickly picked up the idea. Pierre Auguste Renoir, according to his son, said: “Without paints in tubes, there would be no Cezanne, no Monet, no Sisley, no Pissarro, none of those whom journalists later dubbed the Impressionists.”
The paint in the tubes had the consistency of fresh oil, ideal for applying thick, pasty strokes of a brush or even a spatula to canvas; both methods were used by the Impressionists.
In new tubes, the whole range of bright, stable paints began to appear on the market. Advances in chemistry at the beginning of the century brought new paints, for example, cobalt blue, artificial ultramarine, yellow chrome with orange, red, green, tint, emerald green, white zinc, durable white lead. By the 1850s, artists had at their disposal a palette of colors that was bright, reliable and comfortable as never before. .
The Impressionists did not pass by the scientific discoveries of the middle of the century concerning optics, color decomposition. Complementary colors of the spectrum (red - green, blue - orange, lilac - yellow) enhance each other when adjacent, and when mixed, they become colorless. Any color put on a white background seems to be surrounded by a slight halo from a complementary color; in the same place and in the shadows cast by objects, when they are illuminated by the sun, a color appears, additional to the color of the object. Partly intuitively, and partly consciously, artists used such scientific observations. For impressionistic painting, they were especially important. The Impressionists took into account the laws of perception of color at a distance and, if possible, avoiding mixing colors on the palette, arranged pure colorful strokes so that they mixed in the eye of the viewer. The light tones of the solar spectrum are one of the commandments of impressionism. They refused black, brown tones, because the solar spectrum does not have them. They conveyed shadows with color, not blackness, hence the soft shining harmony of their canvases. .
On the whole, the impressionistic type of beauty reflected the fact of opposition of the spiritual person to the process of urbanization, pragmatism, enslavement of feelings, which led to an increased need for a more complete disclosure of the emotional principle, actualization of the spiritual qualities of the individual and aroused a desire for a more acute experience of the spatio-temporal characteristics of being.
Impressionism (impressionnisme) is a style of painting that appeared at the end of the 19th century in France and then spread throughout the world. The very idea of impressionism lies in its name: impression - impression. Artists who were tired of traditional academic painting techniques, which, in their opinion, did not convey all the beauty and liveliness of the world, began to use completely new techniques and methods of depiction, which were supposed to express in the most accessible form not a “photographic” look, but an impression from what you see. In his painting, the impressionist artist, using the nature of strokes and color palette, tries to convey the atmosphere, heat or cold, strong wind or peaceful silence, foggy rainy morning or bright sunny afternoon, as well as his personal experiences from what he saw.
Impressionism is a world of feelings, emotions and fleeting impressions. It is not external realism or naturalness that is valued here, but the realism of the expressed sensations, the internal state of the picture, its atmosphere, depth. Initially, this style was heavily criticized. The first Impressionist paintings were exhibited at the Salon des Les Misérables in Paris, where works by artists rejected by the official Paris Art Salon were exhibited. For the first time the term "Impressionism" was used by the critic Louis Leroy, who wrote a disparaging review in the magazine "Le Charivari" about the exhibition of artists. As the basis for the term, he took the painting by Claude Monet “Impression. Rising Sun". He called all artists impressionists, which can be roughly translated as "impressionists." At first, the paintings were indeed criticized, but soon more and more fans of the new direction in art began to come to the salon, and the genre itself turned from an outcast into a recognized one.
It is worth noting that the artists of the late 19th century in France did not come up with a new style out of nowhere. They took as a basis the techniques of the painters of the past, including the artists of the Renaissance. Such painters as El Greco, Velazquez, Goya, Rubens, Turner and others, long before the emergence of impressionism, tried to convey the mood of the picture, the liveliness of nature, the special expressiveness of the weather with the help of various intermediate tones, bright or vice versa dull strokes that looked like abstract things. In their paintings, they used it quite sparingly, so the unusual technique was not evident to the viewer. The Impressionists, on the other hand, decided to take these depiction methods as the basis for their works.
Another specific feature of the works of the Impressionists is a kind of superficial everydayness, which, however, contains incredible depth. They do not try to express any deep philosophical themes, mythological or religious tasks, historical and important events. The paintings of artists of this direction are inherently simple and everyday - landscapes, still lifes, people walking down the street or doing their usual things, and so on. It is precisely such moments where there is no excessive thematicity that distracts a person, feelings and emotions from what they see come to the fore. Also, the Impressionists, at least at the beginning of their existence, did not depict "heavy" topics - poverty, wars, tragedies, suffering, and so on. Impressionist paintings are most often the most positive and joyful works, where there is a lot of light, bright colors, smoothed chiaroscuro, smooth contrasts. Impressionism is a pleasant impression, the joy of life, the beauty of every moment, pleasure, purity, sincerity.
The most famous impressionists were such great artists as Claude Monet, Edgar Degas, Alfred Sisley, Camille Pissarro and many others.
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Alfred Sisley - Lawns in Spring
Camille Pissarro - Boulevard Montmartre. Afternoon, sunny.
European art of the late 19th century was enriched by the emergence of modernist art. Later, its influence extended to music and literature. It was called "impressionism" because it was based on the subtlest impressions of the artist, images and moods.
Origins and history of occurrence
Several young artists formed a group in the second half of the 19th century. They had a common goal and coincided interests. The main thing for this company was to work in nature, without the walls of the workshop and various restraining factors. In their paintings, they sought to convey all the sensuality, the impression of the play of light and shadow. Landscapes and portraits reflected the unity of the soul with the Universe, with the surrounding world. Their paintings are true poetry of colors.
In 1874 there was an exhibition of this group of artists. Landscape by Claude Monet “Impression. Sunrise” caught the eye of the critic, who in his review for the first time called these creators impressionists (from the French impression - “impression”).
The prerequisites for the birth of the impressionism style, the paintings of whose representatives will soon find incredible success, were the works of the Renaissance. The work of the Spaniards Velazquez, El Greco, the English Turner, Constable unconditionally influenced the French, who were the founders of impressionism.
Pissarro, Manet, Degas, Sisley, Cezanne, Monet, Renoir and others became prominent representatives of the style in France.
The philosophy of impressionism in painting
The artists who painted in this style did not set themselves the task of drawing public attention to troubles. In their works, one cannot find plots on the topic of the day, one cannot receive moralizing or notice human contradictions.
Paintings in the style of impressionism are aimed at conveying a momentary mood, developing color schemes of a mysterious nature. In the works there is only a place for a positive beginning, gloom bypassed the Impressionists.
In fact, the Impressionists did not bother to think through the plot and details. The main factor was not what to draw, but how to depict and convey your mood.
Painting technique
There is a colossal difference between the academic style of drawing and the technique of the Impressionists. They simply abandoned many methods, some were changed beyond recognition. Here are the innovations they made:
- Abandoned contour. It was replaced with strokes - small and contrasting.
- We stopped using palettes for We selected colors that complement each other and do not require merging to obtain a certain effect. For example, yellow is purple.
- Stop painting in black.
- Completely abandoned work in the workshops. They wrote exclusively on nature, so that it would be easier to capture a moment, an image, a feeling.
- Only paints with good opacity were used.
- Don't wait for the next layer to dry. Fresh smears were applied immediately.
- They created cycles of works to follow the changes in light and shadow. For example, "Haystacks" by Claude Monet.
Of course, not all artists performed exactly the features of the impressionism style. Paintings by Edouard Manet, for example, never participated in joint exhibitions, and he himself positioned himself as a separate artist. Edgar Degas worked only in workshops, but this did not harm the quality of his works.
Representatives of French Impressionism
The first exhibition of Impressionist works is dated 1874. After 12 years, their last exposition took place. The first work in this style can be called “Breakfast on the Grass” by E. Manet. This picture was presented in the Salon of the Rejected. It was met with hostility, because it was very different from the academic canons. That is why Manet becomes a figure around which a circle of followers of this stylistic direction gathers.
Unfortunately, contemporaries did not appreciate such a style as impressionism. Paintings and artists existed in disagreement with official art.
Gradually, Claude Monet comes to the fore in the team of painters, who later becomes their leader and the main ideologist of impressionism.
Claude Monet (1840-1926)
The work of this artist can be described as a hymn to impressionism. It was he who was the first to refuse to use black in his paintings, arguing that even shadows and night have other tones.
The world in Monet's paintings is vague outlines, voluminous strokes, looking at which you can feel the whole spectrum of the play of the colors of day and night, the seasons, the harmony of the sublunar world. Only a moment that was snatched from the flow of life, in the understanding of Monet, is impressionism. His paintings seem to have no materiality, they are all saturated with rays of light and air currents.
Claude Monet created amazing works: "Station Saint-Lazare", "Rouen Cathedral", the cycle "Charing Cross Bridge" and many others.
Auguste Renoir (1841-1919)
Renoir's creations give the impression of extraordinary lightness, airiness, ethereality. The plot was born as if by accident, but it is known that the artist carefully thought through all the stages of his work and worked from morning to night.
A distinctive feature of the work of O. Renoir is the use of glazing, which is possible only when writing Impressionism in the artist's works is manifested in every stroke. Man is perceived by him as a particle of nature itself, which is why there are so many paintings with nudes.
Renoir's favorite pastime was the image of a woman in all her attractive and attractive beauty. Portraits occupy a special place in the creative life of the artist. “Umbrellas”, “Girl with a Fan”, “Breakfast of the Rowers” are just a small part of the amazing collection of paintings by Auguste Renoir.
Georges Seurat (1859-1891)
Seurat associated the process of creating paintings with the scientific substantiation of color theory. The light-air environment was drawn on the basis of the dependence of the main and additional tones.
Despite the fact that J. Seurat is a representative of the final stage of Impressionism, and his technique is in many respects different from the founders, he in the same way creates an illusory representation of the objective form with the help of strokes, which can be viewed and seen only at a distance.
Masterpieces of creativity can be called the painting "Sunday", "Cancan", "Models".
Representatives of Russian impressionism
Russian impressionism arose almost spontaneously, mixing many phenomena and methods. However, the basis, like the French, was a full-scale vision of the process.
In Russian impressionism, although the features of French were preserved, the features of the national nature and state of mind made significant changes. For example, the vision of snow or northern landscapes was expressed using an unusual technique.
In Russia, few artists worked in the style of impressionism, their paintings attract the eye to this day.
The impressionistic period can be distinguished in the work of Valentin Serov. His "Girl with Peaches" is the clearest example and standard of this style in Russia.
The paintings conquer with their freshness and consonance of pure colors. The main theme of this artist's work is the image of a person in nature. "Northern Idyll", "In the Boat", "Fyodor Chaliapin" are bright milestones in the activity of K. Korovin.
Impressionism in modern times
Currently, this direction in art has received a new life. In this style, several artists paint their paintings. Modern impressionism exists in Russia (André Cohn), in France (Laurent Parcelier), in America (Diana Leonard).
Andre Kohn is the most prominent representative of the new impressionism. His oil paintings are striking in their simplicity. The artist sees beauty in ordinary things. The Creator interprets many objects through the prism of movement.
The watercolor works of Laurent Parcelier are known all over the world. His series of works "Strange World" was released in the form of postcards. Gorgeous, vibrant and sensual, they are breathtaking.
As in the 19th century, plein air painting remains for artists at the moment. Thanks to her, impressionism will live forever. artists continue to inspire, impress and inspire.
