“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 collection
Manet 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 contemporary 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 that 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 blurred 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. It is not surprising that 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.
IMPRESSIONISM (French impressio-n-nisme, from impression - vpe-chat-le-tion) - on-right-le-tion in is-kus-st-ve (pre-zh-de of everything in life -pi-si) in the next third of the 19th - 1st quarter of the 20th centuries.
Rise-nick-but-ve-nie ter-mi-in connection with the first you-stav-coy French hu-doge-no-kov-edi-but-mouse-len-ni-kov (under the name “Ano-nim-noe coo-pe-ra-tiv-noe community-of-st-vo hu-doge-ni-kov ...”), passed in the Parisian atelier G. Na-da-ra in 1874. One of the paintings presented on it by K. Mo-ne (“Vpe-chat-le-nie. Sunrise”; on-pi-sa-na in Gav-re in the spring of 1873; now - not in the Musee Mar-mot-tan, Paris) yes-la-water cri-ti-ku L. Le-roy from the magazine "Le Charivari" to call your an overview article “You-stav-ka-im-press-sio-ni-stov”. Sa-mo-word "vpe-chat-le-nie" in the meaning of spo-so-ba-artistic knowledge of action-st-vi-tel-no-sti meets -sya and earlier: these in-nya-ti-em were used by the poets Ch. T. Russo, Sh.F. Do-bi-ny (already in the 1860s, cri-ti-ka na-zy-va-la of his “head of the school vpe-chat-le-ny”), E. Mane. Ucha-st-ni-ka-mi you-sta-wok im-press-sio-ni-stov (later, the 8th was in 1886), in my opinion Mo- no, would L.E. Bu-den, A. Guy-au-men, E. De-gas, G. Kai-bott, M. Cassette, B. Mo-ri-zo, C. Pis-sar-ro, O. Re- nu-ar, A. Sis-ley, as well as P. Se-zann, P. Gauguin and others
Conditions for the history of impressionism in live-wee-si can be de-poured into periods: pre-preparation (co-maturation of new -go me-to-yes) - 1860s .; race-color and struggle for new art - 1870s (pe-ri-od of "class-si-che-impressionism"); na-chi-nayu-shche-go-sya kri-zi-sa (1880s); late - from the 1890s to the 1920s. No-va-tions of impressionism would be ready-to-le-we-discovery in the field of op-ti-ki and physio-logy of vision, theo- ri-her color contrasts M. Shev-re-la, E. De-lac-rua’s art in the field of up-to-full tones, Pei-zazh-noy live-in-pee-sue K. Ko-ro and ma-te-ditch of the bar-bi-zone school, us-pe-ha-mi in the region of pho-to -graphics. A significant role was also played by the rapprochement of future press-sio-nists with E. Mane (from the end of the 1860s), eye-manager shim big impact on the young hu-dozh-ni-kov (not participating in the exhibitions of the Impressionists, Man himself paid tribute to them-press -Sio-ni-stic ma-not-re writing), familiarity with English art (W. Turner, R. Bo-ning-ton, J. Con-stable) in 1870- 1871 (during the pre-by-va-niya in Lon-do-not by K. Mo-ne and K. Pis-sar-ro) and the “discovery” of ev-ro-pei-tsa- mi of Japanese art in the middle of the 19th century. The desire to catch the “instant-vein-ness” of the state of the at-mo-sphere and the natural environment can be noticed already in the lit creative-che-st-ve mas-ter-ditch of the so-called pre-dim-press-sio-niz-ma (E. Bu-den, J. Jon-gkind, F. Basil), but only within the framework of impressionism, these devices were transformed into a whole artistic system. The most-bo-le-after-before-va-tel-but keep this system-the-we-we in our creative-che-st-ve K. Mo-ne; in the works of other European (including Russian) and American hu-doge-ni-kov-im-press-sio-ni-stov, various techniques of impressionism on-ho-di- whether in each case there is no-on-second-ri-mo-in-di-vi-du-al-ny inter-pre-ta-tion.
Im-press-sio-ni-sta would be prin-qi-pi-al-ny-mi against-against-no-ka-mi of all-to-theo-re-ti-zi-ro-va-nia ; the theory of impressionism arose only at the beginning of the 20th century, it was based on the artistic discoveries of the masters of this nia, on the inherent impressionism in a different, incomprehensible mouse-le-nii. In the basis of impressionism, there was a non-traditional view of the world as a kind of “moving ma-te-ri-al-noy sub-stan- tion ”(B.A. Zer-nov), striving for-pe-chat-flying around the world in its mobility and from-men-chi-in- sti, “instantly-ven-no-sti” of random si-tua-tions, movements, states of nature. Im-press-sio-ni-stam would be close to sfor-mu-li-ro-van-noe E. Zo-la in-no-ma-nie pro-of-ve-de-niya art as “ corner of the world-ro-building, see-den-no-go through tem-pe-ra-ment ”(that is, in the subjective pre-lom-le-nii hu-dozh -Nika); they strove to ot-ra-zit in the “mic-ro-kos-me” one-nothing-no-go about-from-ve-de-niya not-ras-tor-zhi-muyu connection at-ro -dy and che-lo-ve-ka, in-di-vi-duu-ma and ok-ru-zhayu-schey environment.
Impressionism in painting
The development of aka-de-micic can-no-news in live-in-pee-si by the French impressionists co-ver-sha-moose in several on-right-le-ni-yah: refusal from all-to-ro-da, whether-te-ra-tour-no-sti, “plot-no-sti”, mo-ra-li-zi-ro-va-nia, own- st-ven-nyh sa-lon-no-mu is-kus-st-vu of that time-me-ni, from-is-kov from-vle-chen-noy "ra-fa-elevsky" beauty of the late French class-si-cis-ma (J.O.D. Ingres and his after-before-va-te-li), non-acceptance as a program -no-sti and pa-fo-sa of ro-mantic art, and for-ost-ryon-no-go so-chi-al-no-go real-liz-ma G. Kur-be. For a rare exception, the art of impressionism is about-ra-sche-but to the present-time: it pre-ob-la-da-yut those-we-go- ro-yes, “cha-st-noy” life (everyday life, rest, entertainment), beauty of rural landscapes. Impressionism destroyed all the traditional ideas about the ie-rar-chia of genres and their special-ci-fi-ke ra with port-re-tom, port-re-ta with landscape or in-ter-e-rum, etc.), about whom-by-zi-tion as a castle-well-that whole-lo- st-th structure-tu-re ob-ra-call. The next in the life-in-pee-si of impressionism for-me-not-on-no-ma-no-eat car-ty-ny as a fragment-men-ta on-tu-ry, word-but see-den-no-go in the window-no (or yes, “under-look-ren-no-go through the piss-well-zhe-well”, according to op-re-de-le- nyu E. Deha). For pictures im-press-sio-ni-stov ha-rak-ter-na "non-for-given-ness" of the frame, de-centr-tra-li-za-tion of the image-bra-same- niya (from-day-st-vie-central-system-te-we-re-call and static, single-st-ven-noy point of view), not-usual- the quality of the bi-rai-my ra-courses, the displacement of the compositional axes, the “pro-of-free” sections of the parts of the com-po-zi-tion, before -me-tov and fi-gur ra-my car-ti-ny.
Striving for-pe-chat-flying in life-in-pee-si in a hundred-yan-but changing-sya (due to-vi-si-mo-sti from os-ve- sch-niya) beautiful raz-no-ob-ra-zie vi-di-mo-go mi-ra with-ve-lo im-press-sio-n-stov (for ex-key-che- ni-em E. De-ha) to his kind of co-lo-ri-istic re-form-me - from-ka-zu from complex (mixed) to-news, times -lo-nium them into pure spectral colors, onto the canvas with separate smears, some should be opt-ti- che-ski mix-shi-va-sya in the eyes of the viewer-te-la. The color in the life-in-pee-si of impressionism gives-ob-re-ta-et not-its-st-ven-nuyu to him earlier av-to-no-miya, up to from-de-le-niya from pre-me-ta, and yav-la-et-sya but-si-te-lem of light-of-the-rows, pro-no-za-vayu-shchih everything in the same way -tion. Ple-ner pre-la-ha-et-great subtlety of gradation of light-to-the-no, color-to-out-of-no-necks and re-re-ho- dov, carefully raz-ra-bot-ku sis-te-we va-le-ditch.
The os-lab-le-tion of the plastic on-cha-la in the live-in-pee-si of impressionism is connected with the refusal from the pro-ti-in-staging light and dark as a form of-mo-ob-ra-zuyu-go fak-to-ra. The light is becoming, but, it’s almost the main “hero” of the life of the Impressionists, the most important component of the whole image structures-tu-ry, sub-stan-qi-her form; bright solar-nech-ny light does not amplify the sound of color, but you-light-la-et it, dis-creating from-shadows. Te-no ut-ra-chi-va-yut not-about-no-tsae-bridge and black-but-that, becoming-but-blooming color-us and transparent-us; in the shadows, the color only te-rya-ems its light-si-lu and is enriched with full-full then-on-mi-ho-lod-ny part of the spectrum. Na-chi-naya since the 1870s from zhi-vo-pi-si im-press-sio-ni-stov almost windows-cha-tel-but from-gna-na ah-ro-ma-ti- che-sky colors (black, gray and open white), ko-lo-rit ple-ner-nyh pictures os-no-van on co-pos-tav- le-ni-yah of warm and cold spectral colors, they use the possibility of “pro-country-st- ven-no-go "color-ta - image-bra-ing of the elements of water, no-ba, ob-la-kov, tu-ma-na, air-du-ha, in-lu- tea-chewing ok-ra-sku due to races-se-yan-no-go and from-ra-wives-no-go sun-no-no-go light. Us-lie-non-live-in-writing-no-th-language, pay attention to re-re-da-che effects of os-ve-shche-tion and color- vyh ref-leks-owls bring to their kind-yes de-ma-te-ria-li-za-tion of the subject-met-no-go world-ra, ut-ra-them to them no-sti, mutually-pro-nick-but-ve-niyu elements of iso-bra-zhe-niya. Found in the process of working on the pr-ro-de, these tricks, we soon began to use-pol-zo-vat-sya not only in the landscape -noy live-in-pee-si; similar sys-te-mu time-ra-ba-you-val E. De-ga, from-ri-tsav-shi in general not-about-ho-di-bridge of ra-bo-you on Ple-ne-re.
Another no-va-tion of impressionism - after-before-va-tel-naya "re-vision" of the traditional per-spec-ty-you, rejection of non-movement no-go and uni-kal-no-go center-tra project-tion, pro-ti-vo-re-cha-sche-go es-te-st-ven-no-mu (bi-fo-kal -no-mu and from-part of the sphere-ri-che-sko-mu) perception of pro-country-st-va; ten-den-tion to for-tu-she-you-va-tion of depth-be-us, strength-le-tion of two-dimensionality; in some cases, the use of ak-so-no-met-rii, the effects of sharply intensified direct-my direct-bo-cri-vo-li -ne-noy per-spec-ty-you, later-turning-tiv-she-sya at P. Se-zan-n into a complete system-te-mu “per-chain- tiv-noy "per-spec-ti-you. Impressionism's successive rejection of the anthro-centric concept of European art (man-age is not the center of the world-building, but his hour -ti-tsa) pro-iso-went in a significant degree under the influence of Japanese art and appeared in equal-but-pra-vii of all the elements of com-po -zi-tion, equal to the main image and the second-degree-pen-noy de-ta-li, up to almost half-but-th “glos-sche -niya "of the main image, drink-for-we-bo-bo-re-re-drink, drink-for-mother in the smoke of a slip-of-the-tu-ma-na; in general, in ethical terms, not-dos-ka-zan-no-sti and “silence-cha-ny”.
Striving for-pe-chat-letting a “single moving-ma-ter-riyu” es-te-st-ven-but with-ve-lo im-press-sio-ni -stov (also not without the influence of the Japanese gra-vu-ra) to the creation of series and cycles of work, in a way dedicated to the same pre-me -that image-bra-zhe-niya and fi-si-ruyu-shchih-bo di-na-mi-ku image (im-bra-zhe-tion “that-po-lei”, “in-kza -loving "by K. Mo-net, "dancers" by E. Degas, many people in Paris boulevards, etc.), more changing effect-you os-ve-shche-tion and color-no-sti in their mutual connection, move im-ma-te-ri-al -noy verses of light (“one hundred ha se-na”, “so-bo-ry” Mo-ne). Each of the ra-bots of such a se-ri (or cycle) ras-kry-va-is some kind of as-pect of the image-bra-zhae-mo-go, and their co- in-kup-ness creates a whole-lo-st-ny, syn-the-tic image in the pre-de-lah of the general for-the-thought-la hu-doge-no-ka.
On-cha-lu, impressionism caused a fierce rejection of most of the cri-ti-ki and the public; support for new is-ka-ni-yam in the art of eye-for-li E. Zo-la, S. Mal-lar-me, J.K. Gyu-is-mans, cri-ti-ki T. Du-re, E. Du-ran-ti, G. Geoff-froy, collec-cio-ne-ry P. Du-ran-Ryu-el, G. Kaibotte, J.B. Fore and V. Sho-ke. Shi-ro-ko-go recognition of them-press-sio-ni-sta did not reach only in the 1890s, when impressionism entered its last phase . Late impressionism from-marked on-ras-ta-ni-em de-ko-ra-tiv-nyh ten-den-tions (common for the art of the epoch of modernity), everything is pain -shay iso-shren-no-styu of a co-lo-ristic game from-tin-kov and to-full tones, in a swarm with unusual color-vi-de- no-eat (drink-for-zhi E. De-gas of the late 1890s, a series of “pla-ku-chih willows” by K. Mon-ne, late life-writing of O. Re-noy -ra and others), ak-tsen-ti-ro-va-ni-em sa-mo-tsen-no-sti in-di-vi-du-al-noy hu-artistic ma-ne-ry, “lich -but-st-no-go "style.
In these years, new directions were already approved in art, however, the impact of the innovations of impressionism in one way or another re is-py-ta-li many hu-doge-ni-ki of French sa-lon-no-go art, post-im-press-sio-niz-ma and early European avant-gar- dis-ma. So, the principle of optical mixing of colors formed the basis of the theory of neo-im-press-sio-niz-ma (di-visio-niz-ma); life-writing with “pure color”, suggestive function of color (giving him emotiveness and power of suggestion) in co-che-ta-nii with a free ex-press-si-her smear-whether we-le-before-va-na V. Van Go-gom, P. Go-ge-nom, mas-te-ra-mi fo-vis-ma and the “na-bi” group, as well as ab-st-rak-tsio-niz-ma.
At the same time, behind the pre-de-la-mi of France, the influence of impressionism manifested itself in the-im-st-in-va-nii of individual techniques (ef-fek-you ple-ne -riz-ma, you-light-le-ne-pa-lit-ry, es-kiz-nost and freedom of life-in-pis-noy ma-ne-ry), in a-ra-sche- nii to the modern te-ma-ti-ke - in the creation-che-st-ve hu-dozh-ni-kov Ve-li-ko-bri-ta-nii (W. Sikkert, W. Steer), Ger -mania (M. Lie-ber-man, L. Ko-rint, M. Sle-vogt), Italy (J. De Nit-tis), Nor-ve-gie (F. Tau-lov) , Poland (L. Vy-chul-kovsky), USA (M. Cassett, M. Pre-der-gast, T. Robin-son, J.S. Sard-zhent, J. G. Tu-ok-t-men) and others. In Russia, the influence of impressionism has been felt since the end of the 1880s - in the open air of I.E. Re-pi-na, V.A. Se-ro-va, I.I. Le-vi-ta-na, V.D. Po-le-no-va, N.N. Dub-bow-th; almost tse-whether-come-above-le-lives this-mu-on-the-right-le-niyu art of K.A. Ko-ro-wee-na, I.E. Gra-ba-rya; “im-press-sio-ni-st-sky” pe-ri-od can-but you-de-pour the same way at the future masters of the Russian avant-garde (K.S Ma-le-vi-cha, M.F. La-rio-no-va, A.D. Dre-vi-na).
The term “impressionism” is also applied to the sculpture of the 1880-1910s. (the desire to re-re-da-che instantaneous-vein-no-go movement, flow of forms, on-ro-chi-taya plastic not-over-ver- shen-nost, mutually-mo-de-st-vie sculpt-tu-ry with light); the most remarkable traits of impressionism in the sculptural tour of the art of O. Ro-de-na and E. De-ga (France), M. Ros- co (Italy), P.P. Tru-bets-ko-go and A.S. Go-lub-ki-noy (Russia).
Programming principles of life-in-painting-no-impressionism in the aftermath of art began to re-re-no-sit on other art-art-st-va: muse -ku, li-te-ra-tu-ru, te-atr, ho-reo-gra-fia, ki-no, fo-to-is-kus-st-vo. The application of the term “impressionism” in relation to them is-la-is-dos-that-accurately conditional and os-pa-ri -va-et-sya part of the study-after-to-va-te-lei.
Impressionism in music
From impressionism in music, someone who does not represent a direct analogy of impressionism in life and does not co-pa-da- chro-no-lo-gi-che-ski with him (the time of the races of musical impressionism - 1890-1900s), usually they connect choo from-men-chi-out-of-tunings, subtle psycho-logical-nu-an-owls, ty-go-te-nie to the ethical landscape program no-sti (including for displaying in the sounds of the play of waves, glare of light on the water, wind, cloud-la-kov, and the like), according to -the composer's high in-te-res to the bro-howl and harmonious colorfulness. But-vis-on-artistic means did not-rarely co-feat with pre-your-re-no-em from scanned images of old-fashioned art ( zhi-vo-pi-si style-la ro-ko-ko, mu-zy-ki of French clans-ve-si-ni-stov).
The pre-forms of musical impressionism - in the sound-to-pi-si in the zd-not-go F. Lis-ta, the co-lo-ri-stic on-the-walks of A.P. Bo-ro-de-na, E. Gri-ga, N.A. Rome-ko-go-Kor-sa-ko-va, svo-bo-de go-lo-so-ve-de-niya and element-hiy-noy im-pro-vi-for-qi-on-no- sti M.P. Mu-sorg-sko-go. Impressionism found the classic expression in French music, pre-f-de everything in the work of K. De-bus-si; the devil you showed up in the music of M. Ra-ve-la, P. Du-ka, F. Schmitt, J. J. Ro-zhe-Du-ka-sa. Musical impressionism unas-le-do-val many especially-ben-no-sti of late ro-man-tiz-ma and national music schools of the 19th century. At the same time, stormy pa-te-tik, rel-ef-no-mu te-ma-tiz-mu, tense cha-go-te-ni-yam hro-ma-ti -che-ski us-loose-nyon-noy to-nal-noy gar-mo-nii of late ro-man-ti-kov (especially ben-no R. Vag-ne-ra) im-press-sio -ni-sta pro-ti-vo-pos-ta-vi-whether emo-tsio-nal-restraint, brevity and not-perceptible-of-men-chi-vost- hundred-yang-but vari-and-rue-my mo-ti-vov, dia-to-no-ku, mod-range of sym-metric frets (including whole -but-in-go), transparent fact-tu-ru. The creation-che-st-in-com-po-zi-to-ditch of impressionism in many ways both-ha-ti-lo expressive media of music, especially ben-no sphere -ru gar-mo-nii, dos-tig-shey big uton-chen-no-sti. Us-false-non-ac-kor-do-vy complexes-owls co-che-ta-et-sya in harmony with impressionism with ar-hai-for-qi-her la-do-vo th mouse-le-tion; rit-we are unsteady, under the hour ost-ro-ha-rak-ter-ny. Strengthen-whether-va-et-sya phonic you-ra-zi-tel-ness of ka-zh-do-go ak-kor-da (see Phonism), due to the introduction of non-se-niya on new-howl os-no-ve element-men-tov mod-distant gar-mo-nii ras-shi-rya-et-sya la-do-va sphere-ra, in or-ke-st-ditch- ke pre-ob-la-da-yut pure timbres. I especially-buy the freshness of the music of the French Impressionists with-yes-wa-whether it’s about the pe-sen-but-tang-tse-val-ny genres, to the element-men- there is a musical language of na-ro-dov Vos-to-ka, Is-pa-nii, sti-li-for-tion of early forms of jazz. For the pre-de-la-mi of France, the principles of musical impressionism, ori-gi-nal-but raz-vi-va-li M. de Fa-lya in Is-pa-nii, O. Res-pi -gi, from-cha-ty A. Ka-zel-la and J.F. Ma-lip-e-ro in Italy, F. Di-li-us and S. Scott in Ve-li-ko-bri-ta-nii, K. Shi-ma-nov-sky in Poland, A.K. Lyadov, N.N. Che-rep-nin (see Che-rep-nin), from-part-ty I.F. Stra-Vinsky in Russia.
Impressionism in literature
Su-shche-st-in-va-ing of impressionism as an au-to-nome-no-go-right-le-niya in li-te-ra-tu-re - the subject of long discussions this. Literary impressionism is not-rarely-boo-o-zhde-st-in-la-et-xia with on-to-ra-liz-mom, or is it considered to be pro-me-zhu- exact yav-le-ni-em me-zh-du on-tu-ra-liz-mom and sim-liz-mom, whether it’s closer to sim-liz- mom. As a self-standing literary direction, impressionism is most often you-de-la-et-xia in French, as well as Austrian (the so-called Viennese mo- turf) literature of the era-chi de-ka-dan-sa. They say the same about them-press-sio-ni-stich-no-sti as a sti-le-howl especially-ben-no-sti, with-su-schey to many pi-sa-te-lyam 2 th half of the 19th - early 20th centuries. Literary impressionism did not create a theoretical program, but was influenced, in my opinion, by the French im-press-sio-ni-sts, muen-chen-sko-go and ven-sko-go se-ces-sio-nov, fi-lo-so-fii time-me-ni A. Berg-so-na, psi-ho-logi U. James-sa (the idea of a-so-so-s-on-niya), uh-pi-ri-ok-ri-ti-cis-ma E. Ma-ha, psi-ho-ana-li-za Z. Frey -Yes. From impressionism in literature, they usually focus on sug-gestive-no-sti, the construction of an image-of-a-no-th row according to the principle of qi-pu -bod as-so-cia-tions, called to inspire chi-ta-te-lu not-op-re-de-len-noe “mu-zy-kal-noe” in tune -ing, drawing him-gi-vayu-she into the world of lyrical pe-re-zhi-va-niy av-to-ra - es-te-ta-ge-do-ni-hundred, co-zero-tsa -te-la mi-ra in his hundred-yan-noy from-men-chi-in-sti.
In poetry, im-press-sio-ni-stic-ness is manifested-la-et-sya in the os-lab-le-nii of the metric and semantic-word-of-one-st-va stro- ki (the so-called you-svo-bo-g-de-nie sti-ha), pre-heaven-re-same-ni re-gu-lyar-no-stu rhythm-ma and exact riff-my (up to up to half-but-from-ka-za from riff-we in ver-lib-re), with-hot-li-vy an-jamb-ma-nah (P. Ver-len, A. Rem-bo in France, D. von Li-li-en-kron in Germany, G. von Hoff-mann-steel, R. M. Ril-ke in Austria, K. D. Bal- mont, I.F. An-nensky in Russia, and others); in pro-se - in general to small forms (fragment, a cycle of weakly related ko-vye for-pi-si, es-sei-static on-bro-juice), demon-plot-no-sti, use-zo-va-nii word-weight-but-about-raz- nyh leit-mo-ti-vov, de-ko-ra-tiv-no-sty style (J.K. Hu-is-mans, M. Proust, A. Gide in France; P. Al- tenberg in Austria, O. Wilde in Great Britain, G. D'Annunzio in Italy, K. Gam-sun in Norway, A. Be-ly in Russia, and others). Im-press-sio-ni-stic-ness in cri-ti-ke is connected with the genre-ra-mi "etyu-da", "si-lu-this", "pro-fi-la" with their aphoristic, subject-ek-tiv-no-vku-so-you-mi ha-rak-te-ri-sti-ka-mi (A. France, R. de Gour-mon, A. de Re-nier in France, D.S. Merezhkov-sky, Y.I. Ai-khen-wald, M.A. Kuz-min in Russia).
Impressionism in dramaturgy
Details Category: A variety of styles and trends in art and their features Posted on 01/04/2015 14:11 Views: 11120Impressionism is a trend in art that arose in the second half of the 19th century. His main goal was to convey fleeting, changeable impressions.
The emergence of impressionism is associated with science: with the latest discoveries of optics and color theory.
This direction affected almost all types of art, but it manifested itself most clearly in painting, where the transfer of color and light was the basis of the work of impressionist artists.
Term meaning
Impressionism(fr. Impressionnisme) from impression - impression). This style of painting appeared in France in the late 1860s. He was represented by Claude Monet, Auguste Renoir, Camille Pissarro, Berthe Morisot, Alfred Sisley, Jean Frederic Bazille. But the term itself appeared in 1874, when Monet's painting “Impression. Rising Sun (1872). In the title of the painting, Monet meant that he conveys only his fleeting impression of the landscape.
C. Monet “Impression. Sunrise" (1872). Marmottan Monet Museum, Paris
Later, the term "impressionism" in painting began to be understood more broadly: a careful study of nature in terms of color and lighting. The goal of the Impressionists was to depict instantaneous, as it were, “random” situations and movements. To do this, they used various techniques: complex angles, asymmetry, fragmentation of compositions. The picture of the Impressionist artists becomes, as it were, a frozen moment of a constantly changing world.
The artistic method of the Impressionists
The most popular genres of the Impressionists are landscapes and scenes from urban life. They were always written "in the open air", i.e. directly from nature, in nature, without sketches and preliminary sketches. The Impressionists noticed and were able to convey colors and shades on canvas, usually invisible to the naked eye and an inattentive viewer. For example, rendering blue in shadows or pink at sunset. They decomposed complex tones into their constituent pure colors of the spectrum. From this, their painting turned out to be light and quivering. Impressionist painters applied paint in separate strokes, in a free and even careless manner, so their paintings are best viewed from a distance - it is with this look that the effect of a lively flickering of colors is created.
The Impressionists abandoned the contour, replacing it with small separate and contrasting strokes.
K. Pissarro, A. Sisley and C. Monet preferred landscapes and urban scenes. O. Renoir liked to depict people in the bosom of nature or in the interior. French Impressionism did not raise philosophical and social issues. They did not turn to biblical, literary, mythological, historical subjects that were inherent in official academism. Instead, on the picturesque canvases appeared the image of everyday life and modernity; the image of people in motion, while relaxing or having fun. Their main subjects are flirting, dancing, people in cafes and theaters, boat trips, beaches and gardens.
The Impressionists tried to catch a fleeting impression, the smallest changes in each subject, depending on the lighting and time of day. In this regard, Monet's cycles of paintings "Haystacks", "Rouen Cathedral" and "London's Parliament" can be considered the highest achievement.
C. Monet "Cathedral in Rouen in the sun" (1894). Musee d'Orsay, Paris, France
"Rouen Cathedral" is a series of 30 paintings by Claude Monet, which represent views of the cathedral depending on the time of day, year and lighting. This cycle was written by the artist in the 1890s. The cathedral allowed him to show the relationship between the constant, solid structure of the building and the changing, easily playful light that changes our perception. Monet concentrates on individual fragments of the Gothic cathedral and chooses the portal, the tower of St. Martin and the tower of Albane. He is only interested in the play of light on stone.
C. Monet "Rouen Cathedral, West Portal, Foggy Weather" (1892). Musee d'Orsay, Paris
C. Monet “Rouen Cathedral, portal and tower, morning effect; white harmony" (1892-1893). Musee d'Orsay, Paris
C. Monet "Rouen Cathedral, portal and tower in the sun, harmony of blue and gold" (1892-1893). Musee d'Orsay, Paris
Following France, impressionist artists appeared in England and the USA (James Whistler), in Germany (Max Lieberman, Lovis Corinth), in Spain (Joaquin Sorolla), in Russia (Konstantin Korovin, Valentin Serov, Igor Grabar).
About the work of some impressionist artists
Claude Monet (1840-1926)
Claude Monet, photograph 1899
French painter, one of the founders of impressionism. Born in Paris. He was fond of drawing since childhood, at the age of 15 he proved to be a talented cartoonist. Eugene Boudin, a French artist, a forerunner of impressionism, introduced him to landscape painting. Monet later entered the university at the Faculty of Arts, but became disillusioned and left him, enrolling in the painting studio of Charles Gleyre. In the studio, he met the artists Auguste Renoir, Alfred Sisley and Frédéric Bazille. They were practically peers, held similar views on art, and soon formed the backbone of the Impressionist group.
Monet's fame was brought by the portrait of Camille Donsier, written in 1866 ("Camille, or a portrait of a lady in a green dress"). Camilla in 1870 became the artist's wife.
C. Monet "Camilla" ("The Lady in Green") (1866). Kunsthalle, Bremen
C. Monet "Walk: Camille Monet with her son Jean (Woman with an umbrella)" (1875). National Gallery of Art, Washington
In 1912, doctors diagnosed K. Monet with a double cataract, he had to undergo two operations. Having lost the lens in his left eye, Monet regained his sight, but began to see ultraviolet light as blue or purple, which is why his paintings acquired new colors. For example, when painting the famous "Water Lilies", Monet saw lilies bluish in the ultraviolet range, for other people they were just white.
C. Monet "Water Lilies"
The artist died on December 5, 1926 in Giverny and was buried in the local church cemetery.
Camille Pissarro (1830-1903)
C. Pissarro "Self-portrait" (1873)
French painter, one of the first and most consistent representatives of impressionism.
Born on the island of St. Thomas (West Indies), in a bourgeois family of a Sephardic Jew and a native of the Dominican Republic. Until the age of 12 he lived in the West Indies, at the age of 25 he moved to Paris with his whole family. Here he studied at the School of Fine Arts and at the Academy of Suisse. His teachers were Camille Corot, Gustave Courbet and Charles-Francois Daubigny. He began with rural landscapes and views of Paris. Pissarro had a strong influence on the Impressionists, independently developing many of the principles that formed the basis of their style of painting. He was friends with the artists Degas, Cezanne and Gauguin. Pizarro was the only participant in all 8 Impressionist exhibitions.
He died in 1903 in Paris. He was buried in the Pere Lachaise cemetery.
Already in his early works, the artist paid special attention to the depiction of illuminated objects in the air. Light and air have since become the leading theme in the work of Pissarro.
C. Pissarro “Boulevard Montmartre. Afternoon, sunny" (1897)
in 1890, Pizarro became interested in the technique of pointillism (separate application of strokes). But after a while he returned to his usual manner.
In the last years of his life, Camille Pissarro's eyesight deteriorated noticeably. But he continued to work and created a series of views of Paris, filled with artistic emotions.
K. Pissarro "Street in Rouen"
The unusual angle of some of his paintings is explained by the fact that the artist painted them from hotel rooms. This series was one of the highest achievements of Impressionism in the transfer of light and atmospheric effects.
Pissarro also painted in watercolor and created a series of etchings and lithographs.
Here are some of his interesting statements about the art of impressionism: "The Impressionists are on the right track, their art is healthy, it is based on sensations and it is honest."
“Happy is he who can see beauty in ordinary things, where others see nothing!”
C. Pissarro "The First Frost" (1873)
Russian impressionism
Russian impressionism developed from the end of the 19th to the beginning of the 20th century. It was influenced by the work of the French Impressionists. But Russian impressionism has a pronounced national specificity and in many respects does not coincide with the textbook ideas about classical French impressionism. Objectivity and materiality predominate in the painting of the Russian Impressionists. It has a greater load of meaning and less dynamization. Russian impressionism is closer than French impressionism to realism. The French Impressionists emphasized the impression of what they saw, while the Russians also added a reflection of the artist's inner state. The work was to be completed in one session.
Some incompleteness of Russian Impressionism creates the "awe of life" that was characteristic of them.
Impressionism includes the work of Russian artists: A. Arkhipov, I. Grabar, K. Korovin, F. Malyavin, N. Meshcherin, A. Murashko, V. Serov, A. Rylov and others.
V. Serov "Girl with peaches" (1887)
This picture is considered the standard of Russian impressionism in the portrait.
Valentin Serov "Girl with Peaches" (1887). Canvas, oil. 91×85 cm State Tretyakov Gallery
The picture was painted in the estate of Savva Ivanovich Mamontov in Abramtsevo, which he acquired from the daughter of the writer Sergei Aksakov in 1870. The portrait depicts 12-year-old Vera Mamontova. The girl is drawn sitting at the table; she is wearing a pink blouse with a dark blue bow; on the table is a knife, peaches and leaves.
“All I wanted was freshness, that special freshness that you always feel in nature and you don’t see in pictures. I wrote for more than a month and exhausted her, poor thing, to death, I really wanted to preserve the freshness of painting with complete completeness - that's how the old masters ”(V. Serov).
Impressionism in other art forms
In literature
In literature, impressionism as a separate trend did not take shape, but its features were reflected in naturalism and symbolism .
Edmond and Jules Goncourt. Photo
Principles naturalism can be traced in the novels of the Goncourt brothers and George Eliot. But Emile Zola was the first to use the term "naturalism" to refer to his own work. The writers Guy de Maupassant, Alphonse Daudet, Huysmans and Paul Alexis were grouped around Zola. After the publication of the collection Medan Evenings (1880) with frank stories about the disasters of the Franco-Prussian war (including Maupassant's story Dumpling), the name of the Medan group was assigned to them.
Emile Zola
The naturalistic principle in literature has often been criticized for its lack of artistry. For example, I. S. Turgenev wrote about one of Zola's novels that "there is a lot of digging in chamber pots." Gustave Flaubert was also critical of naturalism.
Zola maintained friendly relations with many impressionist painters.
Symbolists used symbols, understatement, hints, mystery, mystery. The main mood captured by the symbolists was pessimism, reaching to despair. Everything “natural” seemed to be only “appearance”, which had no independent artistic value.
Thus, impressionism in literature was expressed by the author's private impression, the rejection of an objective picture of reality, the image of every moment. In fact, this led to the absence of plot and history, the replacement of thought with perception, and reason with instinct.
G. Courbet "Portrait of P. Verlaine" (circa 1866)
A striking 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.
V. Serov "Portrait of K. Balmont" (1905)
Innokenty Annensky. Photo
These sentiments also affected dramaturgy. In the plays there is a passive perception of the world, an analysis of moods, mental states. Dialogues concentrate fleeting disparate impressions. These features are characteristic of the work of Arthur Schnitzler.
In music
Musical impressionism developed in France in the last quarter of the 19th century. - the beginning of the XX century. He expressed himself most clearly in the works of Eric Satie, Claude Debussy and Maurice Ravel.
Eric Satie
Musical impressionism is close to impressionism in French painting. They have not only common roots, but also cause-and-effect relationships. Impressionist composers sought and found not only analogies, but also expressive means in the works of Claude Monet, Paul Cezanne, Puvis de Chavannes and Henri de Toulouse-Lautrec. Of course, the means of painting and the means of musical art can be connected with each other only with the help of special, subtle associative parallels that exist only in the mind. If you look at the vague image of Paris "in the autumn rain" and the same sounds, "muffled by the noise of falling drops", then here you can only talk about the property of the artistic image, but not the real image.
Claude Debussy
Debussy writes "Clouds", "Prints" (the most figurative of which, a watercolor sound sketch - "Gardens in the rain"), "Images", "Reflections on the water", which evoke direct associations with the famous painting by Claude Monet "Impression: Sunrise ". According to Mallarmé, the Impressionist composers learned to “hear the light”, to convey in sounds the movement of water, the vibration of leaves, the breath of wind and the refraction of sunlight in the evening air.
Maurice Ravel
M. Ravel has direct connections between painting and music in his sound-pictorial "The Game of Water", the cycle of pieces "Reflections", the piano collection "Rustle of the Night".
The Impressionists created works of refined art and at the same time clear in expressive means, emotionally restrained, conflict-free and strict in style.
In sculpture
O. Rodin "The Kiss"
Impressionism in sculpture was expressed in the free plasticity of soft forms, which creates a complex play of light on the surface of the material and a feeling of incompleteness. In the poses of the sculptural characters, the moment of movement and development is captured.
O. Rodin. Photograph 1891
This direction includes the sculptural works of O. Rodin (France), Medardo Rosso (Italy), P.P. Trubetskoy (Russia).
V. Serov "Portrait of Paolo Trubetskoy"
Pavel (Paolo) Trubetskoy(1866-1938) - sculptor and artist, worked in Italy, USA, England, Russia and France. Born in Italy. The illegitimate son of a Russian emigrant, Prince Pyotr Petrovich Trubetskoy.
Since childhood, I have been sculpting and painting on my own. He had no education. In the initial period of his work, he created portrait busts, works of small plastic arts, and participated in competitions for the creation of large sculptures.
P. Trubetskoy "Monument to Alexander III", St. Petersburg
The first exhibition of Paolo Trubetskoy's works took place in the USA in 1886. In 1899 the sculptor came to Russia. He takes part in the competition for the creation of a monument to Alexander III and, unexpectedly for everyone, receives the first prize. This monument caused and continues to cause conflicting assessments. It is hard to imagine a more static and heavy monument. And only a positive assessment of the imperial family allowed the monument to take the appropriate place - they found similarities with the original in the sculptural image.
Critics believed that Trubetskoy worked in the spirit of "obsolete impressionism".
Trubetskoy’s image of the brilliant Russian writer turned out to be more “impressionistic”: there is clearly movement here - in the folds of the shirt, the flowing beard, the turn of the head, there is even a feeling that the sculptor managed to catch the tension of L. Tolstoy’s thought.
P. Trubetskoy "Bust of Leo Tolstoy" (bronze). State Tretyakov Gallery
Impressionism(Impressionism, French impression - impression) is a direction in painting that originated in France in the 1860s. and largely determined the development of art in the 19th century. The central figures of this trend were Cezanne, Degas, Manet, Monet, Pissarro, Renoir and Sisley, and the contribution of each of them to its development is unique. The Impressionists opposed the conventions of classicism, romanticism and academism, asserted the beauty of everyday reality, simple, democratic motives, achieved a lively authenticity of the image, tried to capture the "impression" of what the eye sees at a particular moment.The most typical theme for the Impressionists is the landscape, but they also touched on many other topics in their work. Degas, for example, depicted races, ballerinas and laundresses, while Renoir depicted charming women and children. In impressionistic landscapes created in the open air, a simple, everyday motif is often transformed by an all-pervading moving light, which brings a sense of festivity to the picture. In some methods of impressionist construction of composition and space, the influence of Japanese engraving and partly photography is noticeable. The Impressionists were the first to create a multifaceted picture of the everyday life of a modern city, capturing the originality of its landscape and the appearance of the people inhabiting it, their way of life, work and entertainment.
The Impressionists did not seek to touch upon acute social problems, philosophy or shocking in their work, focusing only on various ways of expressing the impression of the surrounding everyday life. In an effort to "see the moment" and reflect the mood.
Name " Impressionism" arose after the 1874 exhibition in Paris, which exhibited Monet's painting "Impression. The Rising Sun" (1872; the painting was stolen from the Marmottan Museum in Paris in 1985 and is now on the Interpol list).
More than seven Impressionist exhibitions were held between 1876 and 1886; at the end of the latter, only Monet continued to strictly follow the ideals of Impressionism. "Impressionists" are also called artists outside of France who painted under the influence of French Impressionism (for example, the Englishman F. W. Steer).
Impressionist artists
Famous Impressionist Paintings:
| Edgar Degas |
Claude Monet |
impressionism impressionism
(French impressionnisme, from impression - impression), a trend in art of the last third of the 19th - early 20th centuries. It took shape in French painting in the late 1860s - early 70s. The name "Impressionism" arose after the exhibition in 1874, which exhibited a painting by C. Monet "Impression. Rising Sun" ("Impression. Soleil levant", 1872, now at the Musée Marmottan, Paris). At the time of the maturity of impressionism (70s - first half of the 80s), it was represented by a group of artists (Monet, O. Renoir, E. Degas, K. Pissarro, A. Sisley, B. Morisot, etc.), united for struggle for the renewal of art and overcoming the official salon academism and organized 8 exhibitions for this purpose in 1874-86. One of the creators of impressionism was E. Manet, who was not part of this group, but back in the 60s and early 70s. who performed with genre works, in which he rethought the compositional and pictorial techniques of the masters of the 16th-18th centuries. in relation to modern life, as well as scenes of the Civil War of 1861-65 in the USA, the execution of the Parisian Communards, giving them a sharp political focus.
Impressionism continues what was begun by realistic art of the 40-60s. liberation from the conventions of classicism, romanticism and academism, affirms the beauty of everyday reality, simple, democratic motives, achieves a living authenticity of the image. He makes authentic, modern life aesthetically significant 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. In many Impressionist paintings (especially in landscapes and still lifes, a number of multi-figured compositions), a transient moment of the continuous flow of life, as if accidentally caught by the eye, is accentuated, the impartiality, strength and freshness of the first impression are preserved, allowing one to capture the unique and characteristic in what they see. The works of the Impressionists are distinguished by cheerfulness, passion for the sensual beauty of the world, but in a number of works by Manet and Degas there are bitter, sarcastic notes.
The Impressionists were the first to create a multifaceted picture of the everyday life of a modern city, capturing the originality of its landscape and the appearance of the people inhabiting it, their way of life, work and entertainment. In the landscape, they (especially Sisley and Pissarro) developed the plein air searches of J. Constable, the Barbizon school, C. Corot and others, developed a complete plein air system. In Impressionist landscapes, a simple, everyday motif is often transformed by an all-penetrating moving sunlight, which brings 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 quivering real vivacity, to subtly analyze and 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 becomes Impressionism is 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 paintings, 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 clear separate strokes of pure color, as if mixing in the eye of the viewer, light and bright colors, richness Valery and reflexes, colored shadows. Volumetric forms, as it were, dissolve in the light-and-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. Thus, there is a convergence of the sketch and the picture, and often the merging of several. stages of work into one continuous process. The picture becomes a separate frame, a fragment of the moving world. This explains, on the one hand, the equivalence of all parts of the picture, simultaneously born under the artist’s brush and equally participating in the figurative construction of works, on the other hand, the apparent randomness and imbalance, asymmetry of the composition, bold cuts of figures, unexpected points of view and complex angles that activate the spatial construction.
In some methods of constructing composition and space in impressionism, the influence of Japanese engraving and partly photography is noticeable.
The Impressionists also turned to the portrait and everyday genre (Renoir, B. Morisot, partly Degas). The everyday genre and the nude in Impressionism were often intertwined with the landscape (especially in Renoir); figures of people illuminated by natural light were usually depicted at an open window, in an arbor, etc. Impressionism is characterized by a mixture of the everyday genre with a portrait, a tendency to blur clear boundaries between genres. From the beginning of the 80s. some masters of impressionism in France sought to modify its creative principles. Late impressionism (mid-80s - 90s) developed during the period of the formation of the "modern" style, various trends of post-impressionism. Late impressionism is characterized by the emergence of a sense of self-worth of the subjective artistic manner of the artist, the growth of decorative trends. The game of shades and additional tones in the work of impressionism is becoming more and more sophisticated, there is a tendency to greater color saturation of the canvases or to tonal unity; landscapes are combined in a series.
The pictorial manner of Impressionism had a great influence on French painting. Certain features of impressionism were perceived by salon-academic painting. For a number of artists, the study of the method of impressionism became the initial stage on the way to the formation of their own artistic system (P. Cezanne, P. Gauguin, V. van Gogh, J. Seurat).
Creative appeal to impressionism, the study of its principles was an important step in the development of many national European art schools. Under the influence of French impressionism, the work of M. Liebermann, L. Corinth in Germany, K. A. Korovin, V. A. Serov, I. E. Grabar and early M. F. Larionov in Russia, M. Prendergast and M. Cassatt in the USA, L. Vychulkovsky in Poland, the Slovenian Impressionists, etc. At the same time, outside of France, only certain aspects of impressionism were picked up and developed: an appeal to modern themes, the effects of plein air painting, brightening the palette, sketchy painting style, etc. The term "impressionism" is also applied to the sculpture of the 1880-1910s, which has some features similar to impressionist painting - the desire to convey instantaneous movement, fluidity and softness of forms, deliberate plastic incompleteness. Impressionism in sculpture manifested itself most clearly in the works of M. Rosso in Italy, O. Rodin and Degas in France, P. P. Trubetskoy and A. S. Golubkina in Russia, and others. Impressionism in the visual arts influenced the development of expressive means in literature, music and theatre.
K. Pissarro. "Mail Coach at Louveciennes". Around 1870. Museum of Impressionism. Paris.
(Source: "Popular Art Encyclopedia." Edited by Polevoy V.M.; M.: Publishing House "Soviet Encyclopedia", 1986.)
impressionism(French impressionnisme, from impression - impression), a direction in the art of con. 1860 - early. 1880s Most clearly manifested in painting. Leading representatives: K. Monet, O. Renoir, TO. Pissarro, A. Guillaumin, B. Morisot, M. Cassatt, A. Sisley, G. Caillebotte and J. F. Basile. Together with them they exhibited their paintings by E. Mane and E. Degas, although the style of their works cannot be called completely impressionistic. The name "Impressionists" was assigned to a group of young artists after their first joint exhibition in Paris (1874; Monet, Renoir, Pizarro, Degas, Sisley, etc.), which caused furious indignation of the public and critics. One of the presented paintings by C. Monet (1872) was called “Impression. Sunrise ”(“ L’impression. Soleil levant ”), and the reviewer mockingly called the artists “impressionists” - “impressionists”. The painters performed under this name at the third joint exhibition (1877). At the same time, they began to publish the Impressionist magazine, each issue of which was dedicated to the work of one of the group members.
The Impressionists sought to capture the world around them in its constant variability, fluidity, and to express their immediate impressions without prejudice. Impressionism was based on the latest discoveries in optics and color theory (spectral decomposition of the sun's beam into the seven colors of the rainbow); in this he is consonant with the spirit of scientific analysis, characteristic of con. 19th century However, the Impressionists themselves did not try to determine the theoretical foundations of their art, insisting on the spontaneity, intuitiveness of the artist's work. The artistic principles of the Impressionists were not uniform. Monet painted landscapes only in direct contact with nature, in the open air (in open air) and even built a workshop in the boat. Degas worked in the workshop from memories or using photographs. Unlike representatives of later radical movements, the artists did not go beyond the Renaissance illusory-spatial system based on the use of direct prospects. They firmly adhered to the method of working from nature, which they elevated to the main principle of creativity. Artists strove to "paint what you see" and "as you see". The consistent application of this method entailed the transformation of all the foundations of the existing pictorial system: color, composition, spatial construction. Pure colors were applied to the canvas in small separate strokes: multi-colored “dots” lay side by side, mixing into a colorful spectacle not on the palette and not on the canvas, but in the eye of the viewer. The Impressionists achieved an unprecedented sonority of color, an unprecedented richness of shades. The brushstroke became an independent means of expression, filling the surface of the picture with a lively shimmering vibration of color particles. The canvas was likened to a mosaic shimmering with precious colors. Black, gray, brown shades predominated in the former painting; in the canvases of the Impressionists, the colors shone brightly. The Impressionists did not use chiaroscuro to convey volumes, they abandoned dark shadows, the shadows in their paintings also became colored. Artists widely used additional tones (red and green, yellow and purple), the contrast of which increased the intensity of the color. In Monet's paintings, the colors were brightened and dissolved in the radiance of the rays of sunlight, local colors acquired many shades.
The Impressionists depicted the surrounding world in perpetual motion, the transition from one state to another. They began to paint a series of paintings, wanting to show how the same motif changes depending on the time of the day, lighting, weather conditions, etc. (cycles Boulevard Montmartre by C. Pissarro, 1897; Rouen Cathedral, 1893- 95, and "London Parliament", 1903-04, C. Monet). Artists have found ways to reflect in the paintings the movement of clouds (A. Sisley. “Louan in Saint-Mamme”, 1882), the play of glare of sunlight (O. Renoir. “Swing”, 1876), gusts of wind (C. Monet. “Terrace in Sainte-Adresse", 1866), jets of rain (G. Caillebotte. "Jer. Effect of rain", 1875), falling snow (C. Pissarro. "Opera passage. Snow effect", 1898), swift running of horses (E. Manet "Races at Longchamp", 1865).
The Impressionists developed new principles for constructing composition. Previously, the space of the picture was likened to a stage, now the captured scenes resembled a snapshot, a photo frame. Invented in the 19th century photography had a significant impact on the composition of the impressionist painting, especially in the work of E. Degas, who himself was a passionate photographer and, in his own words, sought to take the ballerinas depicted by surprise, to see them “as if through a keyhole”, when their poses, body lines natural, expressive and authentic. Creating paintings outdoors, the desire to capture rapidly changing lighting forced the artists to speed up the work, write "alla prima" (in one go), without preliminary sketches. Fragmentation, "randomness" of the composition and dynamic pictorial manner created a feeling of special freshness in the paintings of the Impressionists.
The favorite impressionist genre was the landscape; the portrait was also a kind of “landscape of the face” (O. Renoir, “Portrait of the Actress J. Samary”, 1877). In addition, the artists significantly expanded the range of painting subjects, turning to topics that were previously considered unworthy of attention: folk festivals, horse races, picnics of artistic bohemia, the backstage life of theaters, etc. However, their paintings do not have a detailed plot, a detailed narrative; human life is dissolved in nature or in the atmosphere of the city. The Impressionists did not write events, but moods, shades of feelings. Artists fundamentally rejected historical and literary themes, avoided depicting the dramatic, dark sides of life (wars, disasters, etc.). They sought to free art from the fulfillment of social, political and moral tasks, from the obligation to evaluate the phenomena depicted. Artists sang the beauty of the world, being able to turn the most everyday motif (renovation of a room, gray London fog, smoke of steam locomotives, etc.) into an enchanting spectacle (G. Caillebotte. "Parquette", 1875; C. Monet. "Saint-Lazare Station" , 1877).
In 1886, the last exhibition of the Impressionists took place (O. Renoir and K. Monet did not participate in it). By this time, significant disagreements between the members of the group were revealed. The possibilities of the Impressionist method were exhausted, and each of the artists began to look for his own path in art.
Impressionism as a holistic creative method was a phenomenon predominantly of French art, but the work of the Impressionists had an impact on all European painting. The desire to update the artistic language, brighten the colorful palette, and expose painting techniques are now firmly included in the arsenal of artists. In other countries, J. Whistler (England and the USA), M. Lieberman, L. Corinth (Germany), J. Sorolla (Spain) were close to impressionism. The influence of impressionism was experienced by many Russian artists (V.A. Serov, K. A. Korovin, I. E. Grabar and etc.).
In addition to painting, impressionism was embodied in the work of some sculptors (E. Degas and O. Rodin in France, M. Rosso in Italy, P. P. Trubetskoy in Russia) in lively free modeling of fluid soft forms, which creates a complex play of light on the surface of the material and a feeling of incompleteness of the work; in poses the moment of movement, development is captured. In music, closeness to impressionism is found in the works of C. Debussy ("Sails", "Mists", "Reflections in the Water", etc.).
(Source: "Art. Modern Illustrated Encyclopedia." Under the editorship of Prof. A.P. Gorkin; M.: Rosmen; 2007.)
Synonyms:
See what "Impressionism" is in other dictionaries:
IMPRESSIONISM. I. in literature and art is defined as a category of passivity, contemplation and impressionability, applicable to one degree or another to artistic creativity at all times or periodically, in one form or another ... ... Literary Encyclopedia
impressionism- a, m. impressionisme m. The Doctrine of the Impressionist Painters. Bulgakov Hood. enc. A direction in art that aims to convey direct, subjective impressions of reality. Ush. 1934. Why, for example, the great ... ... Historical Dictionary of Gallicisms of the Russian Language
- [fr. impressionnisme Dictionary of foreign words of the Russian language
Impressionism- IMPRESSIONISM. The end of the 19th century is associated with the flowering of impressionism in all areas of art, especially in painting and literature. The very term impressionism comes from the French word impression, which means impression. Under this... ... Dictionary of literary terms
- (from the French impression impression), a direction in the art of the last third of the 19th and early 20th centuries. It took shape in French painting in the 1860s and early 70s. (E. Manet, C. Monet, E. Degas, O. Renoir, K. Pissarro, A. Sisley). Impressionism claimed... Modern Encyclopedia
- (from French impression impression) direction in art of the last third of the 19th beginning. 20 centuries, whose representatives sought to most naturally and impartially capture the real world in its mobility and variability, to convey their fleeting ... ... Big Encyclopedic Dictionary
- (from the French impression impression) A trend in art that arose in France in the last third of the 19th century. The main representatives of I .: Claude Monet, Auguste Renoir, Camille Pissarro, Alfred Sisley, Berthe Morisot, as well as Edouard Manet adjoining them, ... ... Encyclopedia of cultural studies
