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. Chev-ryo-la, E. De-lac-rua’s art in the field of up-to-full tones, pei-zazh-noy live-in-pi-sue K. Ko-ro and ma-te-ditch of the bar-bi-zon school, us-pe-ha-mi in the region of fo-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 a great subtlety of gradation of light-to-the-no, color-to-from-no-she-ni and 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-pi-si of impressionism is connected with the refusal from the pro-ti-in-put-le-tion 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; the bright sun-nech-ny light does not amplify the sound of the color, but you-light-la-et it, dis-creating from the 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-on; 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 sal-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 free ex-press-si-her smear-ka-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-over-leaves this-mu-on-right-le-niyu art 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 impressionism as an auto-no-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- the exact yav-le-ni-em me-zh-du-to-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 rhyme-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
Impressionism is one of the most famous movements in French painting, if not the most famous. And it originated in the late 60s and early 70s of the XIX century and largely influenced the further development of the art of that time.
Impressionism in painting
The name itself impressionism” was coined by a French art critic named Louis Leroy after visiting the first Impressionist exhibition in 1874, where he criticized Claude Monet’s painting “Impression: Rising Sun” (“impression” in French sounds like “impression”).
Claude Monet, Camille Pissarro, Edgar Degas, Pierre Auguste Renoir, Frederic Bazille are the main representatives of impressionism.
Impressionism in painting is characterized by quick, spontaneous and free strokes. The guiding principle was a realistic image of the light-air environment.
The Impressionists sought to capture fleeting moments on canvas. If at this very moment the object appears in an unnatural color, due to a certain angle of incidence of light or its reflection, then the artist depicts it that way: for example, if the sun paints the surface of a pond pink, then it will be written in pink.
Features of Impressionism
Speaking about the main features of impressionism, it is necessary to name the following:
- immediate and optically accurate image of a fleeting moment;
- doing all the work outdoors - no more preparatory sketches and finishing work in the studio;
- the use of pure color on the canvas, without pre-mixing on the palette;
- the use of splashes of bright paint, strokes of various sizes and degrees of sweeping, which visually add up to one picture only when viewed from a distance.
Russian impressionism
The reference portrait in this style is considered one of the masterpieces of Russian painting - "Girl with Peaches" by Alexander Serov, for whom impressionism, however, became just a period of passion. Russian impressionism also includes works written in the late 19th and early 20th centuries by Konstantin Korovin, Abram Arkhipov, Philip Malyavin, Igor Grabar and other artists.
This affiliation is rather conditional, since Russian and classical French impressionism have their own specifics. Russian impressionism was closer to materiality, objectivity of works, gravitated towards artistic meaning, while French impressionism, as mentioned above, simply sought to depict moments of life, without unnecessary philosophy.
In fact, Russian impressionism adopted from the French only the external side of the style, the methods of its painting, but did not assimilate the very pictorial thinking embedded in impressionism.
Modern impressionism continues the traditions of classical French impressionism. In modern painting of the XXI century, many artists are working in this direction, for example, Laurent Parcelier, Karen Tarleton, Diana Leonard and others.
Masterpieces in the style of impressionism
"Terrace at Sainte-Adresse" (1867), Claude Monet
This painting can be called Monet's first masterpiece. It is still the most popular early impressionist painting. Here, too, there is a favorite theme of the artist - flowers and the sea. The canvas depicts several people relaxing on a terrace on a sunny day. On the chairs, with their backs to the audience, the relatives of Monet himself are depicted.
The whole picture is flooded with bright sunlight. Clear boundaries between earth, sky and sea are separated, ordering the composition vertically with the help of two flagpoles, however, the composition does not have a clear center. The colors of the flags are combined with the surrounding nature, emphasizing the diversity and richness of colors.
"Ball at the Moulin de la Galette" (1876), Pierre-Auguste Renoir
This painting depicts a typical Sunday afternoon in 19th-century Paris at the Moulin de la Galette, a café with an open-air dance floor, named after the windmill nearby, emblematic of Montmartre. Renoir's house was located next to this cafe; he frequented Sunday afternoon dances and enjoyed watching happy couples.
Renoir shows real talent and combines the art of group portrait, still life and landscape painting in one painting. The use of light in this composition and the smoothness of the strokes best represent the style to a wide audience. impressionism. This painting has become one of the most expensive paintings ever sold at auction.
Boulevard Montmartre at night (1897), Camille Pissarro
While Pissarro is famous for his paintings of rural life, he also painted a large number of beautiful 19th-century urban scenes in Paris. He liked to paint the city because of the play of light during the day and in the evening, because of the roads illuminated by both sunlight and street lamps.
In 1897, he rented a room on the boulevard Montmartre and painted him at different times of the day, and this work was the only work in the series captured after night fell. The canvas is filled with deep blue and bright yellow spots of city lights. In all the pictures of the "tabloid" cycle, the main core of the composition is the road that goes into the distance.
Now the painting is in the National Gallery in London, but during the life of Pissarro, she never exhibited anywhere.
You can watch a video about the history and conditions of creativity of the main representatives of impressionism here:
Impressionism(French impressionnisme, from impression - impression) - a trend in art of the last third of the 19th - early 20th centuries, which originated in France and then spread throughout the world, whose representatives sought to most naturally capture the real world in its mobility and variability, to convey their fleeting impressions .
1. Liberation from the traditions of realism (no mythological, biblical and historical paintings, only modern life).
2. Observation and study of the surrounding reality. Not what he sees, but how he sees from the position of the perceived "visual essence of things"
3. Daily life of a modern city. Psychology of the city dweller. The dynamics of life. The pace, the rhythm of life.
4. "Effect of a stretched moment"
5. Search for new forms. Small sizes of works (etudes, framing). Not typical, but random.
6. Serialization of paintings (Monet's "Hacks")
7. The novelty of the painting system. Open pure color. Relief, the richest collection of reflexes, quivering.
8. Mixing genres.
Edouard Manet - innovator. From deaf dense tones to light painting. Fragmentation of compositions.
"Olympia"- relies on Titian, Giorgione, Goya. Posed by Victoria Muran. Venus is depicted as a modern cocotte. At the feet of a black cat. A black woman presents a bouquet. The background is a dark, warm tone of the woman's body like a pearl on blue sheets. The volume is broken. There is no black and white modeling.
"Breakfast on the Grass"- model and two artists + landscape + still life. Black frock coats form a contrast with the naked body.
"Flutist"- the impression of the music.
"Bar Folies-Bergere" - the girl is a bartender. The thrill of a peeped moment. The loneliness of a bustling city. The illusion of happiness. I put it in the whole canvas (inaccessible in my thoughts, but accessible to bar customers). A full hall of visitors is an image of the world.
Claude Monet - abandoned the traditional sequence (undercoating, glazing, etc.) - ala prima
"Impression. Rising Sun" - Fieria yellow, orange, green. The boat is a visual accent. Elusive, unfinished landscape, no contours. Variability of the light-air environment. Rays of light change vision.
"Breakfast on the Grass" - edge of the forest, picnic experience , dark green gamma interspersed with brown and black. The leaves are wet. The woman's clothes and the tablecloth are illuminated, filled with air, light through the foliage.
Boulevard des Capucines in Paris fragmentary. Cuts off two people who are looking at the boulevard from the balcony. The crowd of people is the life of the city. Half in light from the setting sun and half in shadow from the building. No visual center, instant impression.
"Rocks in Belle-Ile"- the moving mass of water dominates (thick strokes). Iridescent shades vigorously applied. Rocks are reflected in the water, and water is reflected in the rocks. Feeling the power of the elements, boiling green-blue water. High horizon composition.
"Gare Saint-Lazare" - the interior of the station is shown, but the steam locomotive and the steam that is everywhere are more interesting (fascination with fog, lilac haze).
Pierre Auguste Renoir- an artist of joy, known primarily as a master of a secular portrait, not devoid of sentimentality.
"Swing"- imbued with warm colors, youth is shown, the girl is impressed.
"Ball at the Moulin de la Gallette" - genre scene. Day. Young people, students, shop assistants, etc. At tables under acacia trees, a dance floor. Light overflows (solar bunnies on the backs).
"Portrait of Jeanne Samary" - flower women. Charming, feminine, graceful, touching, direct actress. Deep eyes, a slight sunny smile.
"Portrait of Madame Charpentier with children"- an elegant secular woman in a black dress with a train and two girls in blue. Tapestry table, dog, parquet - everything speaks of the wealth of the family.
Edgar Degas- did not write in the open air, the cult of line and drawing. Compositions diagonally (from bottom to top)); S-shaped, spiral shapes + a window from which lighting + lighting from spotlights. Oil, then bed.
"Ballet Girls", "Dancers"- invades the lives of ballerinas. Strokes connect drawing and painting. Constant pace of training.
"Blue Dancers"- no individuality - a single wreath of bodies. In one corner there is still light from the ramps, and in the other the shadow of the wings. The moment is still actresses and ordinary people. Expressive silhouettes, cornflower blue dresses. Fragmentation - the characters do not look at the viewer.
"Apsent" - man and woman are sitting in a cafe. Ash gamma. A man with a pipe looks in one direction, and a drunken woman with a detached look - aching loneliness.
Camille Pissarro - fond of landscapes, including people, carts in them. The motive of the road with walking. Loved spring and autumn.
"Entrance to the village of Voisin» - a dim, soft landscape, trees along the road - frame the entrance, their branches mix, dissolving in the sky. Slowly, calmly, the horse walks. Houses are not just architectural objects, but dwellings for people (warm nests).
"Opera Passage in Paris"(series) - a gray cloudy day. The roofs are slightly powdered with snow, the pavement is wet, the buildings are drowning in a veil of snow, passers-by with umbrellas turn into shadows. The color of humid air envelops. Lilac-blue, olive tones. Small strokes.
Alfred Sisley- sought to notice the beauty of nature, the epic tranquility inherent in the rural landscape.
"Frost in Louveciennes" - morning, fresh state, objects are bathed in light (fusion). No shadows (fine nuances), yellow-orange colors. Quiet corner, not a hurried city. The feeling of purity, fragility, love for this place
Impressionism in Russia. develops at a later time and at an accelerated pace than in France
V.A.Serov - indifferent to academic drawing wants to show the beauty of nature in color.
"Girl with peaches"- a portrait of Verochka Mamontova. Everything is natural and unconstrained, every detail is connected with one another. The charm of a girl's face, the poetry of a life image, a light-saturated colorful painting. The charm and freshness of the study, organically combined two trends, two forces that formed a single form of pictorial vision. Everything seems so simple and natural, but there is so much depth and wholeness in this simplicity!! With the utmost expressiveness, V. Serov conveyed the light pouring in a silvery stream from the window and filling the room. The girl is sitting at the table and is not busy with anything, as if she really sat down for a moment, automatically picked up a peach and holds it, looking at you simply and frankly. But this peace is only momentary, and a passion for frisky movement peeps through it.
"Children"- shows the spiritual world of children (sons). The elder is looking at the sunset, and the younger is facing the viewer. A different outlook on life.
"Mika Morozov"- sits in a chair, but rolls down on the viewer. Childish excitement is conveyed.
"Chorus Girl"- etude. He paints with juicy strokes of the brush, wide strokes in the foliage, strokes either vertical or horizontal and different in texture ⇒ dynamism, air and light. The combination of nature and girls, freshness, immediacy.
"Paris. Boulevard des Capucines" - colorful kaleidoscope of colors. Artificial lighting - entertainment, decorative theatricality.
I.E. Grabar - volitional, emotional beginning.
« February azure»- I saw a birch from ground level and was shocked. The chimes of the rainbow are united by the azure of the sky. The birch is monumental (in the whole canvas).
"March Snow"- the girl carries buckets on the yoke, the shadow of the tree on the melted snow.
Impressionism opened a new art - it is important how the artist sees, new forms and ways of presenting. They have a moment, we have a stretch in time; we have less dynamics, more romanticism.
Mane Breakfast on the grass Mane Olympia
Manet "Bar Folies-Bergere" Mane Flutist"
Monet "Impression. Rising Sun Monet "Breakfast on the Grass" - "Boulevard des Capucines in Paris"
Monet "Rocks in Belle-Ile"» Monet Gare Saint-Lazare
Monet Boulevard des Capucines in ParisRenoir"Swing"
Renoir "Ball at the Moulin de la Gallette" Renoir "Portrait of Jeanne Samary"
Renoir "Portrait of Madame Charpentier with Children"
Degas "Blue Dancers" Degas "Apsent"
Pissarro -"Opera Passage in Paris"(series) Pissarro "Entrance to the village of Voisin»
Sisley "Frost in Louveciennes" Serov "Girl with Peaches"
Serov "Children" Serov "Mika Morozov"
Korovin "Chorus Girl" Korovin "Paris. Boulevard of the Capucines»
Grabar "February azure" Grabar "March snow"
Impressionism (fr. impressionnisme, from impression- impression) - a trend in art of the last third of the 19th - early 20th centuries, which originated in France and then spread throughout the world, whose representatives sought to develop methods and techniques that made it possible to most naturally and vividly capture the real world in its mobility and variability, to convey their fleeting impressions. Usually, the term "impressionism" refers to a direction in painting (but this is, first of all, a group of methods), although its ideas have also been embodied in literature and music, where impressionism also appeared in a certain set of methods and techniques for creating literary and musical works, in which the authors sought to convey life in a sensual, direct form, as a reflection of their impressions
The task of the artist at that time was the most plausible image of reality, not showing the subjective feelings of the artist. If he was ordered a formal portrait, then it was necessary to show the customer in a favorable light: without deformities, stupid facial expressions, etc. If it was a religious story, then it was necessary to evoke a feeling of reverence and amazement. If the landscape - then show the beauty of nature. However, if the artist despised the rich man who commissioned the portrait, or was an unbeliever, then there was no choice and all that remained was to develop his own unique technique and hope for good luck. However, in the second half of the nineteenth century, photography began to actively develop and realistic painting began to gradually move aside, since even then it was extremely difficult to convey reality as believably as in photography.
In many ways, with the advent of the Impressionists, it became clear that art can be of value as the subjective representation of the author. After all, each person perceives reality differently and reacts to it in his own way. It is all the more interesting to see how reality is reflected in the eyes of different people and what emotions they experience at the same time.
The artist has an incredible amount of opportunities for self-expression. Moreover, self-expression itself has become much freer: take a non-standard plot, topic, tell something other than religious or historical topics, use your own unique technique, etc. For example, the Impressionists wanted to express a fleeting impression, the first emotion. That is why their work is vague and as if unfinished. This was done in order to show an instant impression, when the objects had not yet taken shape in the mind and only slight overflows of light, halftones and blurry contours were visible. Myopic people will understand me) imagine that you have not yet seen the whole object, you see it from afar or simply do not peer, but already form some kind of impression about it. If you try to portray this, then it is likely that you will end up with something like impressionist paintings. Something like a sketch. That is why it turned out that for the Impressionists it was more important not what is depicted, but how.
The main representatives of this genre in painting were: Monet, Manet, Sisley, Degas, Renoir, Cezanne. Separately, Umlyam Turner should be noted as their predecessor.
Speaking of the plot:
Their paintings represented only the positive aspects of life, not affecting social problems, including such as hunger, disease, death. This later led to a split among the Impressionists themselves.
Color schemes
The Impressionists paid great attention to color, fundamentally refusing gloomy shades, especially black. Such attention to the color of their work brought color itself to a very important place in the picture and prompted future generations of artists and designers to be attentive to color as such.
Composition
The composition of the Impressionists resembled Japanese painting, they used complex compositional schemes, other canons (not the golden ratio or the center). In general, the structure of the picture has become more often asymmetric, more complex and interesting from this point of view.
The composition of the Impressionists began to have a more independent meaning, it became one of the subjects of painting, in contrast to the classical one, where it more often (but not always) carried the role of a scheme according to which any work was built. At the end of the 19th century, it became clear that this is a dead end, and the composition itself can carry certain emotions and support the plot of the picture.
Forerunners
El Greco - because he used similar techniques in applying paint and the color acquired a symbolic meaning from him. He also distinguished himself by a very original manner, individuality, which the Impressionists also aspired to.
Japanese engraving - because it gained great popularity in Europe of those years and showed that a picture can be built according to completely different rules than the classical canons of European art. This applies to composition, use of color, detailing, and so on. Also, in Japanese and in general oriental drawings and engravings, domestic scenes were much more often depicted, which was almost absent in European art.
Meaning
The Impressionists left a bright mark on world art, developing unique painting techniques and having a huge impact on all subsequent generations of artists with their bright and memorable works, protest against the classical school and unique work with color. Striving for maximum immediacy and accuracy in the transfer of the visible world, they began to paint mainly in the open air and raised the importance of a study from nature, which almost supplanted the traditional type of painting, carefully and slowly created in the studio.
Consistently clarifying their palette, the Impressionists freed painting from earthy and brown varnishes and paints. Conditional, "museum" blackness in their canvases gives way to an infinitely diverse play of reflexes and colored shadows. They immeasurably expanded the possibilities of fine art, revealing not only the world of sun, light and air, but also the beauty of the London fogs, the restless atmosphere of the life of a big city, the scattering of its night lights and the rhythm of incessant movement.
By virtue of the very method of working in the open air, the landscape, including the urban landscape they discovered, occupied a very important place in the art of the Impressionists. However, it should not be assumed that their painting was characterized only by a "landscape" perception of reality, for which they were often reproached. The thematic and plot range of their work was quite wide. Interest in man, and in particular in the modern life of France, was inherent in a number of representatives of this trend in a broad sense. His life-affirming, basically democratic pathos clearly opposed the bourgeois world order.
At the same time, impressionism and, as we will see later, post-impressionism are two sides, or rather, two consecutive time stages of that fundamental change that marked the boundary between the art of modern and modern times. In this sense, impressionism, on the one hand, completes the development of everything after the Renaissance art, the leading principle of which was the reflection of the surrounding world in visually reliable forms of reality itself, and on the other hand, it is the beginning of the largest upheaval in the history of fine art after the Renaissance, which laid the foundations for a qualitatively new art. stage -
art of the twentieth century.
Impressionism 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 Père 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. It was most clearly expressed 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
