Impressionism is a trend in art that arose in the second half of the 19th century. His main goal was the transmission of 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, transfer of blue color in the 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. To landscape painting he was introduced by Eugene Boudin - french artist, a forerunner of Impressionism. 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 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 early work artist Special attention devoted to the image 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.
AT last years 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 a few of his interesting sayings 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 the Maupassant story "Dumpling"), the name "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 musical art can be connected with each other only with the help of special, subtle associative parallels that exist only in consciousness. Looking at the blurry image of Paris "in autumn rain” and the same sounds, “muffled by the noise of falling drops”, then here we can only talk about the property artistic image but not the real picture.
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 free plastic soft forms, which creates difficult game 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 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 (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-ma), familiarity with English art(W. Turner, R. Bo-ning-ton, J. Con-stabl) in 1870-1871 (during the time of being in Lon-do-ne K. Mo-ne and K. Pis-sar-ro) and “opening” of ev-ro-pei-tsa-mi Japanese art in mid-nineteenth 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-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 becomes-but-wit-sya, if not 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 an-tro-centric concept of European art (man-age is not the center of the world-building, but his hour -ti-tsa) pro-iso-went to a significant extent under the influence of Japanese art and appeared in equal-but-pra-vii of all elements of comp-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 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 (effects-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 late ro-man-tiz-ma and national music schools XIX 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 XIX- the beginning of the 20th century. 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
Impressionism in painting
origins
The emergence of the name
The first important exhibition of the Impressionists took place from 15 April to 15 May 1874 in the studio of the photographer Nadar. There were presented 30 artists, in total - 165 works. Canvas Monet - “Impression. Rising Sun " ( Impression, soleil levant), now in the Musée Marmottin, Paris, written in 1872, gave birth to the term "Impressionism": the little-known journalist Louis Leroy, in his article in the magazine Le Charivari, called the group "Impressionists" to express his disdain. Artists, out of a challenge, accepted this epithet, later it took root, lost its original negative meaning and came into active use.
The name "Impressionism" is rather meaningless, unlike the name " Barbizon school", Where at least there is an indication of the geographical location artistic group. There is even less clarity with some artists who were not formally included in the circle of the first impressionists, although their techniques and means are completely “impressionistic” Whistler, Edouard Manet, Eugene Boudin, etc.) In addition, the technical means of the Impressionists were known long before the XIX centuries and they were (partially, limitedly) used by Titian and Velasquez, without breaking with the dominant ideas of their era.
There was another article (authored by Emile Cardon) and another title - "The Rebel Exhibition", absolutely disapproving and condemning. It was it that exactly reproduced the disapproving attitude of the bourgeois public and criticism towards the artists (Impressionists), which dominated for years. The Impressionists were immediately accused of immorality, rebellious moods, failure to be respectable. AT this moment this is surprising, because it is not clear what is immoral in the landscapes of Camille Pissarro, Alfred Sisley, the everyday scenes of Edgar Degas, the still lifes of Monet and Renoir.
Decades have passed. And a new generation of artists will come to a real collapse of forms and impoverishment of content. Then both criticism and the public saw in the condemned Impressionists - realists, and a little later, classics of French art.
The specificity of the philosophy of impressionism
French impressionism did not raise philosophical problems and did not even try to penetrate the colored surface of everyday life. Instead, impressionism focuses on the superficiality, the fluidity of the moment, the mood, the lighting, or the angle of view.
Like the art of the Renaissance (Renaissance), impressionism is built on the features and skills of perceiving perspective. At the same time, the Renaissance vision explodes with the proven subjectivity and relativity of human perception, which makes color and form autonomous components of the image. For impressionism, it is not so important what is shown in the figure, but how it is shown is important.
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.
Benefits of Impressionism
The advantages of impressionism as a trend include democracy. By inertia, art in the 19th century was considered a monopoly of aristocrats, the upper strata of the population. It was they who acted as the main customers for murals, monuments, it was they who were the main buyers of paintings and sculptures. Plots with the hard work of the peasants, the tragic pages of our time, the shameful aspects of wars, poverty, social turmoil were condemned, not approved, not bought. Criticism of the blasphemous morality of society in the paintings of Theodore Gericault, Francois Millet found a response only from supporters of artists and a few experts.
The Impressionists in this matter occupied quite compromise, intermediate positions. Biblical, literary, mythological, historical plots inherent in official academicism were discarded. On the other hand, they ardently desired recognition, respect, even awards. Indicative is the activity of Edouard Manet, who for years sought recognition and awards from the official Salon and its administration.
Instead, a vision of everyday life and modernity appeared. Artists often painted people in motion, during fun or relaxation, imagined a view of a certain place in a certain light, nature was also the motive of their work. They took subjects of flirting, dancing, staying in cafes and theaters, boat trips, on beaches and in gardens. Judging by the paintings of the Impressionists, life is a series of small holidays, parties, pleasant pastimes outside the city or in a friendly environment (a number of paintings by Renoir, Manet and Claude Monet). The Impressionists were among the first to paint in the air, without finalizing their work in the studio.
Technics
The new trend differed from academic painting both technically and ideologically. First of all, the Impressionists abandoned the contour, replacing it with small separate and contrasting strokes, which they applied in accordance with the color theories of Chevreul, Helmholtz and Rude. The sunbeam splits into its components: violet, blue, blue, green, yellow, orange, red, but since blue is a variety of blue, their number is reduced to six. Two colors placed side by side reinforce each other and, conversely, when mixed, they lose their intensity. In addition, all colors are divided into primary, or primary, and dual, or derivatives, with each dual paint being additional to the first:
- Blue - Orange
- Red Green
- Yellow - Purple
Thus it became possible not to mix colors on the palette and get desired color by properly overlaying them on the canvas. This later became the reason for the rejection of black.
Then the Impressionists stopped concentrating all their work on the canvases in the studios, now they prefer the open air, where it is more convenient to grab a fleeting impression of what they saw, which became possible thanks to the invention of steel tubes for paint, which, unlike leather bags, could be closed so that the paint did not dry out.
Also, the artists used opaque paints, which do not transmit light well and are unsuitable for mixing because they quickly turn gray, this allowed them to create paintings not with " internal", a " external» light reflecting off the surface.
Technical differences contributed to the achievement of other goals, first of all, the Impressionists tried to capture a fleeting impression, the smallest changes in each subject depending on the lighting and time of day, the highest embodiment was Monet's cycles of paintings "Haystacks", "Rouen Cathedral" and "Parliament of London".
In general, many masters worked in the Impressionist style, but the basis of the movement were Édouard Manet, Claude Monet, Auguste Renoir, Edgar Degas, Alfred Sisley, Camille Pissarro, Frédéric Bazille and Berthe Morisot. However, Manet always called himself an "independent artist" and never participated in exhibitions, and although Degas participated, he never painted his works en plein air.
Timeline by artists
Impressionists
Exhibitions
- First exhibition(April 15 - May 15)
- Second exhibition(April )
The address: st. Lepeletier, 11 (Durand-Ruel Gallery). Members: Basile (posthumously, the artist died in 1870), Beliard, Bureau, Debutin, Degas, Caillebotte, Cals, Lever, Legros, Lepic, Millet, Monet, Morisot, L. Otten, Pissarro, Renoir, Rouar, Sisley, Tillo, Francois
- Third Exhibition(April )
The address: st. Lepelletier, 6. Members: Guillaumin, Degas, Caillebotte, Cals, Corday, Lever, Lamy, Monet, Morisot, Moreau, Piette, Pissarro, Renoir, Rouard, Cezanne, Sisley, Tillo, Francois.
- Fourth Exhibition(April 10 - May 11)
The address: Opera Avenue, 28. Members: Bracquemont, Madame Bracquemont, Gauguin, Degas, Zandomeneghi, Caillebotte, Cals, Cassatt, Lebourg, Monet, Piette, Pissarro, Rouart, Somm, Tillo, Forain.
- Fifth exhibition(April 1 - April 30)
The address: st. Pyramids, 10. Members: Bracquemont, Mrs. Bracquemont, Vidal, Vignon, Guillaumin, Gauguin, Degas, Zandomeneghi, Caillebotte, Cassatt, Lebour, Lever, Morisot, Pissarro, Raffaelli, Rouart, Tillo, Forain.
- Sixth Exhibition(April 2 - May 1)
The address: Boulevard des Capucines, 35 (studio of the photographer Nadar). Members: Vidal, Vignon, Guillaume, Gauguin, Degas, Zandomeneghi, Cassatt, Morisot, Pissarro, Raffaelli, Rouar, Tillo, Forain.
- Seventh exhibition(March )
The address: Faubourg-Saint-Honoré, 251 (At Durand-Ruel). Members: Vignon, Guillaume, Gauguin, Caillebotte, Monet, Morisot, Pissarro, Renoir, Sisley.
- Eighth Exhibition(May 15 - June 15)
The address: st. Laffitt, 1. Members: Madam Braquemont, Vignon, Guillaumin, Gauguin, Degas, Zandomeneghi, Cassette, Morisot, Camille Pissarro, Lucien Pissarro, Redon, Rouart, Seurat, Signac, Tillo, Forain, Schuffenecker.
Impressionism in literature
In literature, impressionism did not develop as a separate trend, but its features were reflected in naturalism and symbolism.
First of all, it is characterized by the expression of the author’s private impression, the rejection of an objective picture of reality, the depiction of every moment, which should have entailed the absence of a plot, history and the replacement of thought with perception, and reason with instinct. The main features of the impressionist style were formulated by the Goncourt brothers in their work "Diary", where famous phrase « Seeing, feeling, expressing - this is all art has become a central position for many writers.
In naturalism, the main principle was truthfulness, fidelity to nature, but it is subject to impression, and therefore the appearance of reality depends on each individual and her temperament. This is most fully expressed in the novels of Emile Zola, his detailed descriptions of smells, sounds and visual perceptions.
Symbolism, on the contrary, demanded a rejection of the material world and a return to the ideal, but the transition is possible only through fleeting impressions, revealing a secret essence in visible things. A striking example of poetic impressionism is the collection of Paul Verlaine "Romances without words" (). In Russia, the influence of Impressionism was experienced by Konstantin Balmont and Innokenty Annensky.
Also, these moods touched dramaturgy (impressionist drama), passive perception of the world invades the plays, analysis of moods, states of mind, the whole composition breaks up into a number of scenes filled with lyricism, and fleeting disparate impressions are concentrated in dialogues. The drama becomes one-act, designed for intimate theatres. These signs are fully reflected in the work of Arthur Schnitzler.
Impressionism in music
Musical impressionism was one of the currents of musical modernity. It is characterized by the transmission of fleeting impressions, moods, subtle psychological nuances.
The founder of impressionism in music is the French composer Eric Satie, who published Three Melodies in 1886, and Three Sarabandes in 1887, which carry all the main features of the new style. The bold discoveries of Erik Satie five and ten years later were picked up and developed by two of his friends, the brightest representatives impressionism, Claude Debussy and Maurice Ravel.
Literature
- Jean-Paul Crespel. Daily Life of the Impressionists 1863-1883, Moscow "Young Guard",
- Maurice Sérull and Arlette Sérull. Encyclopedia of Impressionism, Moscow "Republic",
- "Impressionism", Brodskaya. N.V. St. Petersburg, Avrora, 2002 (254 pages, 269 illustrations, 7 author's text sheets)
Links
- Impressionism, N.V. Brodskaya, ed. Aurora 2010
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Synonyms:The direction of I. developed in France in the last. third of the 19th century - early 20th century and went through 3 steps:
1860-70s - early I.
1874-80s - mature I.
90s of the 19th century - late I.
The name of the direction I. came from the name of the painting by C. Monet “Impression. The Rising Sun, written in 1872.
Origins: the work of the "small" Dutch (Vermeer), E. Delacroix, G. Courbet, F. Millet, K. Corot, the artists of the Barbizon school - they all tried to capture the subtlest moods of nature, atmosphere, performing small sketches in nature.
Japanese engraving, an exhibition of which was held in Paris in 1867, where for the first time whole series of images of the same object were shown at different times of the year, day, etc. (“100 Views of Mount Fuji”, Tokaido Station, etc.)
Aesthetic principles AND.:
Rejection of the conventions of classicism; rejection of historical, biblical, mythological subjects, mandatory for classicism;
Work in the open air (except for E. Degas);
Transfer of an instant impression, which includes observation and study of the surrounding reality in various manifestations;
Impressionist painters expressed in paintings not only what they see(as in realism) but how they see(subjective principle);
The Impressionists, as artists of the city, tried to capture it in all its diversity, dynamics, speed, diversity of clothes, advertisements, movement (C. Monet “Boulevard des Capucines in Paris”;
Impressionist painting is characterized by democratic motifs, in which beauty was affirmed. Everyday life; stories are modern city, with its entertainment: cafes, theaters, restaurants, circuses (E. Manet, O. Renoir, E. Degas). It is important to note the poetic nature of the motives of the image;
New forms of painting: framing, sketching, etude, small sizes of works in order to emphasize the fleetingness of the impression, violating the integrity of objects;
The plot of the Impressionist paintings was not basic and typical, as in the realistic direction of the 19th century, but random (not a performance, a rehearsal - E. Degas: a ballet series);
- "mixture of genres": landscape, household genre, portrait and still life (E. Manet - "Bar in the Folies-Bergere";
Instantaneous image of the same object at different times of the year, day (C. Monet - “Haystacks”, “Poplars”, a series of images of the Rouen Cathedral, water lilies, etc.)
The creation of a new pictorial system to preserve the freshness of the instant impression: the decomposition of complex tones into pure colors - separate strokes of pure color that blended in the eye of the viewer with a bright color range. The painting of the Impressionists is a variety of commas-strokes, which gives the paint layer quivering and relief;
The special role of water in its image: water as a mirror, a vibrating color medium (C. Monet "Rocks in Belle-Ile").
From 1874 to 1886, the Impressionists held 8 exhibitions; after 1886, Impressionism begins to decompose as a holistic trend into neo-impressionism and post-impressionism.
Representatives of French impressionism: Edouard Manet, Claude Monet - the founder of I., Auguste Renoir, Edgar Degas, Alfred Sisley, Camille Pissarro.
Russian impressionism is characterized:
A more accelerated development of impressionism in its "pure form", because. this trend in Russian painting appears in the late 80s of the 19th century;
Great prolongation in time (I. appears as a stylistic coloring in the works of major Russian artists: V. Serov, K. Korovin)
Great contemplation and lyricism, "rural version" (compared to the "urban" French): I. Grabar - " february blue”, “March snow”, “September snow”;
Depiction of purely Russian themes (V. Serov, I. Grabar);
Greater interest in a person (V. Serov "Girl illuminated by the sun" "Girl with peaches";
Less dynamization of perception;
Romantic coloration.
Everything has its origins somewhere in the past, including paintings that have changed with the times, and the current trends are far from clear to everyone. But everything new is a well-forgotten old, and in order to understand today's painting, you don't need to know the history of art from ancient times, you just need to remember painting XIX and XX centuries.
The middle of the 19th century is a time of change not only in history, but also in art. Everything that was before: classicism, romanticism, and even more so academicism - currents limited by certain limits. In France in the 1950s and 1960s, the trends in painting were set by the official Salon, but the typical “Salon” art did not suit everyone, and this explained the emerging new trends. In the painting of that time there was a revolutionary explosion, which broke with centuries-old traditions and foundations. And one of the epicenters was Paris, where in the spring of 1874 young painters, among whom were Monet, Pissarro, Sisley, Degas, Renoir and Cezanne, organized their own exhibition. The works presented there were completely different from the salon ones. The artists used a different method - reflexes, shadows and light were conveyed by pure colors, separate strokes, the shape of each object seemed to dissolve in the air-light environment. No other direction in painting knew such methods. These effects helped to express as much as possible their impressions of ever-changing things, nature, people. One journalist called the group "Impressionists", thus he wanted to show his disdain for young artists. But they accepted this term, and it eventually took root and entered into active use, losing its negative meaning. This is how impressionism appeared, unlike all other trends in painting of the 19th century.
At first, the reaction to the innovation was more than hostile. Nobody wanted to buy too bold and new painting, and they were afraid, because all the critics did not take the Impressionists seriously, they laughed at them. Many said that the Impressionist artists wanted to achieve quick fame, they were not satisfied with the sharp break with conservatism and academicism, as well as the unfinished and "sloppy" look of the work. But even hunger and poverty could not force the artists to abandon their beliefs, and they persisted until their painting was finally recognized. But it took too long to wait for recognition, some impressionist artists were no longer alive then.
As a result, the trend that originated in Paris in the 60s had great value for the development of the world Art XIX and XX centuries. After all, future trends in painting were repelled precisely from impressionism. Each subsequent style appeared in search of a new one. Post-Impressionism was born by the same Impressionists who decided that their method was limited: deep and ambiguous symbolism was a response to painting that had “lost its meaning”, and Art Nouveau, even with its name, calls for a new one. Of course, many changes have taken place in art since 1874, but all modern trends in painting are somehow repelled by a fleeting Parisian impression.