Painting in impressionism: features, history. Famous impressionist painters. What is the difference between Russian impressionism in painting and French

IMPRESSIONISM (French impressio-n-nisme, from impression - impression) - right-left in art -pi-si) in the next third of the XIX - first quarter of the XX centuries.

The emergence of a ter-mi-na is connected with the first show of French hu-dog-no-kov-single-no-mouse-len-nikov (under the name "Ano-nim-noe koo-pe-ra-tiv-noe society-st-in hu-dog-nikov ..."), passed in the para-riga village of G. Na-da-ra in 1874. One of the pictures presented on it by K. Mo-ne ("Impression. Sunrise"; na-pi-sa-na in Gav-re in the spring of 1873; now-not - in the Museum of Mar-mot-tan, Par-rizh) yes-la-vo-kri-ti-ku L. LeRua from the magazine "Le Charivari" call his a review article "You-stav-ka im-press-sio-nistov." The very word "imprint" in the meaning of the way-so-ba of the artistic conception -sya and earlier: with this nya-ti-ti-zo-va-were in-eta Sh. Bod-ler and P. Ver-len, hu-dog-ni-ki K. Ko-ro, T. Rus-so, Sh.F. Do-bi-nyi (already in the 1860s, critique na-zy-wa-la his "head of school imprinted-chat-le-ny"), E. Ma-ne. Teaching-st-ni-ka-mi-st-vok im-press-sio-nistov (last, 8th was in 1886), in-mi-mo- no, would L.E. Bou-den, A. Guille-o-men, E. De-ha, G. Cai-bottom, M. Kes-sett, B. Mo-ri-zo, K. Piss-sar-ro, O. Re- well, A. Sis-lay, as well as P. Se-zann, P. Go-gen and others

Us-lov-but the history of impressionism in life-pi-si can be divided into periods: preparatory th me-to-yes) - 1860s .; ras-color and struggle for new art - 1870s (period of "class-si-che-th impressionism"); na-chi-nayu-shche-go-Xia kri-zis-sa (1880s); late - from the 1890s to the 1920s. The new-va-tion of impressionism were ready-to-go-to discoveries in the field of optics and physiology of vision, the r-she-tsve-to-t-t-tr-stov M. Shev-rё-la, izy-ska-mi E. De-lac-rua in the region of additional tones, drink-zh-zh-in-p-su K. Ko-ro and mas-te-rov of the bar-bi-zon school, us-pe-ha-mi in the region-las-ti pho-to -graphics. A significant role was played by the rapprochement of the future im-press-sio-nists with E. Ma-ne (from the end of the 1860s), shim a big impact on young hu-dog-nikov (without participating in the exhibitions of the Impressionists, Ma-not himself paid tribute to them-pres -sio-nystical ma-ne-re writing), familiarity with English art (W. Turner, R. Bo-ning-ton, J. Kon-stem) in 1870- 1871 (during the stay in Lon-do-not K. Mo-ne and K. Pis-sar-ro) and the "opening" of ev-ro-pei-ts- mi Japanese art v mid XIX century. The desire to catch the “instantaneousness” of the states of the at-mo-sphere and the natural os-matter can already be noticed in the clamp-on creative-th-st-ve mas-te-dov of the so-called pre-dim-press-sio-niz-ma (E. Bu-den, J. Yon-gkind, F. Basil), but only within the framework of impressionism, these devices-le-niya pre-ob-ra-zo-va-were in the whole art system. Most after-to-va-tel-but with-hold-up-with this system-those-we are in our creative work K. Mo-not; in the works of other European (including Russian) and American hu-dogzh-nikov-im-press-sio-nist, various methods of impressionism na-ho-di- whether in the case of not-in-second-ri-mo-in-di-vi-du-al-ny inter-pre-ta-tion.

Im-press-sio-ni-are-were-prin-ci-pi-al-ni-ni-ni-ka-mi all-who-theo-re-ti-zi-ro-va-nia ; the theory of impressionism arose only at the beginning of the 20th century, it was bas-zi-ro-wa-las on the artistic openings of the masters of this on-the-right niya, on the basis of impressionism in a different way, not-ny-ny-tiy-nii-nii-nii. In the basis of impressionism, there is a non-traditional view of the world as a kind of “moving ma-te-ri-al-noy sub-stan- tzii "(BA Zer-nov), the desire to-print-fly the surrounding world in its motion and change-chi-in- sti, "instant-ven-no-sti" of random situations, movements, states of nature. Im-press-sio-ni-stam was close to the form-mo-li-ro-van-no E. the corner of the world-building, seen through the dark-pe-ra-ment "(that is, in the sub-ek-tive pre-lom-le-nii hu-doge -Nika); they strove to reflect in the "micro-ro-cos-me" a single pro-of-ve-de-nia not-dissolve-th-my connection pri-ro -de and che-lo-ve-ka, in-di-vi-duu-ma and the environment.

Impressionism in painting

The dissolution of aka-demic ka-no-nov in living-pi-si by French impressionists was co-ver-willed in several-right-le-ni-y: refusal from all-to-ro-da li-te-ra-tur-no-sti, "sy-zhet-no-sti", mo-ra-li-zi-ro-va-nia, own- st-veins sal-lon-no-mu is-kus-st-wu that time-me-ni, from in-is-kovs from-the-attracted "ra-fa-elevskoy" beauty of the late French class-si-tsiz-ma (J.O.D. Ingres and his after-to-va-te-li), non-acceptance as a program -no-sti and pa-fo-sa ro-mantic art, and for-ost-rёn-no so-qi-al-no-go real-liz-ma G. Kur-be. For a rare ex-key, the art of impressionism seems to be about modern times: it pre-ob-la-da-yut those-we are kind, "cha-st-noy" life (life, respite, raz-vle-che-niya), the beauty of rural pei-zha-zhey. Impressionism destroyed all the traditional ideas about the hierarchy of genres and their specialties ra with port-re-tom, port-re-that with pei-za-zhem or inter-ter-e-rum, and the like), about who-in-zi-tion as a lock-well-that tse-lo st-noy structure-tu-re ob-ra-call. Following in the life-in-pi-si of impressionism for-me-not-na-no-ma-no-kart-ty-ny as a fragment-me-ta na-tu-ry, word-no see-den-no-go in the window (or even “under-look-ren-but-go through the-urine well-well”, according to the op-de-le- E. De-ha). For kartin im-press-sio-nistov ha-rak-ter-ny "not-given-ness" of the frame, de-center-tra-li-zation iso-bra-zhe- (from-day-st-vie of the central system of images and a static, single-st-ven-point of vision), not-usual ness from bi-paradise-course-courses, displacement-shift of the positioning axes, "pro-of-free" cuts of parts of the com-position, before -me-tov and fi-gur ra-my cards-ti-ny.

The desire-to-let-to-print-fly in life-in-pi-si in a hundred-yang-but-me-nyayu-Xia (in shch-niya) beautiful-juicy different-but-ob-ra-zie vi-di-mo-go mi-ra pri-ve-lo im-press-sion-nistov (for ex-key no E. De-ha) to his own kind of colo-loristic re-form - from-ka-zu from complex (mixed) tones, times -butting them into pure spectral colors, put on the canvas by separate smears, which should be opted che-ski-shi-vat-Xia in the eyes of the beholder. The color in the life-in-pi-si of impressionism when-about-re-ta-e is not-his-own-vene-nous to him before the av-to-no-miya, right up to the pre-me-that, and is-la-is-sya no-si-te-lem of light-of-the-zary-dov, pro-ni-zy-vayu-yuh-yuh all in-le iso-bra-same -niya. Ple-ner pre-la-ha-ha-em a great fineness of the gra-da-tions of light-te-ni, color-of-t-s-nos and pe-re-ho- Dov, meticulous development of the system-te-we va-le-rov.

Os-lab-le-nie of plastic na-cha-la in life-pi-si of impressionism is connected with from-ka-zom from anti-ti-po-le-niya light and those-it as a form-mo-ob-ra-zuyu-shche-go factor-to-ra. The light of a hundred-but-wit-Xia ed-va is not the main "he-ro-em" of the Impressionists, the most important com-n-n-that of all structures-tu-ry, sub-station-qi of the form; the bright solar light does not intensify the sound of the color, but you light it, dissolving from the ten-ki. Those-no-ut-ra-chi-va-yut are not-pro-no-tsaye-most and black-but-that, becoming-but-growing color-ny and transparent-ny; in those, the color only loses its light and is enriched with additional to-na-mi cold part of the spectrum. Beginning from the 1870s from life-in-pi-si im-press-sio-nistov almost windows-cha-tel-but from-gna-nah ah-ro-ma-ti- che-sky colors (black, gray and open-white), ko-lo-rit ple-neer-kartin os-no-van na co-pos-tav- le-ni-yah warm and cold spectral colors, they use the possibilities of “pro-country-st- ven-no-go "color-ta - iso-wrap-up of the elements of water, no-ba, ob-la-kov, tu-ma-na, air-du-ha, in-lu- tea-si-ra-sku at the expense of ras-se-yan-no-go and from-ra-wives-no-go sol-no-no-light. Set-down-not-living-in-writing-of-language-language, attention to the pe-re-yes-che ef-fek-tov o-substance and color out ref-lex-sov-come-to-his-his kind of de-ma-te-ria-li-zation of the subject-met-no-go world, um-ra-te they are but-sti, vza-mo-pro-nik-no-ve-niyu ele-men-tov iso-bra-zenia. Find the money in the process of the work-bo-you on the pri-ro-de, these techniques-we soon began to use-use-it-not only in the pei-zag -noy life-in-pi-si; a similar system-te-mo de-ra-ba-you-shaft E. De-ha, from-r-tsav-shy in-general-not-about-ho-di-bridging work-on ple-ne-re.

Another novelty of impressionism - after-to-va-tel-naya "revision" of the traditional per-spec-you, rejection of not-under-vision no-go and uni-kal-no-go center of pro-ection, pro-ty-in-re-cha-sh-go es-te-st-ven-no-mu (bi-fo-kal -mu and from-partly spheri-th-th-th) re-acceptance of the pro-countries-st-va; ten-den-tsion to za-tu-she-va-va-niyu deep-be-ny, an intensification of two-dimensionality; in some cases, the use of ak-so-no-met-ry, ef-fek-tov sharply strengthened direct whether-bo kri-whether -nay-noy per-spec-ty-you, later pre-turned-by P. Se-zan-na into the complete system tiv-noy "per-spec-ty-you. The subsequent rejection of impressionism from the anthro-central concept of European art (man-age is not the center of the world-building, but his hour -ti-tsa) pro-was-went to a significant degree under the influence of Japanese art and manifested itself in the equal right of all elements of com-po -zi-tions, equal-value-ness of the main image and the second-ro-ste-pen-noy de-ta-li, up to almost complete -ya "of the main image, drink-for-zhem, whether-bo-s-t-re-nia, drink-za-zha in the smoke-ke of sli-zya-shche-go tu-ma-na; in general, in this-ke not-dos-ka-zan-no-sti and "pray-cha-niy".

Striving for-printing-fly "a single moving-ma-te-riu" es-te-st-ven-no pri-ve-lo im-pres-sio-ni -stow (also not without the influence of Japanese gravure) to the creation of series and cycles of work-bots, in connection with one subject -tu iso-bra-ze-niya and fix-si-si-shih or-bo di-na-mi-ku ob-times (image-bra-zhenie-niya "to-po-lei", "in-kza -lov "by K. Mo-ne," dancers-shchits "by E. De-ha, many-people Paris boulevards, etc.), more me-nyayu-sya ef-fek-you os-matter and color-ness in their inter-connection, movement im-ma-te-ri-al -noy element-chii light ("hundred-ga se-na", "so-bo-ry" Mo-no). Each of the works of such a series (or cycle-la) reveals some aspect of the in-kup-ness creates a whole, syn-thetic image in the pre-de-lakh of the general for-cape-la hu-dog-no-ka.

By-for-cha-lu Impressionism evoked a cruel non-acceptance of most of the criticism and the public; support of new is-ka-ni-yam in the art of the eye-za-li E. Zo-la, S. Mal-lar-me, Zh.K. Gyu-is-mans, crit-ki T. Du-re, E. Du-ran-ti, G. Jeff-froua, P. Du-ran-Rue-el's collection, G. Cai-Bott, J. B. Fore and V. Sho-ke. Shi-ro-ko-go recognition of im-press-sio-ni-sts reached only in the 1890s, when Impressionism entered its next-nyu phase ... Late impressionism is marked on-ras-ta-ni-em de-co-ra-tive tendencies (common for the art of the epo-chi mo-der-na), all the pain -some iso-shrion-ness of a colo-li-ristic game from-ten-kov and up-to-full tones, in a swarm of unusual colors-to-vi-de- no-em (drink-for-zhi E. De-ha of the end of the 1890s, a series of "la-ku-chikh willows" K. Mo-ne, late life-writing O. Re-noia -ra and others), ak-tsen-ti-ro-va-ni-em sa-mo-tsen-no-sti in-di-vi-du-al-noi hu-deity ma-ne-ry, "lich -no-st-no-go "style.

In these years in art, new directions were already expected, but the effect of new impressionism in one way or another re is-py-ta-whether many hu-dog-ni-ki of French saloon-no-go art, post-im-press-sio-niz-ma and early European avan-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-vi-zio-niz-ma); life-writing "pure color", the sug-ge-steive function of color (giving him emotion and power of inspiration) in so-che-ta-nii with the free ex-press-s-her smear-ka were unas-le-do-va-ny V. Van Go-gom, P. Go-gen, mas-te-ra-mi fo-viz-ma and groups "na-bi", as well as ab-st-cancer-cio-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-tion of individual techniques (eff-fek-you ple-ne -ris-ma, you-light-le-nie pa-lit-ry, es-kiz-ness and svo-bo-da zhi-in-writing ma-ne-ry), in the form of nii to modern te-ma-ti-ke - in the creative-th-st-ve hu-dog-nikov Ve-li-ko-bri-ta-nii (U. Sik-kert, U. Steer), Ger -mani (M. Li-ber-man, L. Co-rint, M. Sle-vogt), Italy (J. De Nit-tis), Nor-ve-gii (F. Tau-lov) , Pol-shi (L. Vy-chul-kovskiy), USA (M. Kes-sett, M. Pre-nder-gast, T. Ro-bin-son, J.S. Sardzhent, 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 ple-neer life of I.E. Re-pi-na, V.A. Se-ro-va, I.I. Le-wi-ta-na, V.D. Po-le-no-va, N.N. Doo-bov-sko-go; the art of K.A. Ko-ro-vi-na, I.E. Gra-ba-rya; "Im-press-sio-ni-st-skiy" per-ri-od can-but-de-pour the same at the future mas-te-dov of the Russian avan-gar-da (KS . 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. (striving for pe-re-da-th instant-ven-no-th movement, te-ku-honor of forms, na-ro-chi-tai-plastic not-for-ver- shen-ness, interaction-mo-dey-st-vie of the sculptor with the light); the most noticeable features of impressionism in the sculptural art of O. Ro-de-na and E. De-ha (France), M. Ros- co (Italy), P.P. Tru-bets-ko-go and A.S. Go-lub-ki-noy (Russia).

Pro-gram principles of life-writing of impressionism in the wake of the art began to change to other is-kus-art: mu-zy -ku, li-te-ra-tu-ru, te-atr, ho-rheo-gra-fiu, ki-no, pho-to-is-kus-st-in. Applying the term "impressionism" in relation to them is-la-e-xia dos-ta-exactly-but-uv-ny and oss-pa-ri -va-it-Xia part of the is-sl-do-va-te-lei.

Impressionism in music

From impressionism in music, which does not represent a direct analogy of impressionism in life-pi-si and not sov-pa-da- there is chro-no-lo-gi-che-ski with him (the time of the colors of musical impressionism - 1890-1900s), usually they connect chu change-chi-vy-tunings, subtle psi-ho-logical nu-an-owls, cha-go-te-nie to ethical drink but-sti (including the reflection in the sound of the game of waves, glare of light on the water, wind, ob-la-kov, etc.), according to -shen-shen-ny in-te-res of the composer to tem-bro-voy and gar-mon-nichny colorfulness. But-visas-for-art-means not-rarely-co-che-ta-las with the pre-tv-re-no of the best-of-the-art images of the old art ( zhi-in-pi-si-la ro-ko-ko, mu-zy-ki of French cla-ve-si-ni-stov).

The pre-forms of musical impressionism are in the sound of co-pi-si after F. Lis-ta, colo-loristic on-cues of A.P. Bo-ro-di-na, E. Gri-ga, N.A. Rome-sko-kor-sa-co-va, svo-bo-de-lo-co-ve-de-nia and sti-chi-noy im-pro-vi-za-tsi-on-no- sti M.P. Mu-sorg-sko-go. Classical expression of impressionism found its way into French music, first of all in the creative work of K. De-bus-si; his features also appeared in the music of M. Ra-ve-la, P. Du-ka, F. Schmitt, J. J. Ro-ge-Du-ka-sa. Musical impressionism unas-le-do-val many features of the late ro-man-tizm and national musical schools XIX century. Along with that stormy pa-te-tike, rel-ef-no-mu te-ma-tiz-mu, na-straight-wif-ty-go-te-ni-yam chro-ma-ti -che-ski us-false-no-no-no-nal-noy-noy-noy-noy of late ro-man-ti-kov (especially-ben-no R. Vag-ne-ra) im-pres-sio -ni-sts against-in-post-ta-vi-whether emo-cio-nal-nal-nal-nal-ness, short-bone and non-evasive change-in-frequency one hundred-yang-but-var-and-rue-mo-ti-vov, dia-to-ni-ku, modality of sym-met-riches (including the whole -no-in-th), about-transparent fact-to-ru. Creative-th-art-in-com-in-zi-to-ditch of impressionism in a lot of about-ga-ti-lo expressive media-st-va mu-zy-ki, especially ben-no-sfe -Ru gar-mo-nii, dos-tig-shei great uton-chon-no-sti. Us-lie-not-ak-kor-do-kom-plex-so-che-ta-et-sya in the har-mony of impressionism with ar-hai-za-qi-she la-do-vo th thought; rit-we swell, under-hour ost-ro-ha-rak-ter-ny. Wuxi-li-va-is-sya phonic vividness of ka-z-do-go ak-kor-da (see Pho-nism), due to the attraction of-not-session to new os-no-ve ele-men-tov modal-noy gar-mo-nii ras-shi-rya-et-sya la-do-va sphere, in or-ke-st-rov- ke pre-ob-la-da-yut clean temp. The special freshness of the music French impressionists come-da-va-whether the reference to the pe-sen-no-tan-tse-val-gen-ram, to the element-men-tam of the musical language of the na-ro-dov Vos-to -ka, Is-pa-nii, sti-li-zation of early forms of dzha-za. For the pre-de-la-mi of France, the prin-ci-py of musical impressionism, the original development-vi-va-li M. de Fa-lya in Is-pa-nii, O. Res-pi -gi, in part 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-man-novsky in Poland, A.K. Lyadov, N.N. Che-rep-nin (see Che-rep-nins), in part I.F. Stravinsky in Russia.

Impressionism in literature

Su-shch-st-in-va-va-tion of impressionism as av-to-nom-no-go-to-right-le-niya in li-te-ra-tu-re - subject-met-long dis-cus- this. Literary impressionism is not-rare-to-whether-from-to-st-to-la-e-sya with na-tu-ra-liz-m, or-to-think-that-is-pro-me-me exact phenomenon between-w-du na-tu-ra-liz-m and sim-in-liz-m, whether-bo-zha-it-sya with sim-in-liz- mom. As a self-standing literary direction, impressionism is most often found in French, as well as Austrian (the so-called Viennese mo- turf) to the literature of the epo-hi de-ka-dan-sa. They say the same about im-pres-sio-ni-stich-no-sti as sti-le-voy oso-ben-no-sti, attributed to many pi-sa-te-lyam 2 th half of the XIX- the beginning of the XX centuries. Literary impressionism did not create a theo-theoretical program, but experienced the influence, in a way, of the French im-press-sio-nists, mune-hens-go and vien-go se-ces-sionov, fi-lo-s-phii time-me-ni A. Berg-so-na, psi-ho-logii U. Jame-sa (the idea of ​​being so-ka-na-niya), em-pi-ri-ok-ri-ti-tsiz-ma E. Ma-ha, psi-ho-ana-li-za Z. Frey -Yes. From impressionism in literature, it is usually the emphasis on sug-ge-stev-ness, the construction of the image of a row according to the principle of tsi-poo -with-free as-societies, called upon to bring in chi-ta-te-lyu not-op-re-de-len-nye "mu-zy-kal-noe" on-line -nie, drawing him into the world of lyrical pe-re-zhi-va-niy av-to-ra - es-te-ta-ge-do-no-hundred, so-zer-tsa -te-la of the world in its hundred-yang-noy change-chi-in-sti.

In poetry, im-press-sion-stichnost is manifested in the ass-lab-le-ny of the met-ric and sense-word ki (the so-called you-free-bo-j-de-nie sti-ha), pre-heaven-re-nii re-gular-no-rhythm and accurate riff-my (up to to full-but from-ka-za from the reef-we are in the ver-lib-re), when-hot-if-en-zhamb-ma-nah (P. Ver-len, A. Rem-bo France; D. von Li-li-en-kron in Germany; G. von Hoff-man-steel, R.M. Ril-ke in Av-st-ry; KD Bal- Mont, I.F.An-nensky in Russia, and others); in pro-ze - in reference to small forms (fragment-ment, a cycle of weakly connected between-w-do-no-well, day-no- some for-pi-si, es-seismic on-throw-juice), devil-su-zhet-no-sti, use-pol-zo-va-nii layer-weight-no-ob-de leit-mo-ty-vov, de-co-ra-tiv-no-sti-style (J.C. Gu-is-mans, M. Proust, A. Gide in France; P. Al- ten-berg in Austria; O. Wilde in Ve-li-ko-bri-ta-nii; G. D'Annunzio in Italy; K. Gam-sun in Nor-ve-gii; A. White in Russia, and others). Im-press-sio-ni-stichnost in criticism is connected with gen-ra-mi "etu-da", "si-lu-eta", "pro-fi-la" with their aphoristic, sub-ek-tiv-no-taste-with-you ha-rak-te-ri-sti-ka-mi (A. France, R. de Gour-mont, A. de Re-nier in France; D.S.Me-rezh-kovsky, Yu.I. Ay-hen-wald, M.A.Kuz-min in Russia).

Impressionism in drama

Impressionism (French impressionnisme, from impression - impression), a trend in the art of the last third of the 19th - early 20th century, whose masters, fixing their fleeting impressions, sought to most naturally and unbiasedly capture real world in its mobility and variability. Impressionism originated in French painting in the late 1860s. Edouard Manet (who was not formally a member of the Impressionist group), Degas, Renoir, Monet brought freshness and spontaneity to the perception of life into the visual arts.

French artists turned to the image of instant situations, snatched from the stream of reality, the spiritual life of a person, the image of strong passions, the spiritualization of nature, interest in the national past, the desire for synthetic forms of art are combined with the motives of world sorrow, the urge to explore and recreate the "shadow", " night side human soul, with the famous " romantic irony", which allowed romantics to boldly compare and equalize the high and the low, the tragic and the comic, the real and the fantastic. Impressionist artists used fragmentary realities of situations, compositional constructions, unexpected angles, points of view, slices of figures.

In the 1870s and 1880s, the landscape of French impressionism was formed: C. Monet, C. Pissarro, A. Sisley developed a consistent system of plein air, created in their paintings the feeling of sparkling sunlight, the richness of colors of nature, dissolution of forms in the vibration of light and air. The name of the direction comes from the name of the painting by Claude Monet "Impression. Rising Sun"(" Impression. Soleil levant "; exhibited in 1874, now at the Marmottan Museum, Paris.) The decomposition of complex colors into pure components, which were superimposed on the canvas with separate strokes, colored shadows, reflexes and valers gave rise to an unparalleled light, quivering painting of impressionism.

Certain aspects and techniques of this direction in painting were used by painters from Germany (M. Lieberman, L. Corinth), the USA (J. Whistler), Sweden (A.L. Zorn), Russia (K.A.Korovin, I.E. Grabar ) and many other national art schools. The concept of impressionism is also applied to sculpture of the 1880s –1910s, which has some impressionistic features - the desire to convey instantaneous movement, fluidity and softness of form, plastic sketchiness (works by O. Rodin, bronze statuettes by Degas, etc.). Impressionism in the visual arts influenced the development of expressive means of contemporary literature, music, theater. In interaction and in polemics with the pictorial system of this style in artistic culture In France in the late 19th and early 20th centuries, the currents of neo-impressionism and post-impressionism arose.

Neo-impressionism(French neo-impressionnisme) - a trend in painting that arose in France around 1885, when its main masters, J. Seurat and P. Signac, developed a new painting technique of divisionism. The French neo-impressionists and their followers (T. van Reiselberghe in Belgium, G. Segantini in Italy and others), developing the tendencies of late impressionism, strove to apply modern discoveries in the field of optics to art, imparting a methodical character to the methods of decomposing tones into pure colors; at the same time they overcame the chance, the fragmentation of the impressionistic composition, resorted to plane-decorative solutions in their landscapes and multi-figure paintings-panels.

Post-impressionism(from Lat. post - after and impressionism) is the collective name for the main trends in French painting of the late 19th - early 20th centuries. Since the mid-1880s, post-impressionist masters have been looking for new means of expression that can overcome the empiricism of artistic thinking and allow one to move from the impressionistic fixation of individual moments of life to the embodiment of its long-term states, material and spiritual constants. The period of post-impressionism is characterized by active interaction separate directions and individual creative systems. The works of the masters of neo-impressionism, the "Nabis" group, as well as V. van Gogh, P. Cezanne, P. Gauguin are usually ranked as post-impressionism.

Background and biographical data of the "Small Bay Planet Painting Gallery" are prepared on the basis of materials from the History of Foreign Art (ed. By M.T.Kuzmina, N.L. Maltseva), classical art"," Great Russian Encyclopedia ".

Today, impressionism is perceived as a classic, but in the era of its formation it was a real revolutionary breakthrough in art. Innovation and ideas in this direction have completely changed artistic perception art of the 19th and 20th centuries. And modern impressionism in painting inherits the principles that have already become canonical and continues aesthetic searches in the transmission of sensations, emotions and light.

Prerequisites

There are several reasons for the appearance of impressionism, this is a whole complex of preconditions that led to a real revolution in art. In the 19th century, a crisis was brewing in French painting, it was associated with the fact that the "official" criticism did not want to notice and let various emerging new forms into galleries. Therefore, painting in impressionism became a kind of protest against the inertia and conservatism of generally accepted norms. Also, the origins of this movement should be sought in the trends inherent in the Renaissance and associated with attempts to convey living reality. The artists of the Venetian school are considered the first progenitors of impressionism, then the Spaniards took this path: El Greco, Goya, Velazquez, who directly influenced Manet and Renoir. Technological progress also played a role in the development of this school. Thus, the emergence of photography gave rise to a new idea in art about capturing momentary emotions and sensations. It is this instant impression that the artists of the direction we are considering are trying to "grasp". The development of the plein air school, which was founded by representatives of the Barbizon school, also influenced this trend.

History of impressionism

In the second half of the 19th century, in French art, there was critical situation... Representatives of the classical school do not accept the innovations of young artists and do not admit them to the Salon - the only exhibition that opens the way to customers. The scandal erupted when the young Edouard Manet presented his work "Breakfast on the Grass". The painting aroused the outrage of critics and the public, and the artist was forbidden to exhibit it. Therefore, Manet participates in the so-called "Salon of the Outcast" together with other painters who were not allowed to participate in the exhibition. The work received a huge response, and a circle of young artists began to form around Manet. They gathered in cafes, discussed the problems of contemporary art, argued about new forms. A society of painters appears, who will be called Impressionists after one of the works of Claude Monet. This community included Pissarro, Renoir, Cezanne, Monet, Basil, Degas. The first exhibition of artists of this trend took place in 1874 in Paris and ended, like all subsequent ones, in failure. Actually, impressionism in music and painting covers a period of only 12 years, from the first exhibition to the last, held in 1886. Later, the direction begins to disintegrate into new trends, some of the artists die. But this period made a real revolution in the minds of creators and the public.

Ideological principles

Unlike many other directions, painting in impressionism was not associated with deep philosophical views. The ideology of this school was a momentary experience, an impression. The artists did not set themselves social tasks, they strove to convey the fullness and joy of being in everyday life. So genre system impressionism was generally very traditional: landscapes, portraits, still lifes. This direction is not an unification of people on the basis of philosophical views, but a community of like-minded people, each of whom leads his own quest in the study of the form of being. Impressionism lies precisely in the uniqueness of the look at ordinary objects, it focuses on individual experience.

Technics

It is quite easy to learn painting in impressionism by some characteristic features... First of all, it is worth remembering that the artists of this trend were passionate lovers of color. They almost completely ditch blacks and browns in favor of rich, vibrant palettes, often heavily lightened. The impressionist technique is distinguished by short strokes. They strive for the overall impression, not the meticulous drawing of details. The canvases are dynamic, discontinuous, which corresponds to human perception. Painters strive to arrange colors on the canvas in such a way as to obtain coloristic intensity or affinity in the picture; they do not mix colors on the palette. Artists often worked in the open air, and this was reflected in the technique, in which there was no time to dry the previous layers. Paints were applied side by side or one on top of the other, while using a covering material, which made it possible to create the effect of "inner glow".

The main representatives in French painting

Homeland this direction is France, it was here that impressionism first appeared in painting. The artists of this school lived in Paris in the second half of the 19th century. They presented their work at 8 Impressionist exhibitions, and these canvases have become classics of the trend. It is the French Monet, Renoir, Sisley, Pissarro, Morisot and others who are the progenitors of the current we are considering. The most famous impressionist, of course, is Claude Monet, whose works fully embodied all the features of this trend. Also, the current is rightly associated with the name of Auguste Renoir, who considered his main artistic task to convey the play of the sun; moreover, he was a master of sentimental portraiture. Impressionism also includes such outstanding artists like Van Gogh, Edgar Degas, Paul Gauguin.

Impressionism in other countries

Gradually, the direction is spreading in many countries, the French experience has been successfully taken up in others national cultures, although they have to talk more about individual works and techniques than about the consistent implementation of ideas. German painting in Impressionism is represented primarily by the names of Lesser Uri, Max Lieberman, Lovis Corinth. In the USA, ideas were implemented by J. Whistler, in Spain - by H. Sorolla, in England - by J. Sargent, in Sweden - by A. Zorn.

Impressionism in Russia

Russian art in the 19th century was significantly influenced by French culture, so domestic artists also could not avoid being carried away by the new trend. Russian impressionism in painting is most consistently and fruitfully represented in the work of Konstantin Korovin, as well as in the works of Igor Grabar, Isaac Levitan, Valentin Serov. The peculiarities of the Russian school consisted in the sketchiness of the works.

What was impressionism in painting? The founding artists strove to capture the momentary impressions of contact with nature, and the Russian creators also tried to convey a deeper, philosophical meaning works.

Impressionism today

Despite the fact that almost 150 years have passed since the emergence of the direction, modern impressionism in painting has not lost its relevance today. Due to the emotionality and ease of perception, paintings in this style are very popular and even commercial success. Therefore, many artists around the world are working in this direction. So, Russian impressionism in painting is presented in the new Moscow museum of the same name. Exhibitions are regularly held there contemporary authors, for example V. Koshlyakov, N. Bondarenko, B. Gladchenko and others.

Masterpieces

Modern amateurs visual arts often called their favorite direction is impressionism in painting. The paintings of the artists of this school are sold at auctions at fabulous prices, and the collections in museums enjoy great public attention. The main masterpieces of impressionism are considered to be the paintings of C. Monet "Water Lilies" and "Rising Sun", O. Renoir "Ball at the Moulin de la Galette", C. Pissarro "Boulevard Montmartre at night" and "Pont Boaldier in Rouen on a rainy day", E Degas "Absinthe", although the list is almost endless.

Impressionism is one of the most famous directions French painting, if not the most famous. And it originated in the late 60s and early 70s of the XIX century and largely influenced further development art of that time.

Impressionism in painting

The very name " impressionism"Was invented by the French art critic named Louis Leroy after visiting the first exhibition of the Impressionists in 1874, where he criticized the painting by Claude Monet "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 fast, spontaneous and free strokes. The guiding principle was the realistic depiction of the light-air environment.

The Impressionists strove to capture the elusive 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 this way: for example, if the sun paints the surface of a pond in pink color then it will be written in pink.

Features of impressionism

Speaking about the main features of impressionism, it is necessary to name the following:

• instant and optically accurate image of a fleeting moment;
• doing all the work on outdoors- no more preparatory sketches and completion of work in the studio;

• using pure color on canvas, without pre-mixing on the palette;
• the use of splashes of bright paint, strokes of various sizes and degrees of sweep, which visually add up to one picture, only if you look at it 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, nevertheless, became just a period of passion. The works of Konstantin Korovin, Abram Arkhipov, Philip Malyavin, Igor Grabar and other artists, written in the late 19th and early 20th centuries, also belong to Russian impressionism.

This affiliation is rather conditional, since Russian and classical French impressionism have their own specifics. Russian impressionism was closer to materiality, the objectivity of works, gravitated towards artistic sense, while French impressionism, as mentioned above, simply sought to depict the moments of life, without unnecessary philosophy.

In fact, Russian impressionism took over from the French only the outer side of the style, the techniques of its painting, but never mastered the pictorial thinking itself, embedded in impressionism.

Modern impressionism continues the tradition of classical French impressionism. In modern painting of the XXI century, many artists work in this direction, for example, Laurent Parsellier, Karen Tarlton, Diana Leonard and others.

Impressionist masterpieces

Terrace at Sainte-Adresse (1867), Claude Monet

This painting can be called Monet's first masterpiece. She is still herself popular painting early impressionism. Here, too, there is the artist's favorite theme - 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, are depicted relatives of Monet himself.

The whole picture is flooded with bright sunlight... The clear boundaries between land, sky and sea are separated, arranging the composition vertically with the help of two flagpoles, but at the same time the composition does not have a clear center. The colors of the flags are combined with the surrounding nature, emphasizing the variety 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, whose name corresponds to the nearby mill, which is a symbol of Montmartre. Renoir's house was located next to this cafe; he often attended Sunday afternoon dances and enjoyed watching happy couples.

Renoir demonstrates real talent and combines the art of group portrait, still life and landscape painting in one picture. The use of light in this composition and the smoothness of the strokes the best way present the style to the general viewer impressionism... This picture has become one of the most expensive paintings ever sold at auctions.

Boulevard Montmartre at Night (1897), Camille Pissarro

Despite the fact that Pissarro is famous for his paintings depicting rural life, he also wrote a large number of beautiful urban scenes of the 19th century in Paris. He loved to paint the city because of the play of light during the day and evening, because of the roads lit by both sunlight and street lamps.

In 1897 he rented a room on the Boulevard Montmartre and depicted it in different time days, and this work was the only work in the series, captured after night fell. The canvas is filled with a deep blue color and bright yellow spots of city lights. In all the paintings of the “tabloid” cycle, the main pivot of the composition is the road stretching into the distance.

The painting is now in the National Gallery in London, but during Pissarro's lifetime it was never exhibited anywhere.

You can watch a video about the history and creative conditions of the main representatives of impressionism here:

There is an opinion that painting in impressionism does not occupy such an important place. But impressionism in painting is the opposite. The statement is very paradoxical and contradictory. But this is only at first, superficial glance.

Perhaps, for all the millennia of the existence in the arsenal of mankind of artistic fine art, nothing new, revolutionary has appeared. Impressionism can be found in any contemporary art canvas. He can be clearly seen in the frames of the film of the famous master, and among the gloss of a ladies' magazine. He penetrated music and books. But once everything was different.

The origins of impressionism

In 1901, in France, in the Combarèlle cave, they accidentally discovered cave drawings, the youngest of which was 15,000 years old. And this was the first impressionism in painting. Because the primitive artist did not set out to read morality to the viewer. He simply painted the life that surrounded him.

And then this method was forgotten for many, many years. Humanity has invented others and the transmission of emotions by the visual method has ceased to be topical for him.

In some ways, the ancient Romans were close to impressionism. But part of their efforts fell asleep. And where Vesuvius did not reach, the barbarians came.

The painting survived, but began to illustrate texts, messages, messages, knowledge. It has ceased to be a feeling. She became a parable, an explanation, a story. See the tapestry from Bayeux. He is beautiful and priceless. But this is not a picture. This is seventy meters of linen comics.

Painting in impressionism: the beginning

Painting has been developing slowly and majestically in the world for thousands of years. New paints and techniques appeared. The artists learned the importance of perspective and the power of the impact of a colorful hand-drawn message on the human mind. Painting became an academic science and acquired all the features of monumental art. She became clumsy, prim and moderately pretentious. At the same time, sharpened and unshakable, as a canonical religious postulate.

Religious parables, literature, staged genre scenes served as a source of plots for the paintings. The strokes were small, imperceptible. Glazing was introduced to the rank of dogma. And the art of drawing in the foreseeable future promised to ossify, like a primeval forest.

Life changed, technology developed rapidly, and only artists continued to churn out prim portraits and smooth sketches of country parks. This state of affairs did not suit everyone. But the inertia of the consciousness of society was overcome with difficulty at all times.

However, the 19th century was already in the yard, long past its second half. The processes in society, which took centuries before, now took place before the eyes of one generation. Industry, medicine, economics, literature, and society itself developed rapidly. It was then that painting showed itself in impressionism.

Happy birthday! Impressionism in painting: paintings

Impressionism in painting, like paintings, has an exact date of its birth - 1863. And his birth was not without curiosities.

The center of world art then, of course, was Paris. It hosted annually large Parisian salons - world exhibitions and sales of paintings. The jury, which selected works for the salons, was mired in petty internal intrigues, useless squabbles and stubbornly focused on the senile tastes of the then academies. As a result, new ones did not get to the exhibition, bright artists, whose talent did not correspond to ossified academic dogmas. When selecting participants for the 1863 exhibition, over 60% of applications were rejected. These are thousands of painters. A scandal was brewing.

Emperor-gallery owner

And the scandal erupted. The inability to exhibit deprived a large number of artists of their livelihood and closed access to the general public. Among them are names that are now known to the whole world: Monet and Manet, Renoir and Pissarro.

It is clear that this did not suit them. And there was a lot of noise in the press. It got to the point that on April 20, 1893, Napoleon III visited the Paris Salon and, in addition to the exposition, purposefully examined some of the rejected works. And I did not find anything reprehensible in them. And even made this statement in the press. Therefore, in parallel with the Great Paris Salon, an alternative exhibition of paintings with works rejected by the salon jury was opened. It went down in history under the name "Exhibition of Outcasts".

So, April 20, 1863 can be considered the birthday of all modern art. An art that became independent of literature, music and religion. Moreover, painting itself began to dictate its terms to writers and composers, for the first time getting rid of subordinate roles.

Representatives of impressionism

When we talk about impressionism, we mean first of all impressionism in painting. Its representatives are numerous and multifaceted. Suffice it to name the most famous: Degas, Renoin, Pissarro, Cezanne, Morisot, Lepic, Legros, Gauguin, Renoir, Thilo, Foren and many, many others. For the first time, the Impressionists set the task of capturing not just a static picture from life, but grabbing a feeling, emotion, inner experience. It was an instant cut, a high-speed photo of the inner world, the emotional world.

Hence the new contrasts and colors that have never been used in painting before. Hence the large, bold strokes and the constant search for new forms. There is no former clarity and slickness. The picture is blurry and fleeting, like the mood of a person. This is not a story. These are the feelings visible to the eye... Look at They are all a little cut off in mid-sentence, a little fleeting. These are not paintings. These are sketches brought to genius perfection.

The emergence of post-impressionism

It was the desire to bring feeling to the fore, and not a frozen temporary fragment, that was revolutionary and innovative for that time. And then there was only one step left to post-impressionism - a movement of art that brought to the fore not emotion, but laws. More precisely, the transfer by the artist of his inner, personal reality. This is an attempt to tell not about outside world and oh internally of how the artist sees the world. perception.

Impressionism and post-impressionism in painting are very close. And the division itself is very arbitrary. Both trends are close in time, and the authors themselves, often the same, as a rule, moved from one style to another quite freely.

And yet. Look at the work of the Impressionists. Slightly unnatural colors. A world familiar to us, but at the same time a little invented. This is how the artist saw him. He does not give us a nature that is contemporary to him. He just bare his soul for us a little. The soul of Bonnard and Toulouse-Lautrec. Van Gogh and Denis. Gauguin and Seurat.

Russian impressionism

The experience of impressionism, which captured the whole world, did not leave aside Russia either. Meanwhile, in our country, accustomed to a more measured life, not understanding the bustle and aspirations of Paris, impressionism was never able to get rid of academicism. He is like a bird, jerking off on takeoff, but frozen halfway into the sky.

Impressionism in Russian painting did not receive the dynamism of the French brush. But he acquired a dressed up semantic dominant, which made him a bright, somewhat isolated phenomenon in world art.

Impressionism is a feeling expressed in the form of a painting. He does not educate, does not demand. He claims.

Impressionism served as the starting point for modernity and expressionism, constructivism and avant-garde. Everything modern Art, in fact, began its report from the distant April 20, 1863. Painting in Impressionism is an art born in Paris.