Color in the painting of impressionists. The best pictures of impressionists with names and photos

For me, Impressionism is primarily something air, ephemeral, inconsistently escaping. This is a stunning moment, which the eye barely has time to fix and which later remains in memory of the MiG of the highest harmony. The master of impressionism was famous for the ability to easily transfer this moment to the canvas, having endowed it with tangible sensations and subtle vibrations that arise with all reality when interacting with the picture. When you look at the work of outstanding artists of this style always remains a certain aftertaste of mood.

Impressionism (From impression - the impression) is a direction in art, originated in France in the late 1860s. His representatives sought the most natural and unnecessary to capture the real world in its mobility and variability, transfer their mumbling impressions. Special attention was paid to the transfer of color and light.

The word "impressionism" comes from the name of the MONE picture impression. Sunrise presented at the exhibition 1874. A little-known journalist Louis Lerua in his magazine aligned with the artists "Impressionists" to express their disregard. However, the name has taken root and lost its original negative meaning.

The first important exhibition of Impressionists took place from April 15 to May 15, 1874 in the workshop of the Nadar photographer. There were 30 artists, only 165 works. Young artists reproached in the "incompleteness" and "rusty of painting", the absence of taste and meaning in their works, "attempted true art", rebellious moods and even immorality.

Leading representatives of impressionism -, Alfred Sisley and Frederick Basil. Together with them put their pictures Edward Mana and. The Impressionists also classify the Johd John ,.

Landscapes and scenes from urban life - perhaps the most characteristic genres of impressionistic painting - wrote "at the plenier", i.e. directly from nature, and not on the basis of sketches and preparatory sketches. The impressionists briefly peered into nature, noticing colors and shades, usually invisible, such as blue in the shadows.

Their artistic method was in the decomposition of complex tones to their pure color spectrum. Colored shadows and clean bright trepidation painting. Impressionists imposed paints with separate strokes, sometimes using contrast tones on one section of the picture. The main feature of the impressionist paintings is the effect of lively flickering of paints.

In order to transfer the color of the object, the impressionists began to prefer to use colors, mutually reinforcing each other: red and green, yellow and purple, orange and blue. The same colors create a consistent contrast effect. For example, if we look at the red color for a while, and then we will transfer the look at the white, it will seem greenish us.

Impressionism did not raise philosophical problems and did not even try to penetrate the color surface of the restriction. Instead, artists focus on surfaceness, momentum of moments, mood, lighting or visual coal. Their paintings were represented only by the positive sides of life without affecting acute social problems.

Artists often painted people in motion during fun or rest. Flirt plots were taken, dance, staying in a cafe and theater, boat walks, on the beaches and in the gardens. If you judge the pictures of impressionists, then life is a solid series of small holidays, parties, pleasant pastimes outside the city or in a friendly environment.

Impressionism left the rich heritage in painting. First of all, it is an interest in color problems and non-standard techniques. Impressionism expressed the desire to update the artistic language and a discontinuation with a tradition, as a protest against the painstaking technique of masters of the classical school. Well, we can now admire these magnificent works of outstanding artists.

Now the masterpieces of Impressionist artists are perceived by us in the context of world art: for us they have long become a classic. Nevertheless, it was not always so. It happened that their canvases did not miss official exhibitions, criticized in the press, did not want to buy even for a symbolic fee. There were years of despair, needs and deprivation. And the fight for the opportunity to paint the world as they are of his faith. It took many decades, so that the majority could comprehend and perceive, see themselves with their eyes. What was he, the world, in which impressionism invaded in the early 1860s, as if the vigilant wind, the transformation?

Public concussions of the late XVIII century, revolution in France and America, transformed the essence of Western culture itself, which could not not affect the role of art in a rapidly changing society. Accustomed to social order from the reigning dynasty or church, artists suddenly discovered that they were left without their customers. Nobility and clergy, basic art customers, experienced serious difficulties. There was a new time, the era of capitalism, the fully transforming rules and priorities.

Gradually, in the established republics and democratically arranged powers, the wealthy middle class was grew, as a result of which the new art market began to develop. Unfortunately, entrepreneurs and merchants, as a rule, did not have enough hereditary culture and upbringing, without which it was impossible to correctly assess the diversity of plot allegory or skillful executive skills, which had made up the aristocracy.

Not issuing an aristocratic education and education, representatives of the middle class, made by consumers of art, were obliged to navigate the originally for the considerations of newspaper critics and official experts. Old Academy of Arts, which are custodians of classic men, became central arbitrators in artistic issues. It is not paradoxically that some young and looking for painters who opposed conformism, rebelted against the formal ambassion of Academism in art.

One of the essential optics of Academism of those times was the patronized by the authorities of the exhibition of contemporary art. Such exhibitions were called salons - according to the tradition, contacting the name of the hall in the Louvre, where once court artists exhibited their canvas.

Participation in the salon was a single chance to sneak into their works of interest of the press and customers. Auguste Renoir in one of the letters to Durane-Rueel speaks about the established provisions of things: "In all Paris, it is hardly a fifteen admirers who can recognize the artist without the help of the salon, and thousands of eighty people who will not even get a square centimeter canvas if the artist is not Accepted into the salon. "

Young painters did not shine anything else, in addition to how to figure out in the salons: they could hear non-extent words not only by members of the jury, but also deeply respected painters, such as Eugene Delacroix, Gustave Kourba, Eduard Mana, former Youth Pets, thereby receiving push to subsequent creativity. In addition, the salon was a unique opportunity to purchase the customer, be noted, arrange a career in art. The award of the salon marked for the artist, the key to professional recognition. And on the contrary, if the jury rejected the presented work, it was equivalent to aesthetic removal.

The picture often proposed for consideration did not match the usual canons, for which the jury of the salon was rejected: in the artistic environment, this episode raised the scandal and sensation.

One of the artists whose involvement in the cabin invariably created a scandal and caused academicians a lot of concerns, Eduard Mana was. The big scandal was accompanied by demonstrations of his canvases "Breakfast on the grass" (1863) and "Olympia" (1865), created in an unusually sharp manner, containing alien to the aesthetics. And in the picture "Incident on the Corrida", presented in the Salon of 1864, the artist's passion for the creativity of Goya affected. In the foreground, Mane painted the open figure of the bullfighter. The background of the picture served as a bargaining cargo and a rows of discouraged, onmal spectators. Such an acute and causing composition provoked a mass of sarcastic feedback and newspaper cartoons. Crazy criticism, mana ripped his picture into two parts.

It should be noted that critics and cartoonists were not ashamed in the selection of words and ways to rapidly insult the artist, push it to some response actions. "The artist, rejected by the salon", and later the "impressionist", became the favorite targets of journalists who earn in public scandals. Restless discords of the cabin with painters of other concepts and burden who are tired of the strict borders of obsolete academism, meaningfully marked about serious decline, which is abandoned by that time in the art of the 2nd half of the XIX century. The conservative Salon jury of 1863 rejected so many cloths that Emperor Napoleon III found it necessary to personally support a different, parallel exhibition so that the viewer could compare the accepted works with rejected. This exhibition, which acquired the name "Landscaping salon" became an extremely fashionable place of envelope - went here to laugh and highlight.

In order to be accustomed to the academic jury, the imaging painters could establish independent individual exhibitions. The idea of \u200b\u200bthe exhibition of one artist first announced the artist-realist Gustina Kourba. He filed a series of its works to the Paris World Exhibition of 1855. The qualifying committee approved his landscapes, but rejected thematic program pictures. Then Kourba, contrary to it, erected in proximity to the world exhibition personal pavilion. Although the wide picturesque manner of the nurser was impressed by the elderly Delacroe, the audience in his pavilion was a bit. During the World Exhibition in 1867, Kursbe resumed this experience with a large triumph - this time he won all his works in a separate room. Eduard Mana taking an example from Kourba, opened his own gallery during the same exhibition for a retrospective demonstration of his canvases.

The creation of personal galleries and the private publication of catalogs assumed the tangible cost of resources - incomparably large than those who often owned artists. However, cases with Kourba and Mana pushed young painters on the plan of a group exhibition of artists of new trends not taken by the official salon.

In addition to social changes on the art of the XIX century, scientific research was in tangle. In 1839, Louis Dagerr in Paris and Henry Fox Talbot in London demonstrated photographic devices created by them independently of each other. Shortly after this event, the photo got rid of artists and schedules from the duty just perpetuating people, places and incidents. The object liberated from the debt, many painters rushed to the sphere of transferring their own, subjective, expression on the emotion canvas.

The photograph gave rise to other views in European art. The lens, with another angle of view, rather than the eyes of a person, formed a fragmentary representation of the composition. Changing the angle of filming pushed artists to new compositional visions that became the basis of the aesthetics of impressionism. One of the main principles of this flow was spontaneity.

In the same 1839, when a camera was created, a chemist from the laboratory of the Parisian Manufactory of Tapestries Michel Eugene Shevreyl first published a logical interpretation of color perception by a human eye. Creating dyes for fabrics, he made sure in the existence of three main colors - red, yellow and blue, when mixing all other colors arise. With the assistance of the color circle, Chevreyl proved how shades are born than not only remarkably illustrated a difficult scientific idea, but also presented to artists a working concept of the mixture of paints. American Physicist Odden Rud and German Scientist Hermann Background Helmgoli For its part complements this invention by developments in the field of optics.

In 1841, the American scientist and painter John Rand patented the tin tubes created by him for perishable paints. Before the artist, leaving to write at the pleair, was forced to be first mixed in the workshop of the paints they needed and after pouring them into glass containers, which were often fought, or in bubbles from animal internally, which were quickly given to flow. With the arrival of Randovsky tubes, people of art got the advantage of bringing with them all the variety of colors and shades. This discovery was to a large extent influenced the abundance of the color scheme of artists, and in addition convinced them to go out of their workshops in nature. In a short time, as he noted alone, in the rural surroundings of landscape players became more than peasants.

Pioneers of painting at the please were artists of a barbizon school, who acquired their nickname from the barbizon village near the Fontaineblo Forest, where most landscapes were created.

If the older painters of the barbizon school (T. Rousseau, J. Dupre) in their work were still based on the heritage of the heroic landscape, then representatives of the younger generation (S. Kotovi, K. Coro) were given this genre to realism. On their canvases depicted landscapes, alien academic idealization.

In their paintings, the barbizontsy tried to recreate the diversity of nature states. That is why they painted from nature, trying to capture the immediacy of their perception. However, the use of the solar academic methods and funds in painting did not help them achieve what was later managed by impressionists. Contrary to this, the contribution of the artists of the Barbizonskaya school into the formation of the genre is irreversible: leaving the workshops for the sake of the pleaeer, they suggested landscape painting new ways of development.

One of the supporters of painting on nature, Eugene Budy, instructed his young pupil of Claude Monet, which is necessary to create on the plenier - among the light and air, to paint what is contemplating. This rule has become the basis of plenary painting. Moneta shortness presented to his friends, Auguste Renuar, Alfred Sisley and Frederick Basile, a new theory: to paint only what we observe on a specific distance and with specific lighting. In the evenings, young painters in Parisian cafes were happily shared by considerations and discernted their new discoveries with the fervor.

So Impressionism appeared - a revolutionary direction in the art of the last third of the XIX - early XX centuries. The painters who pulled on the path of impressionism, tried to more naturally and truthfully capture the surrounding world in their works and everyday reality in their endless mobility and inconstancy, express their fleeting sensations.

Impressionism became a response to the stagnation in the art of Academicism in those years, the desire to free painting from that hopeless position in which she was pleased with the fault of the artists of the salon. The fact that modern art is in decline, many progressive people told: Eugene Delacroix, Gustav Kourbe, Charles Bodler. Impressionism appeared for a "suffering body" of a kind of shock therapy.

With the advent of young artists-genress officers Edward Man, Auguste Renuara, Edgar Dega Wind Change burst into French painting, giving the impedition of the contemplation of life, feeding the random, as if unexpected situations and movements, illusory puzziness and impassiveness of the forms, ability of the composition, unpredictable points of view and perspective .

In the evenings, when the artists had no longer had the opportunity to write their canvas because of scarcely clarification, they left their workshops and squatted behind eating disputes in Parisian cafes. So Cafe Arboua became one of the unchanging places to meet the handful of artists who united around Edward Man. On Thursdays held regular meetings, and on other days there was a group of lively talking or arcing artists. Claude Moneta described the meetings in the cafe Gerbua: "It could not be anything more exciting than these meetings and an endless encounter of views. They aggravated our mind, encouraged our noble and heart aspirations, gave us the charge of enthusiasm, reinforced us for many weeks until the idea was fulfilled. We left these meetings in a raised mood, with a strengthened will, with crumbs more reverse and clear. "

On the eve of the 1870s, impressionism was founded and in the French landscape: Claude Monet, Camille Pissarro, Alfred Sicleele the first developed a consistent Captive system. They wrote their canvas without sketches and sketches in the open air immediately on canvas, embodying sparkling sunlight in their paintings, a fabulous abundance of nature of nature, dissolving the objects represented in the medium, vibration of light and air, the riot of reflexes. To achieve this goal, a coloristic system studied by them in all parts was pretended, in which the natural color of the color of the solar spectrum. To create an unusually bright, gentle colorful texture, artists put a clean color on the canvas with separate smears, while the optical mixing in the eye of a person was expected. This technique, later transformed and theoretically argued, became the central other outstanding artistic aspiration - the pointelism, named "Divisionism" (from Franz. "Diviser" - to divide).

Increased interest Impressionists showed to the links of the object and environment. The subject of their scrupulous creative analysis was the conversion of the color and nature of the object in the changing environment. To achieve this idea, the same item was depicted repeatedly. With the addition of pure color in the shade and reflexes, the black paint almost left the palette.

Critic Jules Lafort so responded about the phenomenon of impressionism: "Impressionist sees and transfers nature as it is, that is, the only enchanting vibrations. Figure, Light, Volume, Perspective, Light - All this is leaving for a free classification. It turns out that everything is determined by the color vibrations and should be sealed on the color vibration canvas.

Thanks to the open air and meetings in the cafe on December 27, 1873, anonymous, sculptors, engravers, etc. "appeared. - So first the impressionists were played. The first exhibition of society took place in spring a year later in the commercial gallery of Nadar, the photographer-experimental, who traveled in addition to the creations of modern art.

The debut came on April 15, 1874. The exhibition was planned to spend a month, the time of visits - from ten to six and, which also became innovation, eight to ten in the evening. The entrance ticket was worth one franc, the catalogs could be purchased at fifty centimes. At first, the exhibition seemed to be filled with visitors, but the crowd did only jumped out there. Someone joked that the task of these artists can be achieved if the pistol is charged with different paint tubes, then shoot in the canvas and graduate from the signed business.

Opinions were divided: either the exhibition was not taken seriously, or criticized in the fluff and dust. The general perception can be expressed in the next article of the sarcastic aspiration "Exhibition of Impressionists", with the signature of Louis Lerew, published in the form of Faketon. The author's dialogue is described here with an academician-landscape system, awarded medals, together they pass through the exhibition halls:

"... The imprudent artist came there, not suggesting anything bad, he expected to see the canvas there, which can be found everywhere, exponential and nidigital, more than any definite, but not distant to some artistic standards, culture of form and respect for old Matrah.

Alas, form! Alas, old masters! We are no longer going to read them, my poor friend! We are all transformed! "

The exhibition also put the landscape of Claude Monet, who was the morning dawn in the shrouded fog bay - the painter called him "impression. Sunrise "(impression). Here is a comment by one of the characters of the satirical article Louis Lerua for this canvas, who gave the name to the most sensory and known course in the art of the XIX century:

"...- What is drawn here? Share in the catalog. - "Impression. Sunrise". - Impression - so I assumed. I just reasoned himself in myself that since I am impressed, it should be given some impression in it ... And what kind of dedication, what is the smoothness of the performance! Wallpaper in the initial degree of processing is more perfect than this seascape ... ".

Personally, Monet was not against such a name of the artistic reception, which he applied in practice. The main essence of his work is precisely the court and capturing the slipping moments of life, on what he worked, generating its countless series of cloths: "Stacks", "Poplar", "Rueny Cathedral", "Station Saint-Lazar", "Pond in Zevny" , "London. Parliament building "and others. Another case, Edgar Dega, who loved to make himself "independent," because he did not participate in the cabin. His sharp, grotesque style of Scripture, who served as an example for many supporters (among which Toulouse-Lotrek was particularly outstanding), was unability to academic jury. Both of these painters became the most initiative organizers of the subsequent exhibitions of impressionists, both in France and abroad - in England, Germany, the United States.

Auguste Renoir, on the contrary, appearing at the first exhibitions of impressionists, did not lose hope of conquering the salon, sending two paintings every year at his exhibition. The characteristic duality of his actions, he spreads in the correspondence to his comrade and the patron of Durane-Rueley: "... I do not support painful opinions that the work is worthy or unworthy depending on the place where it is demonstrated. In short, I do not want to kill the time in vain and be angry with the salon. I do not even want to pretend to be angry. I just think that you need to draw as soon as it is better, that's all. Wah that I would have been reproached that I was unfinished in my art or from ridiculous ambition renewing from my views, I would take such accusations. But since nothing like it is not close, then I need to rouck me. "

Not considering himself officially involved in the direction of impressionists, Eduard Mana read himself a painter-realist. However, incessant close relationship with impressionists, visiting their exhibitions, imperceptibly transformed the style of the painter, bringing it to impressionistic. In the death years of his life, paint in his paintings are brighten, smear of swinging, composition - fragmentary. Like Renoir, Mana waited for the location of the official experts in the field of art and rushed to take part in the exhibitions of the salon. But in spite of his desire, he became the idol of Parisian avant-gardeists, their unfore king. Contrary to everything, he stubbornly stormed his linen salon. Just before death, he was lucky to acquire the official location of the cabin. He found him and Auguste Renoir.

Describing key persons impressionism, it would be ugly not to remember at least fragmentary about a person, with the help of which a repeatedly collapsed artistic direction became a significant artistic acquisition of the XIX century, conquered the whole world. The name of this person is Paul Duran-Ruel, a collector, a trader of art, repeatedly rendered on the verge of bankruptcy, but not refused to establish impressionism as new art, which will reach its apogee. He was engaged in the organization of exhibitions of impressionists in Paris and in London, organized personal exhibitions of painters in her gallery, organized auctions, simply promoted artists financially: there were times when many of them had no paint and canvas. The proof of the flame appreciation and the respect of the artists - their letters of Durane-Rueley, which remains abounding. Durane-Rueel's personality is a sample of an intelligent collector and benefactor.

"Impressionism" is the concept of relative. All painters that we consider to this flow have passed academic training that assumed the scrupulous working out of parts and a flat, glossy picturesque surface. However, they soon chose the usual topics and plots prescribed by the interior, paintings in the realistic direction, reflecting real reality, everyday. Subsequently, each of them wrote a certain time in the style of impressionism, trying to objectively transmit objects in his paintings with different lighting. After such an impressionistic stage, most of these anti-garde artists moved to independent research, which acquired the collecting name "postpressionism"; Later, their creativity contributed to the formation of the abstractionism of the XX century.

In the 70s of the XIX century, Europe was addicted to Japanese art. Edmond de Gonkur in his records reports: "... the passionland of Japanese art ... I did everything from painting to fashion. At first, it was the mania of such eccentrics, like my brother and I, .. Subsequently joined the artists-Impressionists. " Indeed, in the pictures of Impressionists of that time, the attributes of Japanese culture were often captured: Water, Kimono, Shirm. They also learned stylistic methods and plastic solutions from Japanese engravings. Many impressionists were enthusiastic collectors of Japanese engravings. For example, Eduard Mana, Claude Monet, Edgar Degas.

In general, so called Impressionists from 1874 to 1886 staged 8 exhibitions with unequal intervals; Half of the 55 painters belonged to an anonymous society, for different circumstances, appeared only in the 1st. The exclusive participant of all 8 exhibitions was Camille Pissarro, issued by a calm peaceful temper.

In 1886, the final exhibition of impressionists took place, but as an art method, he continued to exist. Paints did not leave hard work. Although the former partnership, unity, was no longer there. Everyone threw his way. The historical confrontations ended, ended with the triumph of new views, and there was no need to unite the strength. The adestrators of the artists-Impressionists split, and they could not but split: they were painful, they were all, not only on temperament, but also on the views, on artistic beliefs.

Impressionism, as a direction, according to his time, did not fail to leave the borders of France. Such questions were asked painters and in other countries (James Whistler in England and the USA, Max Lieberman and Corrint fish in Germany, Konstantin Korovin and Igor Grabar in Russia). The passionateness of impressionism instant movement, the fluid shape was adopted and sculptors (Auguste Roden in France, Paolo Trubetskoy and Anna Golubank in Russia).

Having completed a coup in the views of contemporaries, expanding his worldview, impressionists thus prepared the ground for the subsequent formation of the art and the emergence of new aesthetic aspirations and ideas, new forms that were not long to wait. Arriving from impressionism, neo-simpressionism, postpressionism, featherism, subsequently stimulated the formation and formation of new aesthetic trends and orientations.

Impressionism is a feature course that emerged in the 70s. XIX century in French painting, and then manifested in music, literature, theater.

Impressionism in painting began to develop long before the well-known exhibition of 1874. The prime carrier of impressionists is traditionally considered to be Edward Mana. He was very inspired by the classic works of Titian, Rembrandt, Rubens, Velasqueza. His vision of the images of Mana expressed on his canvases, adding "vibrating" strokes that created the effect of incompleteness. In 1863, Manne created Olympia, which caused a large scandal in cultural society.

At first glance, the picture was made in line with traditional canons, but at the same time she was already carried and innovative trends. About 87 reviews were written in various Paris editions about Olympia. A mass of negative criticism was collected on her - the artist was accused of vulgarity. And only a few articles could be called benevolent.

Mana in his work used the appliances of overlaying one-layer paint, which created the effect of spots. Subsequently, this method of applying paints was carried by artists-impressionists as the basis for images on picturesque canvases.

A distinctive feature of impressionism was to the finest fixation of mumbling impressions, in a special manner of playing the luminous medium with the help of a complex mosaic of clean paints, runaway decorative strokes.

It is curious that at the beginning of his search artists used a cyanometer - a tool for determining the blue sky. The black color was excluded from the palette, it was replaced with other color shades, which made it possible not to spoil the sunny mood of the paintings.

Impressionists focused on the latest scientific discoveries of their time. The theory of the Tempel and Helmholtz color is reduced to the following: the sunbeam is split into the colors components, and, accordingly, the two paints put on canvas enhance the pictorial effect, and when the paint is mixed, the intensity loses intensity.

The aesthetics of impressionism was evolving, partly, as an attempt to decisively free themselves from the convention of classicism in art, as well as from persistent symbolism and the deepness of late-internal painting, which offered everyone to see the encrypted intentions that need careful interpretation. Impressionism argued not just the beauty of everyday reality, but the fixation of the colorful atmosphere, not detailed and not extinguishing, portraying the world as an eternally changing optical phenomenon.

Artists-Impressionists have developed a finished Captive system. The predecessors of this stylistic feature were paint artists, immigrants from the barbizon school, the main representatives of which were Camille Coro and John Constable.

Work in the open space gave more opportunities to capture the slightest color changes at different times of the day.

Claude Monet were created several series of paintings on the same plot, for example, the Rueny Cathedral (series of 50 paintings), "Stacks" (series of 15 paintings), "Pond with water lilies", etc. The main indicator of these series There was a change in light and color scheme in the image of the same object written at different times of the day.

Another achievement of impressionism is the development of an original scenic system, where complex tones are decomposed on pure colors transmitted by individual strokes. The artists did not mix the colors on the palette, but preferred to impose strokes directly on the canvas. Such an apparatus attached to the paintings special reverence, variability and relief. The works of artists were filled with color and light.

The exhibition on April 15, 1874 in Paris was the result of the period of the formation and submission to the general public of a new course. The exposition was deployed in the studio photographer Felix Nadar on the Kapuchin Boulevard.

The name "Impressionism" arose after the exhibition, on which the picture of Monet "impression was exhibited. Sunrise". The critic L. Lerua in his review in the publication "Charivari" gave a joking characteristic of the exhibition of 1874, leading to the example of Monet. Another critic, Maurice Denis, reproached impressionists in the absence of individuality, feelings, poetry.

At the first exhibition, about 30 artists demonstrated their works. It was the largest, in comparison with subsequent exhibitions until 1886.

It is impossible not to say about positive feedback from the Russian society. Russian artists and critics-democrats, always vividly interested in the artistic life of France - I. V. Kramskaya, I. E. Repin and V. V. Stasov - highly assessed the achievements of impressionists from the very first exhibition.

The new stage of the history of art, which began by the exhibition of 1874, was not a sudden explosion of revolutionary trends - he was the culmination of slow and consistent development.

With all that all the great masters of the past made their contribution to the development of the principles of impressionism, the immediate roots of the flow can be most easily detected in the twenties preceding the historical exhibition.

In parallel exhibitions in the cabin, they gained their turnover of the exhibition Impressionists. New trends in painting were demonstrated in their works. It was reproaching salon culture and exhibition traditions. In further artists-Impressionists managed to attract admirers of new trends in art.

Theoretical knowledge and wording of impressionism began to develop quite late. Artists preferred more practices and their own experiments on light and color. In impressionism, first of all picturesque, traced the legacy of realism, the anti-academic, antisalonic orientation and installation of the image of the surrounding reality of that time are pronounced in it. Some researchers note that impressionism has become a special branch of realism.

Undoubtedly, in impressionistic art, as in every artistic flow, arising during the period of fracture and the crisis of old traditions, were woven, with all its external integrity, various and even contradictory trends.

The principal features were in the subject of the works of artists, in the means of artistic expressiveness. The book of Irina Vladimirova on impressionists includes several chapters: "Landscape, nature, impressions", "City, places of meetings and parting", "Hobbies, as a lifestyle", "People and characters", "Portraits and Self-portraits", "Still Life". It also describes the history of the creation and location of each work.

During the heyday, the impressionism artists found a harmonic balance between the objective reality and its perception. Artists tried to capture every ray of light, the movement of the breeze, the variability of nature. To preserve freshness of paintings, the impressionists created the original picturesque system, which was subsequently very important for the development of art in the future. Despite the general trends in the directions of painting, each artist found its creative path and the main genres in painting.

Classic impressionism is represented by artists as Eduard Mana, Claude Monet, Pierre Auguste Renoir, Edgar Alfred Sisley, Camille Pissarro, Jean Frederick Basil, Berta Morizo, Edgar Dega.

Consider the contribution of some artists to the formation of impressionism.

Eduard Mana (1832-1883)

The first lessons of painting Mane received from T. Couture, thanks to this, the future artist acquired a lot of necessary professional skills. Due to the lack of proper attention of the teacher, Mane leaves the master of Master and deals with self-education. He visits the exhibitions in museums, the old masters had great influence on his creative formation, especially Spanish.

In the 1860s, Mane writes two works, in which the basic principles of his artistic underscore are viewed. "Lola from Valencia" (1862) and "Fleetist" (1866) show Mane as an artist who reveals the nature of the model through color transmission.

His ideas on the technique of applying smears and the attitude towards the color were accepted by other artists-impressionists. In the 1870s, Mane gets closer to its followers and works at the plenier without black on the palette. The coming to impressionism was the result of the creative evolution of Mane himself. The most impressionistic pictures of Mana are considered "in the boat" (1874) and "Claude Monet in the boat" (1874).

Mana also wrote a lot of portraits of different secular ladies, actresses, simulators, beautiful women. In each portrait, the uniqueness and individuality of the model was transferred.

Shortly before his death, Mana writes one of his masterpieces - "Bar Foli-Berger" (1881-1882). In this picture, several genres are combined at once: portrait, still life, household scene.

N. N. Kalitina writes: "The Magic Magic Magic is that the girl opposes the surrounding, so much clearly reveals her mood, and at the same time is part of the whole back plan, vaguely guessing, indefinite, worrying, also resolved in blue-black , bluish-white, yellow tones. "

Claude Monet (1840-1926)

Claude Monet was an undoubted leader and founder of classic impressionism. The main genre of his painting was a landscape.

In his youth, Mone was fond of caricature and cartoon. The first models for their works were his teacher, comrades. For the sample, he used caricatures in newspapers and magazines. He copied the drawings in "Golua" E. Karzha, Poet and cartoonist, a friend of Gustava Kouris.

In college, Painting Monet taught Jacques-Francois Oshar. But rightly notice the influence on Monte Budene, who supported the artist, gave him advice, motivated to continue creativity.

In November 1862, in Paris Monet continued his studies in Paris in Gleira. Thanks to this Monet, he met him in a workshop with a basal, Renoir, sisty. Young artists were preparing for admission to the school of graceful arts, respecting their teacher, who took little lessons for their lessons and in a soft form gave advice.

Monet created his paintings not as a story, not like an illustration of an idea or theme. His painting, like life, did not have clear goals. He saw the world, not focusing on the details, on some principles, he walked to the "landscape vision" (the term historian of art A. A. Fedorova-Davydova). Monet sought to incubation, the merger of genres on the canvas. The means of incarnation of his innovations were etudes, which were supposed to be completed paintings. All sketches were drawn from nature.

He wrote a meadow, and hills, flowers, and rocks, and gardens, and rustic streets, and the sea, beaches and much more, he addressed the image of nature at different times of the day. Often he wrote the same place at different times, thereby creating whole cycles from their works. The principle of his work was not an image of objects in the picture, but an accurate transmission of light.

Let us give a few examples of the artist's work - "Field of Makov from Argentei" (1873), "Floor" (1869), "Pond with water lily" (1899), "Wheat stacks" (1891).

Pierre Auguste Renoir (1841-1919)

Renoir refers to the outstanding masters of a secular portrait, besides this, he worked in the genres of landscape, household scene, still life.

The feature of his work is an interest in the personality of a person, the disclosure of his character and soul. In his canvases, Renoir is trying to emphasize the feeling of completeness of being. The artist attract entertainment and holidays, he writes balls, walks with their movement and a variety of characters, dancing.

The most famous works of the artist - "Portrait of an actress Zhanna Samari", "umbrellas", "Swimming on Seine" and others.

Interesting that Renoir was distinguished by musicality and sang in the church choir under the leadership of the outstanding composer and teacher Charles Guno in Paris in the Cathedral of Saint-Estash. Sh. Gunno strongly recommended the boy to engage in music. But at the same time, Renoir discovered the artistic talent - from 13 years he has already learned to paint the porcelain dishes.

Music classes influenced the formation of the artist's personality. A number of his works are associated with musical themes. They found their reflection game on piano, guitar, mandolin. These are paintings "Guitar Guitar", "Young Spanish Woman with a Guitar", "Young Lady for Piano", "Woman Playing Guitar", "Piano Lesson" and others.

Jean Frederick Basil (1841-1870)

According to his artists' friends, Bazil was the most promising and outstanding impressionist.

His works are distinguished by a bright color scheme and hand-haired images. Pierre Auguste Renoir, Alfred Sisley and Claude Monet were greatly influenced by his creative path. Jean Frederica Apartment for beginner painters was a kind of studio and housing.

Basil preferably wrote at the plenier. The main idea of \u200b\u200bhis creativity was an image of a man against the background of nature. The first heroes in the paintings were his friends-artists; Many impressionists loved to draw each other in their works.

Frederick Basil in very creativity identified the course of realistic impressionism. The most famous picture of his picture is "Family Reunion" (1867) - autobiographical. The artist depicts members of his family. This work was presented in the salon and received an approving assessment of the public.

In 1870, the artist died in the Prussian-French War. Already after the death of the artist, his friends-artists organized the third exhibition of impressionists, where his canvas were also exhibited.

Camille Pissarro (1830-1903)

Camille Pissarro is one of the largest representatives of paint artists after K. Monet. His works were constantly exposed in the expositions of impressionists. In their works, Pissarro preferred plowed fields, peasant life and labor. Its paintings were characterized by the structure of the forms and the clarity of the composition.

Later, the artist began to write paintings on urban topics. N. N. Kalitina in his book notes: "He looks at the city streets from the windows of the upper floors or from the balconies, without introducing them in the composition."

Under the influence of Georges Pierre Syra, the artist took up poentilism. This technique implies the imposition of each smear separately, as if by setting the point. But the creative prospects in this area were not realized, and Pissarro returned to impressionism.

The most famous paintings by Pissarro became "Montmartre Boulevard. Afternoon, sunny, "Opera pass in Paris", "Square of the French Theater in Paris", "Garden in Pontoise", "Havita", "Senokos" and others.

Alfred Sisley (1839-1899)

The main genre of painting Alfred Sisley was a landscape. In his early works, it can be seen mainly influenced by K. Coro. Gradually, in the process of collaboration with K. Monte, J. F. Bazil, P. O. Renoir, light tones begins to appear in his works.

The artist attracts the game of light, changing the state of the atmosphere. To the same landscape of Sisley appealed several times, capturing it at different times of the day. The priority in his works the artist gave the image of water and the sky, which changed every second. The artist managed to achieve perfection with the help of a color, each shade in his work bears a kind of symbolism.

His most famous works: "Rural Alley" (1864), "Frost in Luveseyne" (1873), "Montmartre's type with a flower island" (1869), "Early snow in Luvurezenne" (1872), "Bridge in Argente" (1872 ).

Edgar Degas (1834-1917)

Edgar Degas is an artist who began his creative way with learning in the school of graceful arts. He was inspired by the artists of the Italian Renaissance, which had an impact on his work as a whole. At the beginning of Degas wrote historical paintings, for example, "Spartan girls are caused by Spartan boys. (1860). The main genre of his painting is a portrait. In their works, the artist relies on classical traditions. He creates works marked with a sharp feeling of their time.

Unlike his colleagues, Dega does not share a joyful, outdoor view of life and things inherent impressionism. The artist is closer to the critical tradition of art: the compassion of the fate of a simple person, the ability to see the souls of people, their inner world, inconsistency, tragedy.

For a large role in creating a portrait, objects and interior, surrounding man play. We give a few work as an example: "Disrime Dio with Orchestra" (1868-1869), "Women's Portrait" (1868), "Chet Morbilli" (1867) and others.

The principle of portrait in the works of the degi is traced throughout its creative path. In the 1870s, the artist in complete glory depicts the society of France, in particular Paris in his works. In the interests of the artist - urban life in motion. "The movement was one of the most important manifestations of life, and his ability to convey it is the most important conquest of modern painting," N.N. writes Kalitin.

During this period of time, such pictures are created as "Star" (1878), "Miss Lola in Circus Fernando", "Racing in Epsoma" and others.

The new twist of Degi's creativity becomes his interest in the ballet. He shows the backstage life of the ballerin, tells about their heavy work and stubborn workouts. But despite this, the artist manage to find airiness and ease of transmitting their images.

In a ballet series of degi pictures, the achievements in the framework of the transmission of artificial light ramps are visible, they talk about the colorful granting of the artist. The most famous paintings "Blue Dancers" (1897), "Dance Class" (1874), "Dancer with a bouquet" (1877), "Dancers in Pink" (1885) and others.

At the end of life, due to the impairment of the degiousness, he tries his strength in sculpture. Its objects are the same ballerinas, women, horses. In the sculpture of the degi tries to pass the movement, and in order to evaluate the sculpture, you need to consider it from different sides.

"The new world was born when the impressionists wrote it"

Henri Canveyiler

XIX century. France. In painting it happened unprecedented. A group of young artists decided to shaken a 500-year-old tradition. Instead of a clear drawing, they used a wide "careless" smear.

And from the usual images and abandoned, portraying all in a row. And the ladies of lung behavior, and the Lords of dubious reputation.

The public was not ready for the painting of impressionists. They were ridiculed, scolded. And most importantly, they did not buy anything.

But resistance was broken. And some impressionists lived to their triumph. True, they were already in 40. Like Claude Monet or Auguste Renuar. Others waited for recognition only at the end of life as Camille Pissarro. Someone before him did not live as Alfred Sisley.

What is the revolutionary committed each of them? Why didn't the public have not accepted them for so long? Here are the 7 most famous French impressionists who know the whole world.

1. Eduard Mana (1832-1883)

Eduard Mana. Self-portrait with palette. 1878 Private Collection

Mana was older than most impressionists. He was their main inspirer.

Mana himself for the role of the leader of revolutionaries did not claim. He was a secular man. Dreamed of official awards.

But he was waiting for recognition for a very long time. The public wanted to see the Greek goddesses or still lifes at the worst end, to beautifully looked in the dining room. Mane wanted to write modern life. For example, the curtains.

As a result, "Breakfast on the grass" appeared. Two dandies rest in the Society of Ladies of Light Behavior. One of them like nothing sits next to the dressed men.

Eduard Mana. Breakfast on the grass. 1863, Paris

Compare its "Breakfast on the Grass" with the work of Tom Couture "Romans during a decline." Couture painting produced a furor. The artist instantly became famous.

"Breakfast on the grass" was accused of vulgarity. Pregnant was absolutely not seriously recommended to watch it.

Tom Kutur. Romans of the time of decline. 1847 Museum D'Ors, Paris. Artchive.ru.

In the picture of Couture, we see all the attributes of Academism (traditional painting of the XVI-XIX centuries). Columns and statues. People Apollo appearance. Traditional muffled colors. Mannerness poses and gestures. The plot from the distant life of a completely different people.

"Breakfast on the grass" mana is another format. Before him, no one depicted the curtains like that. Next to respectable citizens. Although many men of the time have spent their leisure time. It was the real life of real people.

Once I depicted one respectable lady. Ugly. He could not flatter her with a brush. The lady was disappointed. Gone from him in tears.

Eduard Mana. Angelina. 1860 Museum D'Ors, Paris. Wikimedia.commons.org.

Therefore, he continued to experiment. For example, with color. He did not try to portray the so-called natural flavor. If the gray-brown water seems to him bright blue, he also portrayed her bright blue.

This, of course, annoyed the public. "After all, even the Mediterranean Sea cannot boast of such a blue as the water man." - Yazvili they.

Eduard Mana. Arzhante. 1874 Museum of Fine Arts, Tour, Belgium. Wikipedia.org.

But the fact remains a fact. Mana in the estate changed the purpose of painting. The picture became an embodiment of the artist's individuality, who writes as he pleases. Forgetting about templates and traditions.

Nomaturation did not forgive him for a long time. Recognitions waited only at the end of life. But it was already not necessary. He painfully faded from the incurable disease.

2. Claude Monet (1840-1926)

Claude Monet. Self portrait in take. 1886 Private Collection

Claude Monet can be called a textbook impressionist. Since he was faithful to this area all his long life.

He wrote not objects and people, but a single color design of glare and spots. Separate strokes. Air shake.

Claude Monet. Paddling pool. 1869 Metropolitan Museum, New York. Metmuseum.org.

Monet wrote not only nature. He managed and city landscapes. One of the most famous - .

In this picture there is a lot from the photo. For example, the movement is transmitted using a blurred image.

Please note: long-range trees and figures are as if they are in the smoke.

Claude Monet. Kapuchin Boulevard in Paris. 1873 (Art Gallery of Europe and America 19-20 Vz.), Moscow

Before us is a stopped moment of the rapid life of Paris. No agility. Nobody poses. People are depicted as a totality of smears. Such immunity and the effect of the "Stop frame" is the main feature of impressionism.

By the mid-1980s, artists were disappointed in impressionism. Aesthetics is, of course, well. But the inconsistency of many oppressed.

Only Monet continued to persist, hypertrophing impressionism. It turned into a series of paintings.

The same landscape he portrayed dozens of times. At different times of the day. At different times of the year. To show how much temperature and light can change the same appearance beyond recognition.

So there were countless hay stacks.

Pictures of Claude Monet in the Museum of Fine Arts in Boston. Left: hay stacks at sunset in Zhiverny, 1891 on the right: a stack of hay (snow effect), 1891

Please note that the shadows in these pictures are colored. And not gray or black, as was customary to impressionists. This is another their invention.

Monet managed to enjoy the success and material well-being. After 40, he already forgot about poverty. Got a house and a beautiful garden. And for a long time spent for many years.

About the most sign painting of the master read in the article

3. Auguste Renoir (1841-1919)

Pierre-Auguste Renoir. Self-portrait. 1875 Institute of Art Sterling and Francin Clark, Massachusetts, USA. Pinterest.ru.

Impressionism is the most positive painting. And the most positive among the impressionists was Renoir.

In his paintings, you will not find dramas. Even the black paint he did not use. Only the joy of being. Even the most common Renoire looks beautiful.

Unlike Monet, Renoir wrote people more often. Landscapes for him were less significant. The pictures are resting and enjoying the life of his friends and acquaintances.

Pierre-Auguste Renoir. Breakfast rowers. 1880-1881 Collection of Phillips, Washington, USA. Wikimedia.commons.org.

You can not find Renoara and deepness. He was very happy to join the impressionists who were polluted by plots.

As he himself said, finally he has the opportunity to write flowers and call them just "flowers." And do not invent any stories about them.

Pierre-Auguste Renoir. Woman with umbrella in the garden. 1875 Museum of Tissen-Burnis, Madrid. arteuam.com.

The best Renoir felt in the society of women. He asked his maid to sing and joke. The more stupid and the song was more naive, the better for him. And the men's chatter was tired. It is not surprising that Renoir is famous for the Nude cloths.

The model on the picture "naked in the sunlight" as if manifests itself on a colorful abstract background. Because there is nothing minor for Renuara. The eye of the model or the rear background section is equivalent.

Pierre-Auguste Renoir. Nude in the sunlight. 1876 \u200b\u200bMuseum d'Orsov, Paris. wikimedia.commons.org.

Renoir lived a long life. And never put off the brush and the palette. Even when his hands completely fed rheumatism, he tied a brush to his hand with a rope. And painted.

Like Monte, he waited for recognition after 40 years. And he saw his paintings in the Louvre, next to the works of famous masters.

About one of the most charming portraits of Renuara read in the article

4. Edgar Degas (1834-1917)

Edgar Degas. Self-portrait. 1863 Museum of Galust Gulbenkyan, Lisbon, Portugal. Cultured.com.

Degi was not a classic impressionist. He did not like to work at the Captive (outdoors). He will not find a deliberate palette.

On the contrary, he loved a clear line. It has a black color. And he worked exclusively in the studio.

But still it is always put in a row with other great impressionists. Because he was an impressionist gesture.

Unexpected perspectives. Asymmetry in the location of objects. Cracked surprise characters. Here are the main attributes of his paintings.

He stopped the moments of life without giving the characters to come to his senses. Look at least on his "Opera Orchestra".

Edgar Degas. Opera orchestra. 1870 Museum D'Ors, Paris. COMMONS.WIKIMEDIA.ORG.

In the foreground, the back of the chair. Musician to us back. And on the back background, the ballerina on the stage did not fit into the "frame". Their heads are mercilessly "circumcised" the edge of the paintings.

So the dancers beloved them are not always depicted in beautiful poses. Sometimes they just make a stretch.

But this improvisation is impaired. Of course, Dega thoughtfully thought out the composition. This is just the effect of a stop frame, and not a real foot frame.

Edgar Degas. Two ballet dancers. 1879 Museum Shelbourne, Vermouth, USA

Edgar Degas loved to write women. But the disease or features of the body did not allow him to have physical contact with them. He was never married. No one ever seen him with the lady.

The lack of real plots in his personal life added a thin and intense eroticity to his images.

Edgar Degas. Ballet star. 1876-1878 Museum d'Ors, Paris. wikimedia.comons.org.

Please note that only the ballerina itself is drawn in the "Ballet Star" picture. Her colleagues behind the scenes barely distinguishable. Is that a few legs.

This does not mean that Dega did not finish the picture. This is the reception. Leave in focus only the most important thing. The rest to make disappearing, illegible.

About other paintings of the master read in the article

5. Berta Morizo \u200b\u200b(1841-1895)

Eduard Mana. Portrait of Berth Morizo. 1873 Maroton Monet Museum, Paris.

Bert Morizo \u200b\u200brarely put in the first row of great impressionists. I am sure that it is undeserved. Just do you have all the main features and techniques of impressionism. And if you like this style, you love her work with all the soul.

Morizo \u200b\u200bworked quickly and pushing, shifting his impression on the canvas. Figures as if about to dissolve in space.

Bert Morizo. Summer. 1880 Museum of Famon, Montpellier, France.

Like a degi, she often did not teach some details. And even parts of the body model. We cannot distinguish between the girls in the picture "Summer".

The path for self-expression in Morizo \u200b\u200bwas difficult. Not only did she have been engaged in a "careless" painting. She was still a woman. In those days, the lady was supposed to dream of marriage. After that, any hobby was forgotten.

Therefore, Berta has long refused marriage. Until I found a man who respectfully took her lesson. Eugene Mana was his native brother of the artist Eduard Man. He submiredly wore an easel and paint.

Bert Morizo. Eugene Mane with her daughter in Buhval. 1881 Maroton Monet Museum, Paris.

But still the case was in the XIX century. No, Morizo's pants did not wear. But she could not afford complete freedom of movement.

She could not go to the park to work alone, unaccompanied by someone from loved ones. Could not sit alone in the cafe. Therefore, its paintings are people from the family circle. Husband, daughter, relatives, nanny.

Bert Morizo. Woman with a child in the garden in the warehouse. 1881 National Museum of Wales, Cardiff.

Morizo \u200b\u200brecognition did not wait. She died in 54 years from inflammation of the lungs, almost no one's work at life. In her testimony of death in the column "Rod classes" stood a ditch. It was unthinkable to a woman called the artist. Even if she really was.

About the paintings of the master read in the article

6. Camille Pissarro (1830 - 1903)

Camille Pissarro. Self-portrait. 1873 Museum D'Ors, Paris. Wikipedia.org.

Camille Pissarro. Non-conflict, reasonable. Many people perceived as teachers. Even the most temperamental colleagues about Pissarro did not speak badly.

He was a faithful follower of impressionism. Strongly needing, having a wife and five children, he still hard worked in his beloved style. And never switched to salon painting to become more popular. It is not known where he took the power to believe in himself.

In order not to die at all with the hunger, Pisserrro painted a fan, which would be happy. And this recognition came after 60 years! Then finally he was able to forget about the need.

Camille Pissarro. Diligence in Luvezienne. 1869 Museum D'Ors, Paris

Air in paintings Pissarro thick and dense. Unusual alloy of color and volume.

The artist was not afraid to write the most changeable phenomena of nature, which are shown for a moment and disappear. First snow, frosty sun, long shadows.

Camille Pissarro. Frost. 1873 Museum D'Orsov, Paris

His most famous works are the types of Paris. With wide boulevards, a bay motley crowd. At night, in the afternoon, in different weather. Something they echo with the series of Pictures of Claude Monet.

Impressionism (FR. impressionNisme, OT. impression - impression) - direction in the art of the last third of the XIX - the beginning of the 20th centuries, originated in France and then spread throughout the world, whose representatives sought to develop methods and adopters that allowed the most natural and vibrant to capture the real world in its mobility and variability, transfer their Mimful impressions. Usually under the term "impressionism" means a direction in painting (but this is, first of all, a group of methods), although his ideas also found their embodiment in literature and music, where impressionism also performed in a certain set of methods and techniques for creating literary and musical works, in which the authors sought to convey life in sensual, direct form, as a reflection of their impressions

The task of the artist at that time was the most plausible image of reality, not showing the subjective sensations of the artist. If he was ordered a parade portrait - then it was necessary to show the customer in a favorable light: without deformities, stupid facial expression, etc. If a religious plot - then it was necessary to cause a feeling of reverence and amazement. If the landscape is to show the beauty of nature. However, if the artist despised the rich, who ordered a portrait, or was unbelieving, there was no choice and remained only to produce his unique technique and hope for good luck. However, in the second half of the nineteenth century, photography began to actively develop and realistic painting began to gradually leave aside, since even then it was extremely difficult to convey the reality so believable as in the photo.

In many respects, with the advent of impressionists, it became clear that art could present value as a subjective representation of the author. After all, each person perceives reality in different ways and responds to it, too, in its own way. The more interesting look, as in the eyes of different people, reality is reflected and what emotions they are experiencing.

The artist has an incredible number of opportunities for self-expression. Moreover, in itself, self-expression has become much freer: take a non-standard plot, the topic, to tell something other than religious or historical topics, use your unique technique, etc. For example, impressionists wanted to express a mumbling impression, the first emotion. That is why their works are vague and as if they were lacking. It was done in order to show a multiply impression, when there were no objects in consciousness and only light overlords of light, halftone and blurry contours are visible. Mostory people will understand me) Imagine that you have not selected the subject of the whole thing, see it from afar or simply do not peer, but already form some impression about it. If you try to portray it, then it is likely that you will get something like pictures of impressionists. Something like an outline. Therefore, it turned out that it was more important for the impressionists that it was shown, but as.

The main representatives of this genre in painting were: Monet, Mana, Sislai, Degas, Renoir, Cezanne. Separately, it is necessary to note the Umlama Turnner as their predecessor.

Speaking of the plot:

Their paintings were represented only by the positive sides of life, without affecting social problems, including such as hunger, illness, death. This led later to the split among the Impressionists themselves.

Color schemes

Impressionists paid great attention to the color, a fundamentally refusing to gloomy shades, especially from the black. Such attention to the color of its works was brought out the color in itself on a very important place in the picture and pushed the further generations of artists and designers carefully to color as such.

Composition

The composition of the Impressionists reminded Japanese painting, complex composite schemes were used, other canons (not a golden section or center). In general, the structure of the painting has become more common asymmetric, more complex and interesting from this point of view.

The composition of the Impressionists began to have a more independent meaning, it became one of the items of painting, unlike the classical, where it carried more often (but not always) the role of the scheme on which any work was built. At the end of the 19th century it became clear that it was a dead end, and the composition itself could carry certain emotions and maintain the plot of the paintings.

Forerunities

El Greco - Because I used to use similar techniques in paint and the color of it acquired a symbolic value. He also distinguished itself to a very original manner, individuality, which also sought impressionists.

Japanese engraving - because it has gained great popularity in Europe for those years and showed that the picture can be built at all other rules than the classic canons of European art. This applies to the composition, use of color, detail, etc. Also in Japanese and in general, the eastern drawings and engravings were much more often depicted by household scenes, which was almost never in European art.

Value

Impressionists left a bright footprint in world art, having developed unique techniques of letters and having a huge impact on all subsequent generations of artists with their bright and memorable work, a protest in relation to classical school and a unique work with color. Still to maximum immediacy and accuracy in the transfer of the viscous world, They began to write mainly outdoors and raised the meaning of the etude from nature, almost the traditional type of picture, carefully and slowly created in the workshop.

Consistently enlightening his palette, the impressionists freed painting from earthy and brown varnishes and paints. The conditional, "museum" black in their canvas is inferior to the infinitely diverse game of reflexes and color shadows. They immeasurably expanded the possibilities of visual art, opening not only the world of the Sun, light and air, but also the beauty of London fogs, a restless atmosphere of the life of a big city, the scatter of his night lights and the rhythm of the incessant movement.

By virtue of the method of work at the Plenuera, the landscape, including the city landscape, took a very important place in the art of impressionists. It should not, however, believe that their painting was characterized by only the "landscaped" perception of reality, what they were often reproached. The thematic and scene range of their creativity was quite wide. Interest in person, and especially to the modern life of France, in a broad sense there was a number of representatives of this direction. His life-affirming, the democratic idea of \u200b\u200bPaphos clearly opposed the bourgeois world order.

At the same time, Impressionism and, as we will see, postpressionism is two sides, or rather, two consecutive temporary stages of that root fracture, which laid the frontier between the art of the new and the newest time. In this sense, impressionism, on the one hand, completes the development of everything after Renaissance art, the leading principle of which was the reflection of the surrounding world in visually reliable forms of the reality itself, and on the other - it is the beginning of the largest coup in the history of fine arts, which laid the foundation of a qualitatively new stage -

art of the twentieth century.