Urban impressionism. Urban landscape in impressionism
18-19 centuries. Distiminate the period of the heyday of European art. In France, Emperor Napoleon III ordered to start reconstructing Paris, after hostilities during the Franco-Prussian war. Paris quickly became the same "shining city" as he was with the second empire and again proclaimed himself the center of European art. Therefore, many artists - Impressionists treated their work on the topic of the modern city. In their works, the modern city is not a monster, but the place of the Motherland, where people live. Many works are impregnated with a strong sense of patriotism.
This can especially be traced in the pictures of Claude Monet. He created more than 30 paintings with the views of the Ruan Cathedral in the most different lighting and the state of the atmosphere. For example, in 1894, Monet wrote two pictures - "Rueny Cathedral at noon" and "Ruran Cathedral in the evening." Both paintings depict the same fragment of the cathedral, but in different tonsidations - in warm yellow-pink colors of the meal and cold-bluish shades of the coming twilight light. In the paintings, the colorful stain completely dissolves the line, the artist transmits not the material severity of the stone, but as it were, a light colorful veil.
Impressionists sought to make a picture of a similar open window, through which the real world is visible. Often they chose a point of view from the window to the street. The presented famous "Kapuchin Boulevard" K. Monte, written in 1873, and shown at the first exhibition of Impressionists in 1874, is an excellent example of this reception. There is a lot of innovative - the motive for the landscape was chosen a view of a large city street, but the artist is interested in her appearance in general, and not her sights. All the mass of people is depicted by sliding strokes, generalized, in which it is difficult to disassemble individual figures.
Monte transmits in this work an instantaneous, purely visual impression from the barely noticeable vibrating air, from the streets of the streets, people and departing crews. It destroys the idea of \u200b\u200bthe plane of the canvas, creating the illusion of space and filling it with light, air and movement. The human eye rushes into infinity, and there is no limit point where he could stop.
High view allows the artist to abandon the first plan, and it transmits shining solar lighting in the contrast with a bluish-lilac shadow from houses lying on the street pavement. The sunny side of Monet gives an orange, golden-warm, shadow - purple, but a single light-air haze attaches to the whole landscape a tonal harmony, and the contours of houses and trees are emerged in the air, penetrated by sunlight.
In 1872, in Havre Mona writes "impression. Sunrise "- the view of the Gavrian port, submitted then at the first exhibition of impressionists. Here the artist, as can be seen, was finally released from the generally accepted idea of \u200b\u200bthe object of the image as a certain volume and all the gentle dedicated to the transfer of the momentum of the atmosphere in blue and pink-orange tones. In fact, everything seems to be intangible: Gavrian mol and ships merge with divorces in the sky and reflection in water, and the silhouettes of fishermen and boats in the foreground are just dark spots made by several intense strokes. Refusal from academic technology, painting on the plenier and the choice of unusual plots in the bayonies was perceived by criticism of that time. Louis Lerew, author of a fierce article that appeared in the journal "Sharivari", for the first time, due to this picture, used the term "impressionism" as the definition of a new course in painting.
Another outstanding work dedicated to the city was the picture of Claude Monet "Station Saint-Lazar". On the motive station Saint-Lazar Monet performed over ten paintings, seven of whom were exhibited on the 3rd exhibition of Impressionists in 1877.
Monet took off the tiny apartment on Monini Street, located near the station. The artist was provided with complete freedom of action. Train movement for a while was suspended, and he could well see the platforms, the fireboxes of smoking locomotives, which were filled with coal - so that from the pipes of pairs of pairs. Monet firmly "settled" at the station, passengers watched him with respect and trepidation.
Since the appearance of the station was constantly changing, only sketches did on "nature" Monet, and on them the paintings themselves wrote in the workshop. On the canvas, we see a large railway station covered by a canopy reinforced on the iron pillars. On the left and right are platforms: one way is intended for suburban trains, the other - for long-distance trains. The special atmosphere is transmitted through the contrast of dim lighting inside the station and bright dazzling outdoor light. Clubs of smoke and steam scattered throughout the canvas equilibrate contrasting lighting bands. Smoke seeps everywhere, shining clouds of tubergain against the background of barely distinguishable buildings silhouettes. The thick pairs as if attaches the shape of massive towers, covering them with a light veil, similar to the finest cobweb. The picture is written in gentle muted tones with the finest transitions of shades. The rapid accurate strokes in the shape of commas, characteristic of that time, are perceived as a mosaic, the viewer has the impression that the steam is scattered, it is thickened.
Another representative of Impressionists, K. Pisserro, like all the impressionists, loved to draw the city, which captured him with his infinite movement, the flow of air flows and the game of light. He perceived him as a living, restless organism, able to change depending on the time of year, the degree of illumination.
In the winter and in the spring of 1897, Pissarro worked on a series of cloths "Boulevards of Paris". These works brought the artist fame and attracted the attention of critics that bind his name with the movement of Divisionism. Sketches for the series The artist did from the window of the room in the Paris Hotel, and completed work on the paintings in his studio in Ehrania at the end of April. This series is the only Pisserro in the work of Pissarro, in which the artist sought with maximum accuracy to capture various states of weather and solar lighting. So, for example, the artist wrote 30 paintings with the image of Montmartre Boulevard, considering it from the same window.
In the paintings "Montmartre in Paris" paintings, Master K. Pissarro virtuoso handed over the wealth of atmospheric effects, colorful complexity and subtleness of a cloudy day. Dynamics of urban life, so convincingly embodied by a quick brush of the painter, creates the image of a modern city - not a parade, not official, but excited and lively. The city landscape became the main genre in the work of this outstanding impressionist - "Singer of Paris".
Special place is in the work of Pissarro, the capital of France. The artist constantly lived outside the city, but Paris persistently attracted him. Paris captivates his incessant and universal movement - walking pedestrians and running crews, the flow of air flows and the game of light. The city of Pissarro is not a list of attractions that came to the field of view of the artist, and a living and restless organism. Captured by this life, we are not aware of the banalities of the buildings of the Montmartre Boulevard. The unique charm finds an artist in the restlessness of large boulevards. Montmartre's Montmartre Boulevard captured the Montmartre, examining him from the same window, captured the morning and day, evening and night, sunbathing sun. A clear and simple motive of the outgoing distance in the street creates a clear composite basis that does not change from the canvas to the canvas. Completely differently built a cycle of canvas written next year from the window of the Louvras hotel. In a letter to the son, during work on the cycle, Pissarro emphasized the character of this place different from the boulevards, that is, the square of the French theater and the adjacent area. Indeed, everything rushes along the street axis. Here - the area that served the final stop of several Omnibus routes intersects in a wide variety of directions, and instead of a wide panorama with an abundance of air, the closed foreground space appears to our eyes.
One of the largest trends in the art of the last decades of the nineteenth century and the beginning of the twentieth is impressionism, spread throughout the world from France. Its representatives were engaged in the development of such methods and techniques of painting, which would allow the real world to be most and naturally reflected in the dynamics, transfer the fleeting impressions from him.
In the style of impressionism, many artists created their canvas, but the founders of the movement were Claude Monet, Edward Mana, Auguste Renoir, Alfred Sisley, Edgar Degas, Frederick Basil, Camille Pissaro. It is impossible to call their best works, as they are all beautiful, but there are the most famous, it is about them further and will be discussed.
Claude Monet: "Impression. Rising Sun"
The canvas, from which to start a conversation about the best pictures of impressionists. Claude Monet wrote it in 1872 from nature in the old port of French Gauring. Two years later, the picture was first demonstrated to the public in the former workshop of the French artist and the cartoonist of Nadar. This exhibition has become a fateful art for the world. Impressed (not in the best sense) by the work of the Monet, the name of which in the original language sounds like "Impression, Soleil Levant", the journalist Louis Lerua first introduced into circulation the term "impressionism" by referring to them a new direction in painting.
The picture was stolen in 1985 with the works of O. Renuara and B. Morizo. Found it five years later. Currently, "impression. The ascending sun "belongs to the museum of Marmotan Monet in Paris.
Eduard Monet: Olympia
The painting "Olympia", created by the French impressionist Edward Mana in 1863, is one of the masterpieces of modern painting. She was first introduced at the Paris Salon in 1865. Artists-Impressionists and their paintings were often in the center of loud scandals. However, Olympia has caused the largest of them in the history of art.
On the canvas we see a nude woman, face and body facing the audience. The second character is a black maid, in the hands of which a luxury bouquet wrapped in paper. Flying the bed has a black kitten in a characteristic posture with the curved back. About the history of the creation of the painting is known not so much, only two sketch reached us. The model served, most likely, a favorite simulator Mana - Quiz Mönar. It is believed that the artist used the image of Margarita Bellands - Napoleon's mistress.
In that period of creativity, when "Olympia" was created, Mane was passionate about Japanese art, and therefore intentionally refused to study the nuances of the dark and light. Because of this, his contemporaries did not see the volume of the figure of the figure, counted it flat and coarse. The artist accused of amorality, vulgarity. Never before this picture of the impressionists did not cause such a stir and mockery from the crowd. The administration was forced to put the guards around her. Degas compared the fame of Mana, conquered by Olympia, and the courage with whom he took criticism, with the history of Garibaldi's life.
Almost a quarter of a century after the exhibition was kept in an inaccessible to the extraneous eyes of the workshop. Then he was again put in Paris in 1889. She was almost bought, but the artist's friends gathered the necessary amount and bought out "Olympia" by the widow man, and then passed to the state. Now the picture belongs to the Museum of Orsay in Paris.
Auguste Renoir: "Big swimsters"
The picture is written by the French artist in 1884-1887. Taking into account the well-known paintings of Impressionists in the interval between 1863 and the beginning of the twentieth century, "large swimsuits" are called the largest cloth with naked women's figures. Renoir worked on him more than three years, and many sketches were created during this gap, sketches. There was no longer any painting in his work, which he would devote so much time.
In the foreground, the viewer sees three naked women, two of which are on the shore, and the third is in the water. Figures are written very realistic and clearly, which is a characteristic feature of the artist. Renuara's simulators were Alina Sharigo (his future wife) and Suzanna Valadon, who in the future and herself became a famous artist.
Edgar Degas: "Blue dancers"
Butter on the canvas are written not all of the famous artists of impressionists are written in the article. The photo above makes it possible to understand what is the picture "Blue Dancers". It is made pastel on a paper sheet with a size of 65x65 cm and belongs to the late period of artist's creativity (1897). He drew it with already weakened vision, so the decorative organization is of paramount importance: an image is perceived as large color spots, especially if you consider it near. The topic of dancers was close to Degas. She repeatedly repeated in his work. Many critics believe that on the harmony of the color and compositions of "Blue dancers" can be considered the best work of the artist on this topic. Currently, the picture is kept in the art museum. A. S. Pushkin in Moscow.
Frederick Basil: "Pink dress"
One of the founders of French impressionism Frederick Basil was born in the bourgeois family of wealthy winery. Back in the years of study in the lyceum, he began to get involved in painting. Having moved to Paris, started acquaintance with K. Monet and O. Renohar. Unfortunately, the artist destiny was taken by a short life path. He died at 28 at the front during the Franco-Prussian War. However, it, albeit a few, the canvas rightly include the "Best Pictures of Impressionists" list. One of them is a "pink dress", written in 1864 in all signs of the canvas can be attributed to early impressionism: coloristic contrasts, attention to color, solar lighting and a stopped instant, the very thing that was called the "impression". As a model, one of the cousin of the artist Teresa de Horse was performed. Currently, the painting belongs to the Museum of Orsay in Paris.
Camille Pissaro: "Montmartre Boulevard. Afternoon, sunny
Camille Pissero became famous for its landscapes, whose characteristic feature of which is the drawing of light and illuminated objects. His work had a noticeable impact on the genre of impressionism. The artist independently developed many of the principles inherent in him, the laxation of creativity in the future.
Pissaro loved to write the same place at different times of the day. He has a whole series of cloths with Paris boulevards and streets. The most famous of them is "Boulevard Montmartre" (1897). It reflects all the charm that the artist sees in the boiling and restless life of this corner of Paris. Considering the boulevard from the same place, he demonstrates his viewer in a sunny and cloudy day, in the morning, afternoon and late in the evening. In the photo below - the picture "Montmartre Boulevard".
This manner was adopted by many artists later. We mention only about what pictures of impressionists are written under the influence of Pissaro. This tendency is clearly traced in the work of Monet (series of cloths "Stacks").
Alfred Sisley: "Spring lawns"
"The lawns in the spring" is one of the latest paintings of the Alfred Sisaleya landscape player, written in 1880-1881. On her, the viewer sees a forest path along the coast of the Seine with a village on the opposite shore. In the foreground, the girl is the daughter of the artist Jeanne Sisley.
The artist's landscapes transfer the genuine atmosphere of the historical region of Il de France and keep in themselves the specialty and transparency of natural phenomena characteristic of specific seasons. The artist has never been a supporter of unusual effects and adhered to a simple composition and limited palette of paints. Now the picture is stored in the National Gallery of London.
We listed the most famous pictures of impressionists (with titles and descriptions). These are masterpieces of world painting. The unique painting style in France initially was perceived with a mockery and irony, critics emphasized the frank carelessness of artists in writing cloths. Now it is unlikely to dare to challenge their genius. The pictures of the Impressionists are exhibited in the most prestigious museums of the world and are the desired exhibit for any private collection.
The style did not go to the fly and has a lot of followers. Our compatriot Andrei Koch, French painter Laurent Parselyely, American Diana Leonard and Karen Tarlton are famous modern impressionists. Their paintings are made in the best traditions of the genre, filled with bright colors, bold strokes and life. In the photo above - the work of Laurent Parselyee "In the rays of the Sun".
Further development of European painting is associated with impressionism. This term was born randomly. The reason was the name of the scenery of K. Mone "Impression. Sunrise "(see Appendix #1, Fig. 3) (from FR. IMPRESSION - Impression), which appeared at the exhibition of Impressionists in 1874. This is the first public speech of the group of artists, where K. Mona, E.Dega, O. Rewar, A.Sisley, K. Pissarro and others, was greeted by the official bourgeois criticism of rude ridicule and harass. True, since the late 1880s, formal techniques of their paintings were picked up by representatives of academic art, which gave the reason for the degiousness with bitterness: "We were shot, but at the same time our pockets were shaking."
Now that hot spores about impressionism went into the past, it is unlikely that someone will decide to challenge that the movement of impressionists was a further step in the development of European realistic painting. "Impressionism is primarily the art of observation of real reality (V.N. Prokofyev), primarily reached the unprecedented refinement. In an effort to maximize the vitality and accuracy in the transfer of the viscous world, they began to write mainly in the open air 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 canvases is inferior to the infinitely diverse game of reflexes and color shadows. They immeasurably expanded the possibilities of visual art by opening not only the world of the sun, light and air, but also the beauty of the fogs, a restless atmosphere of the life of a big city, an axampy of night lights and a rhythm of continuous 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. How organically merged in the art of Impressionists of tradition and innovation, testifies, first of all, the work of an outstanding painter of the XIX century Edoara Manne (1832-1883). True, he himself did not consider himself a representative of impressionism and always exhibited separately, but in ideological and ideological terms, undoubtedly, was simultaneously the forerunner and ideological leader of this movement.
At the beginning of his creative path, E.Many is exposed to Ostracism (Society of Society). In the eyes of the bourgeois public and critics, his art becomes synonymous with ugly, and the artist himself is called "crazy, who writes the picture, shaking in white hot" (M. de Montifo) (see Appendix #1, Fig.4). Only the most insightful minds of that time were able to appreciate the giving Man. Among them was Sh. Bajler and young E. Zolla, who said that "Mr. Mana is intended for a place in the Louvre."
The most consistent, but also far-coming expression Impressionism received in the work of Claude Monet (1840-1926). With his name, it is often associated with such achievements of this pictorial method, as the transmission of elusive transitional states, vibration of light and air, their relationship in the process of incessant changes and transformations. "This undoubtedly was the great victory of the art of the new time," writes V.N.Prokofiev and adds: "But the final victory". " It is not by chance Cezann, let a severly pouterly focusing his position, argued later that the art of Monet is "only eye".
Monet's early works are quite traditional. They still have human figures, which are increasingly becoming increasingly turning into the Staffez and gradually disappear from his paintings. In the 1870s, an impressionistic manner of the artist is finally developing, hencen it all dedicated to the landscape. From this time, it works almost exclusively at the plenier. It is in his work that the type of big painting is finally approved - etude.
One of the first monet begins to create a series of paintings in which the same motive is repeated at different times of the year and day, with different lighting and weather status (see Appendix No. 1, Fig.5, 6). Not all of them are equal, but the best canvas of these episodes are striking the freshness of the paints, color intensity and artistry of the transmission of lighting effects
In the late period of creativity in the painting of Monet, the trends of decolation and flatness increase. The brightness and purity of the paints turn into their opposite, some blessing appears. Speaking about the abuse of late impressionists "a light tone, turning some works in the discolored canvas," E. Zolation wrote: "And today there is nothing but the plenier ... Only spots remain: portrait only spot, figures only spots, only spots" .
Other artists-impressionists were also in their most landscape stakes. Their creativity was often undeservedly remained in the shadow next to a truly colorful and impressive figure of Monet, although they did not inferior to him in the vision of the vision of nature and in picturesque skill. Among them must be primarily named after Alfred Sisley (1839-1899) and Camille Pissarro (1831-1903). The works of Sisley, the Englishman in origin, inherent in special picturesque elegance. Brilliant Master of Plenäer, he knew how to pass the transparent air of a clear winter morning, a light haze of the sun warmed by the sun, running around the sky in a windy cloud day. His gamma is characterized by the wealth of shades and faithfulness of the tones. The artist's landscapes are always imbued with a deep mood reflecting his lyrical, at its base, the perception of nature (see Appendix No. 1, Fig.7, 8, 9).
More complex was the creative way of Pissarro, the only artist who participated in all eight exhibitions of impressionists, - J. Revald called him "Patriarch" of this movement. Starting with landscapes close to painting Barbozons, he was under the influence of Mana and his young friends began to work at the Plenuel, sequentially lacing the palette. Gradually, it produces his own impressionistic method. One of the first he refused to eat black paint. Pissarro has always been inclined to an analytical approach to painting, hence his experiments on color decomposition - "Divisionism" and "Pointellism". However, it is soon returning to an impressionistic manner in which his best works are created - the wonderful series of city landscapes of Paris (see Appendix No. 1, Fig.10,11,12,13). Their composition is always thought out and balanced, painting is sophisticated in color and virtual technique.
In Russia, Konstantin Korovin enlightened the city landscape in impressionism. "Paris became a shock for me ... Impressionists ... I saw something in them, for which I swore in Moscow." Korovin (1861-1939) Together with his friend Valentin Serov was the central figures of Russian impressionism. Under the great influence of the French movement, he created his own style, which mixed the main elements of French impressionism with rich paints of Russian art of that period (see Appendix #1, Fig.15).
In this article you will see Petersburg cityscape Presented in the art gallery "Art-Breeze". Here are the works of various authors who are made in various styles and techniques. All these works unites one thing - they are depicted St., such as the artist saw him.
Cityscape As the painting genre was formed quite late, in the 18th century. It was then that the cities began to acquire their modern character and the number of urban residents began to increase rapidly. Prior to that, only some medieval artists depicted cities on their canvases. These images were very primitive, they had no topographic accuracy and they served to designate the site of events who were dedicated to the plot. Rodonarchists urban landscape In painting, you can call the Dutch artists of the 17th century of the Vermer Delftsky, Ya.Goien and Ya. Raysdala. It is on their works that you can meet the city landscape as we used to see it in modern paintings.
Modern artists who exhibit their own cityscapes in the St. Petersburg Art Gallery "AR-BRAZ", depict St. Petersburg, mainly a foggy seaside city with a lively life and magnificent architecture. Most of the paintings are created in the style of impressionism and classics. The saturation of the paints and the possibility of filling the canvas with the light, which provides the technique of painting impressionists, most fully allows you to reflect the spirit of this city on the Neva!
