Impressionism as a picturesque style to its goal. The emergence of impressionism
Impressionism is a direction in painting, originated in France in the XIX-XX centuries, which is an artistic attempt to capture any time in all its variability and mobility. The pictures of impressionists as if qualitatively washed photograph, reviving the continuation of the story seen in fantasy. In this article we will look at the 10 most famous Impressionists of the world. Fortunately, talented artists are much more than ten, twenty or even a hundred, so let's focus on those names that you need to know.
In order not to offend neither artists or their admirers, the list is given in Russian alphabetical order.
1. Alfred Sisley
This French painter of English origin is considered the most famous landscape of the second half of the XIX century. In his collection there are more than 900 paintings, of which the most famous "rural alley", "frost in Luveseyne", "Bridge in Argentee", "Early snow in Luvurezenne", "lawn in spring", and many others.
2. Van Gogh.
Famous to the whole world a sad story about his ear (by the way, he cut off all the ear, but only a lobe), Wang Gon became popular only after his death. And for life was able to sell one-sole picture, 4 months before death. They say he was both an entrepreneur, and a priest, but often fell into psychiatric hospitals due to depression, so all the rebels of its existence resulted in the legendary works.
3. Camille Pissarro
Pissarro was born on the island of St. Thomas, in the family of bourgeois Jews, and was one of the few impressionists, whose parents encouraged his passion and soon sent to Paris for training. Most of all, the artist had to taste Nature, he also depicted her in all colors, and if I say more precisely, Pissarro had a special talent to select the softness of flowers, the compatibility, after which the air appeared in the pictures.
4. Claude Monet
Since childhood, the guinea decided that he would become an artist, despite the bans of the family. Alone moved to Paris, Claude Monet plunged into the gray weekdays of hard life: two years in the service in the armed forces in Algeria, litigation with creditors due to poverty, illness. However, it seems that difficulties did not oppress, but on the contrary, inspired the artist to create such bright paintings as "the impression, the sunrise", the "parliament building in London", "Bridge to Europe", "Autumn in Argenthe", "on the shore Truvillie, "and many others.
5. Konstantin Korovin
It is nice to know that among the French, Impressionism parents, you can proudly put our compatriot - Konstantin Korovina. Passionate love for nature helped him intuitively attach a static picture of a static picture, thanks to the combination of suitable paints, the width of the smears, the choice of theme. It is impossible to pass by his paintings "Pier in Gurzuf", "Fish, wine and fruit", "Autumn landscape", "Moonlight. Winter and a series of his works dedicated to Paris.
6. Paul Gogen
Until 26 years old Paul Gauguin and did not think about painting. He was an entrepreneur and had a big family. However, when I first saw the pictures of Camille Pissarro, I decided that it would certainly be drawing. Over time, the style of the artist changed, but the most famous impressionistic paintings are "the garden in the snow", "at the cliff", "on the beach in Dieppe", "nude", "Palm trees on Martinique" and others.
7. Paul Cesanne
Cezanne, unlike most of his colleagues, became known for life. He managed to organize his own exhibition and cut out considerable incomes from it. People knew the lot in his paintings - he, as no one learned to combine the game of light and shadows, made a loud emphasis on the right and improper geometric forms, the strictness of the subject of his paintings was harmony with romance.
8. Pierre Auguste Renoir
Until 20 years, Renoir worked as a decorator of fans from her older brother, and only then moved to Paris, where he met Monet, basal and sispel. This acquaintance helped him in the future to become an impressionism on the road and become famous for her. Renoir is known as the author of the sentimental portrait, among its most prominent works - "on the terrace", "Walk", "Portrait of an actress Zhanna Samari", "Lodge", "Alfred Sisley and his wife", "on a swing", "Floor" and a lot others.
9. Edgar Degas
If you have not heard anything about the "blue dancers", "ballet rehearsal", "ballet school" and "absinthe" - hurry to learn more about the work of Edgar Degi. Selection of original colors, unique topics for paintings, the feeling of movement of the picture - all this and much more made a degass one of the most famous artists.
10. Eduard Mana
Do not confuse Mane with Monet - these are two different people who worked at one time and in one artistic direction. Mana always attracted a domestic scene, unusual appearance and type, as if accidentally "caught" moments were subsequently imprisoned for centuries. Among famous paintings Manne: Olympia, "Breakfast on the grass", "Bar in Foli-Berger, Fleutist," Nana "and others.
If you have at least the slightest opportunity to see the paintings of these masters live - you will forever fall in love with impressionism!
Impressionism compiled a whole epoch in the French art of the second half of the XIX century. The hero of the picture of the impressionists was light, and the task of artists - to open eyes to the beauty of the surrounding world. Light and color could be best transmitted by fast, small, voluminous strokes. The impressionistic vision was prepared by the entire evolution of the artistic consciousness, when the movement began to understand not only as moving in space, but as universal variability of the surrounding reality.
Impressionism - (Franz. ImpressionNisme, from impression - impression), direction in the art of the last third of the XIX - early XX centuries. Forest in French painting of the late 1860s - early 70s. The name "Impressionism" arose after the exhibition 1874, on which the picture of K. Monte "impression was exposed. Rising Sun". At the time of the maturity of impressionism (70s - the first half of the 80s), it was represented by a group of artists (Monet, O. Renoir, E. Degas, K. Pisserro, A. Sisley, B. Morizo, and others), united for The struggle for updating the art and overcoming the official salon academism and organized for this purpose in 1874-86 8 exhibitions. One of the creators of impressionism was E. Mane, who was not part of this group, but in the 60s - early 70s. Speaking with genre works in which the compositional and picturesque techniques of masters of the XVI-XVIII centuries rethought. With reference to modern life, as well as scenes of the civil war, 1861-65 in the United States, execution of Paris communists, giving them an acute political orientation.
Impressionists depicted the world around the world in eternal movement, transition from one state to another. They began to write a series of paintings, wanting to show how the same motive varies depending on the time of day, lighting, weather states, etc. (cycles "Boulevard Montmartre" K. Pissarro, 1897; "Ruenan Cathedral", 1893- 95, and "London Parliament", 1903-04, K. Monet). The artists found ways to reflect the movement of the clouds (A. Sisley. "Luan in Saint-Mamma", 1882), the game is glare of sunshine (O. Renoir. "Swing", 1876), wind gusts (K. Monet. "Terrace in Saint Address ", 1866), Rain jets (Kaibott." Ier. Rain effect ", 1875), falling snow (K. Pisserro." Opera pass. Snow Effect ", 1898), rapid horses (E. Mana . "Racing in Lonzhan", 1865).
Now, when hot disputes about the meaning and role of 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 surveillance real reality, which has reached unprecedented refinement."
In an effort to maximize the directness and accuracy in the transmission of the surrounding world, they began to write mainly in the open air and raised the value of the etude from nature, which almost supposed the traditional type of picture, carefully and slowly created in the workshop.
Impressionists showed the beauty of the real world in which every moment is unique. 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, 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.
However, it should not be assumed that the painting of impressionists was characterized only by the "landscape" perception of real reality, which they often reproached critics. The thematic and scene range of their creativity was quite wide. Interest in man, and especially to the modern life of France, in a broad sense, there was a number of representatives of this direction of art. His life-affirming, the democratic idea of \u200b\u200bPaphos clearly opposed the bourgeois world order. This cannot not see the continuity of impressionism in relation to the main line of development of the French realistic art of the XIX century.
Depicting landscapes and shapes with color points, Impressionists questioned the strength and materiality of surrounding things. But the artist cannot be content with one impression, it needs a drawing that organizes a holistic picture. Starting from the mid-1880s, the new generation of artists - Impressionists associated with this direction of art puts more and more new experiments in their painting, as a result of which the number of directions (varieties) of impressionism, art groups and venues of their work.
The artists of the new direction did not mix various paints on the palette, and wrote clean colors. Putting a smear of one paint next to the other, they often left the surface of paintings with rough. It was noticed that many colors become brighter in the neighborhood with each other. This technique received the name of the contrast effect of additional colors.
The artists-Impressionists escalated the slightest changes in the weather, as they worked on nature and wanted to create an image of a landscape, where the motive, colors would have merged into a single poetic image of the urban or countryside. Impressionists attached great importance to color and light due to the picture and volume. Disappeared clear contours of items, contrasts and lights were forgotten. They sought to make a picture of a similar open window, through which the real world is visible. This new style has influenced many artists of that time.
It should be noted that, as in any direction in art, impressionism has its advantages and its shortcomings.
Disadvantages of impressionism:
French impressionism did not raise philosophical problems and did not even try to penetrate the color surface of the everyday. Instead, impressionism focuses on surfaceness, momentum of moments, mood, lighting, or aerial view.
Like the art of Renaissance (revival), impressionism is based on the peculiarities and skills of perception of perspective. At the same time, the renaissance vision is exploded by proven subjectivity and relativity of human perception, which makes the color and form of autonomous components of the image. For impressionism, it is not so important that it is shown in the figure, but it is important as depicted.
Their paintings were represented only by the positive aspects of life, did not violate public problems, they accounted for such problems as hunger, illness, death. This led later to the split among the Impressionists themselves.
Advantages of impressionism:
The benefits of impressionism as a flow refers democratism. According to inertia, art and in the XIX century was considered a monopoly of aristocrats, higher segments of the population. They performed the main customers on painting, monuments, it is them - the main buyers of paintings and sculptures. The plots with the difficult labor of the peasants, the tragic pages of modernity, the shameful sides of the wars, poverty, social turmoils condemned, did not approve, were not bought. Criticism of the blasphemous morality of society in the paintings of Theodore Zhriko, Francois Mill found a review only from the supporters of artists and few experts.
Impressionists in this issue occupied quite compromise, intermediate positions. Biblical, literary, mythological, historical plots inherent in official Academism were discarded. On the other hand, they destroyed recognition, respect, even awards. The activity of Eduar Man Mane is indicative, which years achieved recognition and awards from the official salon and its administration.
Instead, there was a vision of everyday life and modernity. Artists often painted people in motion, during fun or rest, presented the species of a certain place with a certain lighting, the motive of their work was also nature. 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 the Impressionists, then life is the turn of small holidays, parties, pleasant pastime at the city or in a friendly environment (a number of pictures of Renuara, mana of the monet). Impressionists some of the first began to painted in the air, without modifying their work in the workshop.
impressionism Mana Painting
The term "impressionism" arose with the light hand of the critic of the magazine "Le Charivari" Louis Lurua, who entitled his feuilleton about the salon of the outcast "Exhibition of Impressionists", taking the name of the picture of Claude Monet "" (FR. Impression, Soleil Levant). Initially, this term was somewhat dismissive, pointing to the appropriate attitude towards artists who wrote in a new "negligent" manner.
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By the mid-1880s, impressionism, gradually ceases to exist as a single direction, and disintegrates, giving a noticeable impetus to the evolution of art. By the beginning of the twentieth century, the trend of refusal from realism and the new generation of artists turned away from impressionism.
The emergence of the name
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. Canvas Monet - "Impression. Rising Sun " ( Impression, Soleil Levant) Now in the museum Marmotten, Paris, written in 1872 gave birth to the term "impressionism": a little-known journalist Louis Lerua in his article in the magazine "Le Charivari" to express his neglect called the "Impressionists" group. Artists, from the challenge, accepted this epithette, afterwards he had taken root, lost his original negative meaning and became active.
The name "Impressionism" is a sufficiently unworthy, unlike the name "Barbizonskaya School", where at least there is an indication of the geographical location of the art group. Even less clarity with some artists who are formally not included in the circle of the first impressionists, although their technical techniques and funds are completely "impressionistic", - Whistler, Edward Mana, Eugene Budy, etc. In addition, the technical means of impressionists were known long before The XIX century and them (partially, limited) were used yet Titian and Velasquez, without giving up with the dominant ideas of their era.
There was another article (author Emil Cardon) and another name - "Exhibition of Rebel", absolutely disapproving and condemning. It was precisely how it accurately reproduced the disapproving attitude of the bourgeois public and criticizing artists (Impressionists), which dominated years. Impressionists were immediately accused of immorality, rebellious moods, insolvency to be respectable. At the moment it is surprising, because it is not clear that immoral in the scenery of Camille Pissarro, Alfred Sisley, household scenes of Edgar Degas, still lifes Monet and Renuara.
There are decades. And the new generation of artists will come to the present collapse of forms and impoverish content. Then the criticism, and the public, saw in convicted Impressionists - realists, and a little later and the classics of French art.
Specificity of Impressionism philosophy
French impressionism did not raise philosophical problems and did not even try to penetrate the color surface of the everyday. Instead, impressionism, being an art to a certain extent to the manner and mannerist, focuses on superficialness, momentum of moments, mood, lighting or coal of view.
Like the art of Renaissance (revival), impressionism is based on the peculiarities and skills of perception of perspective. At the same time, the renaissance vision is exploded by proven subjectivity and relativity of human perception, which makes the color and form of autonomous components of the image. For impressionism, it is not so important that it is shown in the figure, but it is important as depicted.
The pictures of impressionists do not carry social criticism, do not affect social problems, such as hunger, illness, death, representing only the positive sides of life. This led later to the split among the Impressionists themselves.
Impressionism and society
Impressionism is inherent in democratism. According to inertia, art and in the XIX century was considered a monopoly of aristocrats, higher segments of the population. They performed the main customers on painting, monuments, it is them - the main buyers of paintings and sculptures. The plots with the difficult labor of the peasants, the tragic pages of modernity, the shameful sides of the wars, poverty, social turmoils condemned, did not approve, were not bought. Criticism of the blasphemous morality of society in the paintings of Theodore Zhriko, Francois Mill found a review only from the supporters of artists and few experts.
Impressionists in this issue occupied quite compromise, intermediate positions. Biblical, literary, mythological, historical plots inherent in official Academism were discarded. On the other hand, they destroyed recognition, respect, even awards. The activity of Eduar Man Mane is indicative, which years achieved recognition and awards from the official salon and its administration.
Instead, there was a vision of everyday life and modernity. Artists often painted people in motion, during fun or rest, presented the species of a certain place with a certain lighting, the motive of their work was also nature. 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 turn of small holidays, parties, pleasant pastries outside the city or in a friendly environment (a number of Renuara paintings, Mana and Claude Monet). Impressionists some of the first began to draw in the air, without modifying their work in the workshop.
Technics
The new course was distinguished from academic painting both in technical and ideological terms. First of all, the impressionists abandoned the contour, replacing it with small separate and contrasting strokes, which they imposed in accordance with the theories of the color of Chevreil, Helmholtz and Ore. The sunbeam is split into the components: purple, blue, blue, green, yellow, orange, red, but since blue is a kind of blue, then their number is reduced to six. Two paints laid nearby enhance each other and, on the contrary, when mixed, they lose the intensity. In addition, all colors are divided into primary, or basic, and dual, or derivatives, with each dual paint is additional to the first:
- Blue - orange
- Red Green
- Yellow - purple
Thus, it was possible not to mix paints on the palette and get the desired color by the correct imposition of them on the canvas. It subsequently became a reason for the abandon from the black.
The impressionists are then stopped concentrating all the work on the canvases in the workshops, now they prefer the PLAIR, where it is convenient to grab the mumbling impression from what it seemed that it was possible to close the invention to the steel tube, which, unlike leather bags, could be closed so that the paint did not dry.
The artists also used shelter paints, which poorly miss the light and are unsuitable for mixing because they are quickly gray, it allowed them to create pictures not with " internal", but " external»Light reflected from the surface.
Technical differences contributed to the achievement of other purposes, first of all, the impressionists tried to catch a mimic impression, the smallest changes in each subject depending on the lighting and time of the day, the highest embodiment of the Cycles of the Peace of Monta "Stack of Sen", "Ruenan Cathedral" and "Parliament of London".
In general, in the style of impressionism a lot of masters worked, but the basis of the movement was Edward Mana, Claude Monet, Auguste Renoir, Edgar Degas, Alfred Sisley, Camille Pissarro, Frederick Basil and Berta Morizo. However, Manne always called himself an "independent artist" and never participated in exhibitions, and degi though he participated, but never wrote his work at the Plenuel.
Chronology by artists
Impressionists
Exhibitions
- First exhibition (April 15 - May 15)
Address: Kapuchin Boulevard, 35 (Atelier Photographer Nadar). Participants: Astructors, Attenu, Belior, Pramemon, Brandon, Budyen, Bureau, Guillaumen, Debra, Degas, Kalc, Knee, La Tsush, Lever, Lepik, Lepin, Meyer, De Molen, Monet, Morizo, Murul Drying, Giuseppe de Nittis , A. Otten, L. Otten,
ImpressionNisme - the style of painting, which appeared at the end of the XIX century in France and then spread all over the world. The very idea of \u200b\u200bimpressionism is his name: impression - Impression. Artists who are tired of the traditional techniques of painting Academism, who, in their opinion, did not transfer all the beauty and liveliness of the world, began to use completely new techniques and methods of the image that should have been in the most accessible form to express not "photographic" appearance, namely the impression from seen. In his picture, an imprisionist artist with the help of the character of smears and color palette is trying to transfer the atmosphere, warmth or cold, strong wind or peaceful silence, foggy rainy morning or bright sunny afternoon, as well as his personal experiences from what they saw.
Impressionism is the world of feelings, emotions and mumbling impressions. Not external realistic or naturalness is appreciated here, namely the realism of the pronounced sensations, the internal state of the picture, its atmosphere, depth. Initially, this style has been severely criticized. The first paintings of the impressionists were exhibited in the Paris "salon of refined", where the works of artists rejected by the official Paris interior of the arts were exhibited. For the first time, the term "impressionism" used the critic Louis Lerua, who wrote a dismissive review in the magazine "Le Charivari" about the exhibition of artists. As the basis for the term, he took the picture of Claude Monet "Impression. Rising Sun". He called all artists with impressionists, which can be roughly translated as "impressed". The first time the paintings were really criticized, but soon more and more fans of the new direction in art began to come to the salon, and the genre itself turned into a recognized one.
It is worth noting that artists of the late XIX century in France came up with a new stylist not from scratch. As a basis, they took the techniques of the Painters of the past, including the artists of the Renaissance. Paints like El Greco, Velasquez, Goya, Rubens, Turner and others long before the emergence of impressionism tried to transfer the mood of the picture, the liveliness of nature, a special expressiveness of the weather with various intermediate tones, bright or vice versa dull smears that were similar to abstract things. In their paintings, they used it quite moderately, so an unusual technique did not catch the eye to the viewer. Impressionists decided to take these image methods as the basis for their works.
Another specific feature of the works of impressionists is some superficial everyday, which, however, contains an incredible depth. They do not try to express some deep philosophical topics, mythological or religious tasks, historical and important events. Pictures of artists of this direction are inherently simple and everyday - landscapes, still lifes, people who walk down the street or are engaged in their usual affairs and so on. It is such moments where there is no superfluous thematic, which distracts man, feelings and emotions from what they saw on the fore. Also impressionists, at least at the beginning of their existence, did not depict the "heavy" themes, wars, tragedies, suffering and so on. The pictures of impressionists most often are the most positive and joyful works, where there is a lot of light, bright colors, smoothed lights, smooth contrasts. Impressionism is a pleasant impression, joy of life, the beauty of every moment, pleasure, purity, sincerity.
The most famous impressionists became such great artists as, Claude Monet, Edgar Degas, Alfred Sisley, Camille Pissarro and many others.
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Alfred Sisley - Spring Lawn
Camille Pissarro - Montmartre Boulevard. Afternoon, sunny.
Impressionism (Franz. Impressio-N-NISME, from Impression - VPE-Chat-Lea) - on-legal-les in IS-Cry-St-ve (pre-ji all-in -pi-si) after the next XIX - 1st quarter of the XX centuries.
WHO NIK-NIE-MI-MI-ON COMMUCIATE WITH PER-DRA WORK-KOY FRICH HU-DOG-NO-COP-SOUNT Name "Anom-noma-na-pe-ray-noy-nic-st-in-hu-legal ..."), pro-master-neck in Para Riga Athe-Lie A-Dae in 1874. One-on-on-old car-tin-lynic on her ("VPE-Chat-les. Breeding of the Sun-Centa"; on-pi-sa-on in Gav-re Weight in 1873; not - in Mo-Zeya Mar-Mot-Tang, Pa-Riga) Da-la in water Cree-ku L. Le-Roa from LE CHARIVARI magazine Ok-zorny state "You-becoming IM-Press Sio-Ni-Stov". SA-MO SO "VPE-CHAT-LE-NIRE" in the meaning of the SPO-SO-BA Hu-Vi-Viya Dae-St-Vi-Tel-Ni-edition Oh, and earlier: this is the name-T-ET-Zo-Vasha, Eti Sh. Bod-Ler and P. Vel-Len, Hu-Doog-Ni K. Ko-Ro, T. Rus-So, Sh.F. Pre-Bi-Nya (already in the 1860s, the Cree-ka-ka on-zy-Va-La His "Heart School of School"), E. Ma N. Pod-Ni-Ka-Mos-Woki Im-Pres Sio-Ni-Stov (next-nya, the 8th co-standing - in 1886), in Mi-Mo No, if L.E. Bu-den, A. Guilla-O-men, E. De-ha, Kai-Bott, M. KES-Sett, B. M-Ri-Zo, K. Piss-Sar-Ro, O. Well, A. Sis-lei, as well as P. Se-Zann, P. Gen and others
Us-Lov, but the Impressionism of Impressionism in the Libe-Pi-si can be a time-de-pour on Pe Rio-dy: under-go-tovki (co-zre-va -He-yes) - 1860s.; Ras-Cea-Ta and the struggle of the new art - the 1870s (the PE-Ri-O. "Clast-Si-Ski-go impressionism"); on-si-nasy-th, Cree-Za-Ca (1880s); late - from the 1890s until the 1920s. Impressionism nations would be under-th-Tov-les from-steri-mi in the Oba-Las Type Ti and F-Zo-Lo-Gia View Ri-her CE-TO-CON-TRES-STOV M. Shev-Ryu-La, Island-Ska-Mi E. De-Lak-Rua in Oba-Las Tu-half-native, Pey-Zazhnya Zhi-Pi-Sue K. Ko-Ro and Mas-Te-Kazh Bar-Zone Schco-lies, Us-Pe-Ham in Oba-Las Fo -Gag Fii. The meaningful role of the Syk-Da-Lee as the occasion of the Sybu-Du-Du-Press Syo-Ni-Stov with E. Ma no (from the late 1860s), Poshim is the painful WHO Dae-stubble on the Mo-Lo-Deliang (non-participle in you, after the Impressionists, Ma-not myself from-gave tribute to them -so-ni-stylish ma-non-repeat writer), a knowledge-com-in with English art (W. Tver-Ner, R. Bo-Ning-tone, J. Kon-Stem) in 1870 1871 (in the time of pre-via in Lon-up to N. K. Mo-Ned and K. Piss-Sar-Ro) and "from-Kry-Tie" Ev-Pay Japanese art in the middle of the XIX century. The urchi-vitality of the "instantaneousness" of the co-standing of the AT-Mo-Sofa and the EU-precision OS-Viya can be in addition to Pei Vazh-Mr. Creative Creatible of Mas-Te-Khats of the So-called Pre-Dim-Pred Siem-Ma (E. Bu-Den, Ya. Jon-Gkind, F. Bashel), but only In the framework of the Impressionism, these set-rem-lesions of pre-rod-zo-vow in the Tse-Lo-Stonny Hu-Cis-Te-Mu. The best one in the next-day-va-tel-tel-tree-threshold of this SIS-te-we in our own creative work In the ra-beta of other Ev-Ropai (including Rus-Ski) and American Hu-No-ni-im-press-si-ni-stoves, we have a variety of impressionism on-ho-di- Whether in Ka-Zh-House is a non-in-WTO-Ri-Mo-Di-Vi-Du-Ri-Mo-Di-Vi-Du-alno.
IM-PRED-SIO-Ni-Although Prosh-Pi-Al-Mi Prottive-Ni-Ki of the Whole Teo-Re-Ti-Rho-Va ; The Oo Recarriage of Impressionism WHO Nick-La is only at the beginning of the 20th century, it is Ba-Zi-Ro-Vasha on the Hu-dehydrous from-sv-thymas At the bottom of the impressionism about a different, non-nya-Ti-Multi-Lea. In Os-no-ve Impressionism, Le Zha Lo, non-tradational Vi-de-Mi-Ra as a non-Koya "Move-Zhu-Xia Ma-Th-Ros-Alone Sub-Stan qi "(B.A. Zez-Nov), a string of Ok-Ryu-Ryu-Ryu-Lyut, in his sub-VIZH-NI and from Men-Chi STI, "instant vessels" of the he-tea-thu tea, the movements, co-standing at Rh-dy. IM-PRED-SIO-NI-LO Near-Ko-Mu-Li-Van-Noe E. Zo-la is Ni-Ma Nie Pro-from-Ve-De-Dement of Arts as " Corner-ka Mi-Ro-Zda, Wed-Den-but-th-thread the ne-PE-MENT "(i.e., in the Sub-Ek-Nom Pre-Lamb Le Nii Hu-Do -Nika); They are stranded from the "Mick-Kos-Me" of the University of Nicho-ni-th-from-ve-de-RO - And Che-Lo-ve-ka, In-di-Vi Duu-Ma and Ok-Ru-Srey-dy.
Impressionism in painting
Once-of-the-sealer of the AC-de-Pi-si-SI-SI-SI-SO-SO-MOLOV in non-Something on-Rule-Le Ni-Yakh: from-Kaz from the whole Ro-da Lie-Rou-Tour-No-Sooh, "Xu-Neu-Noi", Mo-Ra-Li-Rho-Via, St-Versu-Na Lon-No-Mu-Cry-St-Wu-thime, from the IS-COV-in-Vla-chien "Ra-Fa-Eile-Skoy" Kra-So-you late-non-French class SI-MA (Zh.O.D. Engr and his in the next-pre-va-te-whether), non-at-yatia as a pro-gram - and PA-FO-SA RO-MAN-TICKNATIVE AND OST-RENON-NO CO-CI-Al-Na-th, Liz-Ma G. Kur-Boe. For red-kim is-key-ni-eh, the art of Impressionism Obra-Rasp - but to co-time-men-ot - in it, there are advantage Rh-yes, "Cha-Stroy" life (life, from-breathing, time-viley), Kra-So-you Sel-Sel-Zasya. Impressionism once-ru-sewed all trap-diving pre-leases about Ye-Rar-Chi Jean-ditch and their specialty-type (mixture would be ra with a port-rep, port-re-ta with Pei-Za-Zha or In-Len-e-rum and the like), about com-in-zing as a lock-well Strain-Tu-Rea-Zov. In the next, in the life of the Impressionism in the life of a non-na-ni-ni-ours, as a frag-men-ta, words, but see dong-but-go in ok-but (or yes "sub-read-ren-but-go-cut in the urine zod-zhi-well", according to OP-DE-DE E. de-hectare). For Kar-Tin Im-Press Sio-Ni-Ni-Cancer Teres "Non-Dan-Danity" of KAD-RA, de price-trait-à-concentration (from the day-stubble price-trash-thro-te-we-rane and st-tich, the one-stop-versic point of the view), non-usual from-b-rae-rya-rya-owls, a mixture of com-at-zing axes, "pro-out-free" times of the hour of com-in-ziy - Mu-Tov and Fi-Gur Ma Mo-MY KAR-Ti.
The stri-le rest in the street-si-si in a hundred-ya-nyuyu-Sia (in the O-Wi-Si-Suel so-some) of the coll-clearer once-no-across the Vi-Di-Mi-Ra Pros-Lo Im-Pres Sio-Ni Stov (for the IS-K-Che- Ni E. de-hectare) to his own ro-yes co-ri-stylish re-form-from-ka-zoom from the complex (sword-shy), then -Te the same speech-ta, on the canvas, on the canvas, on the canvas, on the canvas Che-Ski-Shi-Wash-Xia in the heads of Zei-La. The color in the animal-pi-si impressionism at a time is not-aware of the one-e-mail, right up to de leui from Pre-Me-Ta, and the Yav-Lya-Si-Si-Te-Lem, Oh-Out-of-La-Dov, Pro-Ni-Wash-Vull All in Le " Ple-Nar pre-in-la-ga is the painful tone of the gram-di-cine-thie-te-either, so-so-nois and ne-re-ho- Dov, a thorough time-ra-bot-ku sis-te-we are Va Lo.
OS-LAB-LAB-LAB-STICAL A-CHA-LA in the Life-Pi-si Impressionism Community and from Ot-Zozy from Pro-Ti-in-Poda-Le Svea -ta and te-her as the pre-Mo-OR-RA-Zoy-Ra-Ra. The Light of the Sta-No-Wit-Sia is not the main "Ge-Ro-Eh" of the streets of the Impressionists, the important one-ShiM, who's all-time Stroy-Tu-Ry, Sub-Stan-Qi-her for-we; Yar-Kiy Sol-stubborn light will not waste the Cea-Ta-Ta, and you are-light - it is it, a ram-one from-ten-ki. Te-NT-Ra-Chi-Vasi-Na-Ni-Caeremnity and Cher-No-Tue, a hundred-still color and pro-zrach-ours; In those, the color only texa-si-si-lu and overa-ga-ukhlenu to the floor-in-law-on-home ho-lodge hour spectacle. From the 1870s from the Life-Pi-Si-Press Syo-Ni-Ni-Ni-Tel-Ce-Tel-but-of-Gna Ah-Ro-Ma Cell Cea-Ta (Black, Sea and from-Cry-Lya), Ko-Lio Rita Nar-Nar Kar-Tin Os-Na-Wan on Co-Pan Le Ni-Yakh Ty-Lykh and home-like spectrals, in them, IS-Paul-ZuT-Xa WHO-WA-NO-STI "Pro-countries Ven-No-th "CO-TA - the iso-color-and-dying-chi, non-Ba, Oba-La, Tu-Ma-on, WHO Du-Ha, OK-OK-Rosku at the expense of Ras-Ce-Yan-but-go and from-ra-wing-but-go Sol-Nu-ni-one. Us-Lyubo-Nie-PS-Ni-Pya-ka, in-ma-ta-da-che EF-FEK-TOV OS-VIA and CEO Ref-lek-owls at-divide to his own ro-yes de ma -e-ria-li-ours of the pre-meth-ni-ri, the uta rafts But, the intelligence of Ele-Men-Tov iso-eyed. Nai-Den in Pro-Cesse-CE-Boy-you on the bottom-de-de, these are, we have a Ukrainian school-re-present, not tool-ko in Pej Life-si-si; The similar SIS-TE-MU-RA-Ba-You - Val E. De-ha, from-Ri-Tsav, a non-Obro-Die-Most of Ra-Bo-You Ple Na-re.
Another one-on-to-va-na "re-VI-Zya" of the trad-diving feathers, from non-sub-visa, But and Uni-Cal-but-th price-tra proflences, the pro-Ti-rep-Charo-th EY-Te-St-vein-no-Mu (Bi-Fo-Cal - and and from-hours-ti sf-ri-che-MU) Breed-based pro-countries-St-Wa; Tent-denominations to in-tu-one island depth, effervescent two-dimensions; In some cases of the IS-Paul-Zo-Va Ak-Co-No-Met-Rii, EF-FEK-TOV CROS-KOV-LENN-NOW ROY LI-MO CROS-VI -New feathers, lately, pre-nephet-shey-smta at P. Se-tan-on-in-conventional Sis-Te-MU "Per-chamber Tive-Noi "feathers. In the first-time-ductive OT-KAZ of impressionism from the An-Tro-at-price-tricary con-chain of Ev-Ropai art (Che-Lo-century is not a center of Mi-Ro-Zda, but his hour -Ticlea) pro-Iso in a meaningful stea-neu under the influence of Japanese art and pro-Yavil-Xia in the Rav-Na-Program of All Ele-Men-Tov Com -Inzion, equal-value-no-sto-it, and the WTO-Ste-Penno de Tas, right up to the first half-in-go "in GLO -Noy "Basic Ophey Li-Mas-Masha in Smoke-Ke, Ski-Tu-Ma-on; Occasionally in the same non-Dos-Zan-Ni-st and "Mokol-Chahi".
The strip-les-lyube-lying "Single Moto-Zhu-Sia Ma-Th-Ria" EU-Te-St-Ven - but at-ve-Lo Im-Pres Syo-ne -sts (as not without the influence of the Japanese Gra-Vyu-Ry) to the creation of the CE-RAY and CEC-Fishing of the Ra-Bot, in contact with the one-bond -The-of-screenshots and fic-si-ryu-ki-di-mi-ku do-ours (the iso-eyed "TO-HILE", "in-за -lov "from K. Mo-not," Tan-Tsov-Shchits "by E. de-hectare, the MNU-LUCE PA-RIG-SKUB-VA-MOVA, etc.), BO Meni-Xia Ef Fek-You Os-Easp and Color-No-Sooh in their intelligence-Mo-Zi-zi, the Moto-Ma-Th-Ri-Al "Little Square Schu-Ta (" Stroyhe Sea-on "," co-bo-ry "is not). Ka-zh-giving from Ra-Bota of Sea-Rii (or Cyc-la) Ras-Kry-Va-Ko-one as-pecto iso-brazham-mo, and their Bowfulness is created by the Tse-Lo-style, Sin-Te-Treatic Once in the pre-de-lax of the Obz-Cape La Hu-or-ni-ka.
Al-Cha-Lay, Impressionism was called the Ozz-chin-china-na-na-porch of the hollow-Ti Cry-Ki and Pub-Li; Under-destroy-ku n-iz-ka-nm in the art of Oca-Dasy E. Zo-La, S. Mal-Lar-Me, J.K. Gyu-Isa-Mans, Cree-ki T. Du-Rea, E. Du-Ran-Ti, Khuf-Frua, Col-Lek-Qio-Nezh P. Du-Ran-Ryu-El, Kai-Bott, J.B. Form and V. Sho Ke. Shi-ro-ko-ni-niya prizes-si-ni-ni-ni-tig-whether only in the 1890s, Ko-gda Impressionism Evili-drank in his next-nude phalan . Late Impressionism from from-chen on-ras-ta-ni-de-co-rayan ten-den-cius (common to art Epo-Ce Mo der-on), all pain -sty-shrin-no-stoma of co-river-style IG-Ten-Cups and up-to-half-and-alone, in the midst of non-usual Cea-Vi-De- Ni-EM (Pey-Zasha E. De-hectare of the late 1890s, CEO "Pla-Ku-Chih Yves" K. Mo-not, late-nai-in-letter O. Re-Nuu -Re and others), Ak-price-Ti-RO-Va-Na-Ca-Mo-price-no-este-di-du-alone Hu-degenial ma-non-ry, "Lich - But-st-na-th "Stray.
In these arms in the art, the UT-Ver-wait no longer on-leases, one-to-co-work of the Impressionism in one way or another repeatedly Many Hu-Doog-ni-ki of French Sao-Lon-th art, post-im-pres Sio-Ma and Ran-non-Ev-Ropai Avan-Gar Diz-ma Thus, the Pros-CIP of the Opolitic mixture of Cees-Tov Loe in Os-Novu Theo Rii of Neo-im-Pred SIO-MA (Di-Vi-Zio-Ma); Zhi-in-letter "Number of Cees-Tom", Sug-Ge-Steve-Naya Function of Cea-Ta (with the emotional emotion and Si-Li-Liya) in Co-Che-Ta-Nii with a Bodic Ex-Press Si-her MAZ would be Whether Unas-les-Du-Vas-Van Go-Gom, P. GO-GEN, Mas-Te-MI FO-Visa and Group "on-Bi", as well as an ab-st-cancer-nylon-mA.
In addition to the pre-de la France of the infressionism of the pro-Yavi in \u200b\u200bthe ins- im-valenti of individuals (Ef Fek, Ple Na -riz-Ma, you-light-le-lat-ry, es-kizosu and his-bou-yes fat-pomnoy ma-non-ry), in the circle Research Institute for Modern Te-Ma-Ke - In the Creative Court of Hu-do-ni-cubes (W. Sik-Kert, W. Styr), Ger - M. (M. Li-Ber-Man, L. Ko-Rint, M. Fogt), Ita-Lii (J. de Nit-Tis), Nor-Ve-Gia (F. Tau-Likes) , Paul-Shi (L. Y-Chul-Kov-sky), USA (M. KES-Sett, M. Pre-Ner-Gast, T. Ro-Bin Son, J.S. Sard-Jent, J. G. Tu-OK-T-Men) and others. In Ros-SI, the infression of impressionism has been infected with the end of the 1880s - in Ple-Nar-Neu-Pi-si I.E. Re-Pi-n, V.A. SE-RO-VA, I.I. Le Vi-Ta-on, V.D. In les-no-va, n.N. Do-bov-night; So-tse-les-com, at-above-les-lives, this is the right-lesion art K.A. Ko-Ro-Vi-on, I.E. Grab bats; "IM-PRED-SIO-NI-SKI" PE-RI-OD CAN-DU-DU-DE-MINS OF THE RUSSIAN AVAN-GAR-DAY (KS . Ma-les-vi-cha, M.F. La Rio-na-va, A.D. Dre-Vi-n).
Terr-min "Impressionism" at least to the sculp-tu-RE 1880-1910s. (stri-les-va-va-Che Melo-Vi-Nov-Koy-Town, te-Ku-honor of the forms, on-ry-Chi-Tai-Sticted non-pre- Schuynost, integrity-idea-stubbits sculp-tu-ry with windows); The best of the Cher-You Impressionism in the Sculpt-Tour-Mr. Creative Creative Creative Creative Creator, M. De-Ha (France), M. Ros- Co (ITA-Lia), p.p. Tru-Betz-Co. and A.S. GO Lub-Kih (Ros-Sia).
Pro-gram-like Pros-Qi-Pya-Vio-PS-NO Impressionism VPO-Ticket-St-Vius of Sta-Lee-Code on Other Is-Cry-St-Va: Muz -Yo, Li-Te-Ra-Tu-Ru, Te-ATR, Ho-Ri-Gra-Fiya, Ki, but, Fo-Iz-Cry-St. Upgrades of the Ter-Mi-on "Impressionism" according to a na-neck to them, the Yav-la-Xia Dos-Ta-accompanied by a mustache and Os-Pa-Ri -I-with-smi-to-va-leu-lei.
Impressionism in music
From impressionism in Muz-Ke, which is not pre-becoming a co-battle straight Ana-Loan Impressionism in the Libe-Pi-Si and not owl HRO-NO-LO-SK-SKI with him (Ras-Cea-Tea-Ta of Musical Impressionism - 1890-1900s), the usual-tales - Chu is from men-chiffs on-severe, tone psi-home-geological nu-an-owls, te-the-thread to the ethical Pei-Zazh-Noi-Gram but (including the opposite-eye in the sounds of Waves, Blipers, TSE-TA, on, and the like), on -You-shan-ny in-te-res composer to the thorough-bro-howl and the har-one paint-but-st. But-visa-on Hu-delusted funds non-Red-Co. Co-Che-las with a pre-info-re-echo-scan-thro-call of hundred-rin-but-art ( Zhi-pi-si-la-ko-ko, Muz-ki French Clas-Ve-Si-Ni-Stov).
Pre-forts of musical impressionism - in the sound-co-si in Zd-Nost-F. Lisa Ta, co-lo-river-style on-stroke-kah A.P. Bo-Ro-di, E. Gri, N.A. Rome-Ski-go-Cause-Co-Va, its-bo-de-lo-co-cea de-one and the seri-chi-noy-pro-Vi-Qi-Oh STI M.P. Mo-sorg-night. Clast-blue you-ray, Impressionism was in French Mu-Ke, pre-fs all-goes in the Creative Creative Creator; Cherno-You pro-Javi and in Muz-Ke M. Ra-Ve-la, P. Du-Ka, F. Schmit-Tha, J. Roh-du-ka-sa. Music Impressionism Unas-les-dovela Many OSO-Ben-Ni-Po-Nesh Ro-Man-Tez-Ma and National Music Schools of the XIX century. Alternatively, the drone pa-tica, the Rail-Ef-No-Ma-Ma-Mu, on-straight-wing-thy-th-ne-yam chrona-ma - Ski-false-nyu-nyu-Nal-Na-Mo-Nii Opiri Ro-Man-Ti-cov (OSO-Ben, R. Vag-non-Ra) Im-Press Sio -No-sto pro-type-posh-ta-vi-whether Emo-Qio-Nal-sander-Jean-friend, the short-bone and non-ul-voi from the men-chief STAN-YAN-BUT VAR-I-RUE-MO-TI-GRA, DI-YU-NI-KU, MO DIAL-BOST OF SIM-MET-RICH LA DOES (including Tse-Lo - But-in-go), a pro-zrachny fact-tu-ru. Creative Creative Court of Commons Impressionism in the MO-GOM dismissal medium of Muz-ki, OSO-Ben -Ra Gar-Moon, Dos-Tig-neck Pain-Shoy drift-chin-butt. Us-Fallets of the Ak-Cor-Dome Complex in the Gar-Moon of Impressionism with AR-Hai-C-ni-her la-dof - Momes-les; RIT-WEK-KI, POST-HAS-RAK-TERS. Wuxi-Li-Va-Xia Fo-Niche Ca-F-Ak-Cor-yes (see Fo-bottom), due to the NE-NE-CE Ni-os-no-ve El-Men-Tov of the MO-Dal Great La-Da-Waja-RA, in Or-Ke-St Pred-oh-la-dates are the numbers. Oso-buoy of the turn of the French Impressionists with a da-Wa-or-Tan-Tse-Val-Nym, Jean-Ram, to the elen There is a musical language of the Na-Dov-Dov, IS-Para, STI-Li-Option of Ran-them forms of Jas. For pre-de la Frances of Pros-Qi-Pya Music Impressionism Ori-Nal-Nal-Na-Vi-Vashe M. De Fast in Isa-Para Nii, O. Resp Pi -Ye, from-hours-T. Ka-Zel-la and J.F. Ma Lipie-E-Ro to Ita-Lii, F. Di-Li-Us and S. Scott in Ve-Li-Co-Bri-Ta-Nii, K. Shi-Ma-Nov-Sky in Paul A.K. La-Dov, N.N. Chert-Ning (see Che-Rep Nina), from-hours-TI I.F. Stroy Win-sky in Ros-Siia.
Impressionism in literature
Su-Posh-Vasya Impressionism as an Av-Nom-Nome-th-Rule-Lea in Li-Ta-Tu-re - pre-mety dish Sii. Literary Impressionism is non-Red-Ko-Lya-Sia-Wa-Tu-La-Sia, Li-Boy-Ta-ET-Xia Pro-Me-Zhu- The exact Yav-les-ni-mine on-Tu-Ra Liz-Mom and SIM-LIZ-MOM, Li-Bo-Zibli-Et-Xia with SIM-Liz- MOM. As a Sa-Mo-stand-tel literary on-legal, Impressionism is ached in the French, as well as Austrian (the so-called Ven-Sky Dern) Epo-Hee de-ka-dan-sa. Go-in-Ryat the same thing about im-press-sio-nihch-no-pokes as stubborn oxo-ben-but-ei, with many Pi-Sa-Lam 2 -y half of the XIX - early XX centuries. Literary Impressionism did not establish the theo-re-tickel-gram-we, but IC-Puzzle influence, in the Mi-Mi-Pi-si French Im-Pres Sio-Ni-Stov, MUN Hen-Ski-Guo and Ver-Ski-Go Cesse-Sio-New, Fi-Lo-Co-Fii Vre-Me - Ne A. Berg-So-on, Psi-Ho-Lo-Gia Jame-Ca (idea of \u200b\u200bsomething-ka POP-NIA), EM-PI-Ri-Ok-Ri-Ti-Ma E. Maha, Psi-Ho-Ana-for Z. Frey -Yes. With impressionism in the literature of the usual, co-from-na-smat Ak-Center on Sug-Ge-Steve-No-Soo, a strict course of one-time-throa-yes -Bod-ny-co-qii, one-sized inspiration of Chi-Ta-Te-Liu non-Op-de-Lyon-noye "Muz-Calnoye" on-strict -Ni-gi-vaji in the world of Li-Rica-Ra-Ra-Ra-Ra-Ra-Es-Te-Ta-Ra-Es-Te-Ta -Tasy Mi-Ra in His POST-YAN-MEN-CHI-WA.
In ESIA, im-press-sio-ni-echo is a pro-java-La in Os-Lab-les, the Metrome and Smya-Lab-Lie ki (the so-called youth-b-jenery STI), the pre-sky-re-state-pool re-gu-lair-no-stew rit-ma and exact reef-my (right to half-na-th-ka-for from the reef-us in Ver Lib-re), at the hot-li-out, An-Zhamb-ma-nah (P. Ver Len, A. Rem-Bo France; D. vista Li-Li-Cron in the germ-Ma NII; Gof-Man-Steel, R.M. Ril-Ke in Av-St-Rii; K.D. Bal- Mont, I.F. An-Nen-sky in Ros-Siia, and others); In Pro-Ze - in Obro-Rasia to Ma Lom Form-Mam (frag-ment, a cycle of Slah-Boy-in-niche, ko-si-si, es-semi-stick on-bro-juice), influence-sni-butt, IS-Paul-zo-vaism Leit-Mo-Ti-Gossi, de-co-ray-n-stub (Zh.K. Gyu-Isa-Mans, M. Proust, A. Jof in Far "; P. Al- Ten-Berg in AV-St-Rii; O. Wilde in ve-ly-co-brothers; G. D'Annunzio in Ita-Lii; K. Gam-Song in Nor-ve-gia; A. Bey in Ros-Seia, and others). IM-PRED SIO-NI-NOS-KI-KE-KE-KE-OU with Jean-Ra-Mi "Ethu-yes", "Si-Lu-this", "Pro-Fi-La" with Their AFO-Ri-Stick, Sub-Ektiv-No-TCU-Co-Ca-Mis (A. France, R. de Gur-Mont, A. De Re-Nye in France; D.S. Me-Rezh-Kovk-Sky, Yu.I. Ai-Hen-Wald, M.A. Kuz-min in Ros-Sii).
Impressionism in Dramaturgia