Impressionism first originated in France closer towards the end of the XIX century. Before the emergence of this direction, still lifes, portraits and even landscapes were mainly written by artists in Studios. The pictures of the impressionists were often created outdoors, and their plots became real fleeting scenes from modern life. And although impressionism was originally criticized, soon he collected many followers and laid the beginning of similar movements in music and literature.

Famous French Impressionist Artists

It is not surprising that Impressionism in painting was one of the most famous directions of the visual art: artists who worked in this style left after themselves amazing canvas, lungs, like a sip of fresh air, full of light and paints. Many of these wonderful works are written by the following Masters of impressionism, who knows every self-respecting connoisseur of world painting.

Eduard Mana

Despite the fact that entirely creativity of Edward Man cannot be placed only in the framework of impressionism, the painter has largely influenced the emergence of this flow, and other French artists working in this style considered it the founder of impressionism and its ideological inspirer. The other famous French Impressionists were good Master friends: Edgar Degas, Pierre Auguste Renoir, as well as an artist-impressionist with a similar last name, which puts on a dead end of beginners in the world of painting, - Claude Monet.

After acquaintance with these artists, Impressionistic changes took place in the workman: he began to prefer work outdoors, light, bright colors, abundance of light and fractional composition began to prevail in the paintings. Although from dark flowers, he still does not refuse, and the landscapes prefers painting in the household genre - this can be traced in the works of the painter "Bar in Foli-Berger", "Music in Tuilery", "Breakfast on the grass", "Doll Latuille, "" Argent "and others.

Claude Monet

The name of this French artist, perhaps, at least once in his life heard each. Claude Monet was one of the founders of impressionism, and it was his picture "Impression: ascending sun" gave the name to this movement.

In the 1960s of the XIX century, an impressionist artist was one of the first to see the writing of paintings in the fresh air, and many later created a new experimental approach to work. He consisted in the observation and image of the same subject at different times of the day: so the whole series of cloths was created overlooking the facade of the Ruan Cathedral, opposite which the artist even settled in order not to miss the building from sight.

Studying impressionism in painting, do not miss the works of Monet, as the "Poppy Field of Argenta", "Walk to the Rock in Purville", "Women in the Garden", "Lady with an umbrella", "Kapuchini Boulevard", as well as a series of works "Water Lilies. "

Pierre Auguste Renoir

This imprisionist artist had a unique vision of beauty, which made Renoire with one of the most famous representatives of this direction. First of all, it is famous for his pictures of noisy Parisian life and leisure the late XIX century. Renoir perfectly knew how to work with color and light, in particular its exceptional ability to write nude nature, with unique transmission of tones and textures.

Already starting from the 80s, the Impressionist artist began to be more inclined to the classic letter of the letter and became interested in painting Renaissance, which forced him to include more clear lines and a clear composition in his mature work. It was during this period that Pierre Auguste Renoir creates some of the most risen works of his era.

We pay special attention to the canvas of the Renoire as the "breakfast of the rowers", "Ball in Moulin de La Galette", "Dance in the village", "umbrellas", "Dance in Buhval", "Girls for the piano".

Edgar Degas

In the history of Art, Edgar Dega remained as an artist-impressionist, although he himself denied this label, preferring himself to call himself more independent artist. Indeed, he fell a certain interest in realism, which distinguished the artist from other impressionists, but at the same time used in his work a lot of impressionistic techniques, in particular, the same "played" with the light and was fond of the image of scenes from urban life.

Degi has always attracted a figure of a person, he often portrayed singers, dancers, laundry, seeking to portray the human body in various positions, for example, on the "Dance Class" canvases, "Rehearsal", "Concert in Ambassador Cafe," Opera Orchestra "," Dancers in blue. "

Camille Pisserro

Pissarro was the only artist who took part in all eight exhibitions of Impressionists from 1874 to 1886. While the pictures of Impressionists are known for their plots of urban and country rest, Pisser's paintings show the viewer the daily life of the French peasants, depicting a rustic nature in various conditions and with different lighting.

I get acquainted with the paintings that this artist Impressionist wrote, first of all it is worth seeing the work "Montmartre Boulevard at night", "Harvest in Eustia", "Jacia are resting", "Garden in Pontoise" and "entrance to Vouisen's village."

Presentation " Impressionism in painting"Get acquainted in the works of outstanding French artists: Claude Monet, Camille Pissarro, Edgar Degas, Alfred Sisley and Auguste Renoara will tell about the revolution that they have done in art.

Impressionism in painting

On the origin of the term " impressionism "I will only say for order, I am sure that my inquisitive reader knows about it from school years. For the first time, this term appeared in a critical article in the newspaper " Sharivari.", Dedicated to the exhibition of artists who have decided to show work, not accepted into the salon, where academic art was welcomed at that time. Our freedom-loving heroes, not wanting to obey any rules, achieved from the emperor Napoleon III permission to arrange their exhibition. The first such action in 1863 was called " Salon outcast" After ten years, artists are set again. At this exhibition, among other windows, the public was also the famous picture of the world Claude Monet "Impression. Sunrise", Gave the name a wonderful direction in art.

Artists-Impressionists existed and there is a lot. My presentation is devoted to only the creativity of the five most prominent. Any creative person perfectly represents how difficult it is to remain faithful to his ideas in an authoritarian society. Our heroes often turned out to be in a hopeless situation, without having funds to feed the family (from Camille Pissarro, for example, there was seven children!).

Art and science

The opening of impressionists in the field of art were inextricably linked with the scientific discoveries and creative insights of their predecessors. The main rule of the painters-impressionists was the condition of work at the plenier. This idea was not new. At the pleaire, they wrote their wonderful, living landscapes, but, no barbizonians, nor impressionists would be able to work in the air, if in 1841, the American portrait of John Rend was not invented by Tin, compressive tube for oil paints. The invention of photography could not not affect the fate of painting. By the way, one of the first professional photographers Ralph Nadar was a friend of impressionists, and they satisfied their first exhibitions in his workshop.

"Such the theory, my friend ..."

Unlike painting in the landscapes of impressionists, we will not find depth and soulful. The task of the heroes of my presentation was to capture the momentary state of the air on the canvas. The main character of the artists-Impressionists was not nature, but light and air, changing every moment. To catch these changes and tried Claude Monet, Camille Pissarro, Alfred Sisley. It is this desire that we owe the existence of the famous series of Claude Monet: "Stacks", "Ruran Cathedral", "Stop Lazar", "Poplar", the building of the London Parliament "," Nimifia "and others. Online Gallerix.ru. You can see these pictures in good quality.

Impressionist ideas

• No color exists by itself. Form and paint - inseparable concepts. Light causes forms. Light disappears, shapes and paints disappear.

• Every color is made up of sunlight elements, then-there is from 7 tones of the spectrum.

• The fact that was previously called a local tone - delusion: a sheet is not a green, the trunk of a tree is not brown.

• The air is the only real plot of the paintings, only through it we see everything is depicted on it.

• The painter should write only by the seven of the spectrum paints and expel all the rest from the palette. This is what boldly made Claude Monet, adding only white and black. Then, instead of forming a mixture on the palette, it should enter only the strokes of seven clean paints on canvas, folding them alone near the other, providing separate colors to join the mixture already in the eye of the viewer, therefore, when doing the light itself . This is the theory of decomposition of the tones, which makes up the main basis of the technique of impressionists.

• The light becomes the only plot of the paintings, interest in subjects on which he plays is made secondary.
  Volynsky. Green tree of life

"Imprisionists transformed the perception of painting and nature. It is unlikely that after them there is a lover of art or artist who will decide to argue that the sky is just blue, the snow is white, and the grass is greens. Without noticing that, we now look at the world through the prism of impressionistic painting. They opened the opportunity to see not only a certain object, but that "what lives between the artist and the subject of the image." Of course, they had great predecessors, but the window into the world of the Sun and the air was so widely opened by impressionists "
Fomin N.N.

On the Arthive website there is an interesting material dedicated to Impressionists: " Traveling in France with impressionists ". Fans of impressionistic art will be interesting.

If you decide to see my presentation, then do not be lazy to download it to your computer (she, however, it turned out very hard, I wanted to do beautifully, and the PNG format is heavy). Otherwise, many animation effects will not work.

References:

• Art. Small children's encyclopedia. - M.: Russian Encyclopedic Association, 2001.
• Encyclopedia for children. T.5. Art. - M.: Avanta +, 2000.
• Encyclopedia. Scenery. - M.: "Olma-Press Education", 2002.
• Great artists. Volume 72. Camille Jacob Pissarro. - M.: Publishing House "Direct-Media", 2011.
• Beckett B. History of painting. - M.: LLC "Publishing Astrel": AST Publishing House, 2003.
• Great artists. Volume 25. Edgar Irer Jerma Degas. - M.: Publisher "Direct-Media", 2010.
• Great artists. Volume 59. Alfred Sisley. - M.: Publisher "Direct-Media", 2010.
• Great artists. Volume 4. Claude Monet. - M.: Publisher "Direct-Media", 2009.
• Emokhonova L.G. World art culture: studies. Manual for studies environments Ped. studies. establishments. - M.: Publishing Center "Academy", 1998.
• Lvova E.P., Sarabenov D.V., Borisova E.A., Fomin N.N., Berezin V.V., Kabkova E.P., Nekrasova L.M. World Art. XIX century. Fine art, music, theater. - SPb.: Peter, 2007.
• Raymond Konya. Pissarro. - M.: Word, 1995
• SAMIN DK One hundred great artists. - M.: Veva, 2004.

Good luck!

Many Mane's quest were picked up and developed by a group of artists who entered the history of art under the name of impressionists. Impressionism is the last major artistic flow in the art of the 19th century - originated in France in the 1860s. His name comes from the French word impression - the impression. So called the landscape of Claude Monet ("impression. Sunrise", 1872), shown in 1874 together with the works of other young French artists at the exhibition "Independent" in the photoabeel Nadar in Paris. This was the first exhibition of impressionists, although by that time the leading representatives of impressionism were already quite formed by artists.
Impressionism is a complex artistic phenomenon, causing contradictory assessments to this day. It is partly due to the fact that artists with pronounced individuality with him were associated with him, often with very non-coordinated creative quests. However, some important common features allow us to unite a number of masters of French visual arts (as well as literature and music) in a single current.
Impressionism arose in the depths of French realistic art. Young representatives of this flow called themselves to the clock followers. As well as the realism of the mid-19th century, impressionism, especially in the first stages of its development, hostilely opposed the official academic art. Artists-Impressionists were rejected by the salon, their art was encountered fierce attacks of official criticism.
Following the masters of realism of the middle of the century, the impressionists opposed the dead, torn off from the life of academic art. With its main task, they considered the image of modern reality in its various individual manifestations. They tried to capture the simplest motives of modern life and nature, which previously rarely attracted the attention of artists. Protesting against dryness and distraction of academic art, against its conditional stamps and schemes, impressionists sought to convey all the freshness of their immediate impressions from reality, the colorful wealth of the visible world, its diversity and variability. Hence the search for a new creative method characteristic of impressionism, developing some new artistic expressive tools. This is primarily a peculiar understanding of the composition, free, immediate, as if random, interest in the transfer of the dynamics of the surrounding world, finally, special attention to the picturesque problems, to the transmission of light and air. Having advanceed as a mandatory requirement to work on the player, the impressionists have enriched painting by many color achievements, overcame the conventionality of the colorful gamma characteristic of most of their predecessors, has achieved great success in transmitting a light-air environment, the effects of light on color. All this informs the painting of impressionists. Freshness and colorful wealth.
However, paying tribute to the undisputed realistic conquest of impressionists, it is impossible not to note the limitations of their worldview and method. The very approach of impressionists to the image of reality was in itself a danger of slipping on the surface of the phenomena, refusing large vitality and all the more social generalizations. In a seeaken, first of all, the most directly passing the world around them, the Impressionists attach leading importance to a visual impression. Fixation of fleeting, runaway visual sensations reaches the striking reliability in their work, but it sometimes replaces the deep and comprehensive knowledge of the world. Therefore, although the art of impressionism is enriched with new plots and motifs, it no longer solves the big topics of high social significance. Impressionists were perfectly transmitted to nature, aluminated by the sun and air, rainbow flickering of paints and overflows of light; They captured the captivating colorfulness and dynamics of modern life on their canvases; They opened the artistic value of many reality motives; But they were unable to express advanced democratic ideals of their time. Social, and sometimes psychological problems cease to interest these artists, and their art loses its active public importance that has had progressive romanticism in France and democratic realism. Therefore, in connection with impressionism, we can talk about the elements of the crisis of realistic art, which is deprived of the truly democratic content and critical acute.
The ideological limitations of this flow was the main reason for the short-term heyday. The expressionism raising period refers to the 1870s and the beginning of the 1880s. In 1886, the last exhibition of impressionists took place, but there were significant differences in the group. And although in the future, many prominent masters of impressionism still continue to work, they or depart from the principles of this course, experiencing dissatisfaction with its limitations (Renoir), or no longer create anything fundamentally new. For a crisis, which is experiencing impressionism from the mid-1880s, is indicative, in particular, and the fact that many achievements of this flow communicated to extremes turn into their opposite. At this time, some artists, more and more indifferent to the content of their art, all the forces are given to picturesque and technical quests, often combining them with decorative trends (K. Monte). The desire for as accurately conveying sunlight leads them to excessive lavety palette, the desire to capture the vibration of the air - to the abuse of the system of separate smears. Stubborn technical searches in the field of light and color are often underway to the damage to plastic shape and drawing. Many impressionists, refusing the plot thematic picture, come to the etuds, neglecting the complete, thoughtful, holistic composition.
By 1886, all tasks extended by impressionism were solved. It was impossible to further develop in the sphere of narrow tasks of this area, it urgently required the production of new large topics, deeper problems, as well as greater latitude and diversity of the creative method.
Obtaining and reaching the most complete heyday in France, Impressionism from the end of the 1880s received distribution in other countries where many prominent artists joined this flow.
Edgar Degas. With impressionism was closely connected by the largest French artist of this time Edgar Degas (1834-1917). He was one of the organizers and participants of almost all exhibitions of impressionists. However, in this course, Degas occupies a special place. With impressionism, his desire to capture the dynamics of modern life, interest in the transfer of light, some picturesque and colorful quests. At the same time, a lot in the method of impressionists was deeply alien to him. In particular, he did not approve of their commitment to a visual impression, considering their approach to reality too passive. Degi denied work on the player and almost all his paintings created in the workshop. Summarizing his observations of nature, the artist always sought to convey its being and character. "It is impossible to imagine art less directly than mine, said Degas. - My job is the result of reflection, studying masters, this is a matter of inspiration, character, patient observation. "
Degas passed academic school in Lamott's workshop. The hobby of Engrom and Pussen affected the many early works of the artist solved in the classic spirit ("Competition of Spartan Youth and Girls", 1860, London, National Gallery). Already in these paintings there is an inherent degiousness of the drawing skill, interest in the transfer of movement, as well as the desire to update the academic painting with acute observation of nature. In the future, Degas appeals exclusively to the image of modern life. The characteristic features of the Mastery of the Degi used to be manifested in his portraits, many of which can be called among the best samples of a realistic portrait of the new time. They convey models truthfully and accurately differ in the seriousness and subtlety of psychological characteristics, the originality of composite solutions, the classical severity of the pattern, sophisticated by the skill of color. Among them, you can call a portrait of the Bellel family (1860-1862, Louvre), a female portrait (1867, Paris, Louvre), a portrait of the father of the artist and a guitarist Pagan (Ok. 1872, Chicago, a private assembly) and the amazing, the abilities and the immediacy of the decision Portrait of a scandal with daughters ("Concord Square", 1873).
The genre works of degas make a brilliant picture of the morals of modern Paris. The subjects of them are diverse and covers many phenomena of modern reality. Observation acuity and attentive study of nature are often combined in them with irony and pessimistic attitudes to the depicted. Degi often concentrates its attention on the unavailable sides of reality and transmits them with a cold merciless inherent in its skeptical mind. This is characteristic of his pictures depicting the life of Bohemia, visitors of the cafe, singers speaking in cafe-concerts. Thus, in the famous painting "Absinthe" 1876, Louvre), degi managed with great realistic persuasiveness and sharpness to capture the characteristic scene of modern life and create expressive images of two lowered people.
The favorite theme of Degi's creativity was theater, ballet. The artist with equal skill is depicting boring tedious weekdays ballerinas - lessons, rehearsals, scenes in the restrooms, and colorful, festive festory of ballet performances. In these works, the inherent degius is affected by the ability to catch and transmit frequently transient, instant, but always characteristic postures and movement of figures, facial expressions.
Dega attention attracted both work scenes. In numerous images of the laundry (Paris, Louvre; New York, a private collection), the artist managed to convey and gravity and his tedious monotony. In these works, the degas often rises to social generalizations in characteristic and acutely transmitted images of women from the people. True, in contrast to the house, he is not typical of the desire to emphasize the moral strength and the dignity of a simple person.
The picturesque manner of degas develops from carefulness in early works to becoming more freedom and latitude. In his picturesque quest, he is largely approaching impressionists; His palette brightens, it uses clean color, imposes it with separate strokes or strokes (in pastels). The artist shows a great interest in the transmission of light (mainly artificial) and air. The latter especially affects many images of racing. However, the approximate, monotony and the limited manner of the impressionists were unusual. Picturesque searches, technical experiments, the development of sharp and diverse colorful decisions of Degi combined with a strict pattern and great attention to the composition. With all their lively, the surprises and the immediacy of the degi composition is always thought out and masterfully built.
In the late period of Degi's creativity, it worked mainly in pastel techniques, often depicting nude nature. These are usually women engaged in washbasin, hair combing, coming out of a bath dressing. The artist sharply fixes in these works varied, sometimes awkward and ugly movements of the human body, all these works are marked by high and original skill. However, the almost exceptional appeal of the degiousness to the image of the naked nature indicates the famous ideological and thematic limitations of his late creativity.
In addition to paintings by oil and pastels, Degi left many works in the graph. He also performed a series of sculptures (ballerina, jockey with horses, nude nature), mainly at the end of life, when, in view of almost complete loss of vision, it was deprived of the opportunity to work in painting.
Degi had a great influence on many French artists of the late 19th century, in particular on the so-called "artists of Montmartre." Henri Toulouse-Lotrek (1864-1901), a sharp drawer and a thin colorist, who worked a lot in a poster and created in a number of lithography expressive, often satirical, not deprived of critical traits of Paris Boghele in a number of lithographs.
Pierre Auguste Renoir. Of course, the work of Renuara (1841-1919) is one of the most prominent representatives of impressionism. Unlike Degi, it was a cheerful artist, captured in his canvas poetic images of modern Parisians and colorful scenes of Parisian life. Renoir began his artistic activity as a painter in the porcelain. In the workshop of Gleira, where he studied painting for a short time, Renoir became close to K. Monet and sishal, dividing with them the rejection of the academic routine and the passion of the Kourba. The influence of the latter was marked by many of the work of Renuar, made in the 1860s, for example, "Kabachi Aunt Antonia" (1865, Stockholm, National Museum), a portrait of a sisty with his wife (1868, Cologne, Vallraf Richard Museum), "Lisa" (1867, Essen, Folkwang Museum). Already in these early works, Renoir pays considerable attention to the transfer of light and picturesque and colorful problems.
Pictures made in the late 1860s, in particular, "Flags" (1868-1869, Moscow, GMI), margin the beginning of an impressionistic period in the artist's work when he performs his most famous works. At this time (the end of the 1860s and 1870s), he writes mainly portraits and genre paintings, paying some attention and landscape.
Among the portraits of Renoire are the most successful children and female. His works such as "Lodge" (1874, London, Institute Kurto), "Girl with Fan" (Hermitage), "Portrait of Madame Sharpate with Children" (1878, New York, Metropolitan Museum), Portrait of Samari Artists (1877 , Moscow, GMI), recreate the characteristic images of the modern Parisian to him, their peculiar, unique charm. These portraits cannot be called psychological, but they attract picturesque skill and persuasive to transfer models, the liveliness of expression, a peculiar poetry and inherent in the majority of Renoire works by the feeling of completeness of life.
Renoara genre paintings are not distinguished by a variety or significance of the subject. Country trips Parisians, open-air holidays - such are the plots of many of his paintings. In them, as in all the works of the artist, his cheerful worldview and a few superficial, thoughtless attitude to reality affect. But their dignity is the freshness and vision of the interpretation, the ability to feel the poetic charm of simple motives, reveal the picturesque wealth of reality. His flavor becomes a diverse, diverse and rainbow, the bright sunlight pours his canvas, a motley noisy Paris crowd is given in unity with the surrounding light-air medium, erasing the contours of the figures and depriving items of their plastic definiteness ("Moulin de La Gaette", 1876, Paris, Louvre ; "Breakfast of boatmen", 1881, Washington, Gallery Phillips). Taking during this period the principles and method of impressionism, Renoir, however, maintains fully its individual worldview and techniques. Its scenic technique combines a fractional smear characteristic of impressionists and lescing, which gives the Renoire's canvas not only a rare colorful wealth, but also coloristic unity.
In the late period of creativity, Renoir moves away from Impression & Ma. "I reached the limits of impressionism and stated that I don't know how to write, nor draw," the artist wrote in the early 1880s. The problem of transmission of light and air takes it at this time significantly less, it pays more attention to the composition, seeks to be generalized, monumentality, plastic definition in the interpretation of figures. However, all changes coming in the artist's works relate to the sole formal side of his art. At this time, Renoir also limits the theme of his creativity, paying preferential attention to the image of nude nature. The passion for formal problems is combined with purely decorative trends, which leads to a significant conversion constructing forms and color in many later works of the artist.
Claude Monet. All the features of impressionism found the most complete expression in the work of Claude Monet (1840-1926). He was the leader of this current, he first formulated his principles, developed the player's program and characteristic of impressionism picturesque technique. With his name, many achievements of this flow are connected. And at the same time, in the art of Monet, the limitations of impressionism and the crisis, which he experiences starting from the mid-1880s appeared.
The early works of Monet are associated with impressionism with the realistic art of Kurba, Coro and Korotov, and also testify to the influence of E. Mana. It is mainly landscapes, portraits and curly compositions outdoors: "Breakfast on the grass" (1866, Moscow, GMI), "Camilla" (1866, Bremen, Museum), "Woman in the Garden" (1865-1866, Hermitage). Many of them are written in the pleinier, the artist pays great attention to the transmission of light. Since the end of the 1860s, Monet works almost exclusively in the area of \u200b\u200bthe landscape, transmitting direct impressions of nature or urban in its canvas, giving an increasing value of the transfer of light and air. The best period of his work is the 1870s, when he creates convincing and complete moods of the picture of the French nature, characterized by a large freshness and colorful freedom. At this time, he finds many new landscape motifs, simple, but attractive, introduces the image of the city, squares and boulevards, lively by flashing crews and a hurrying crowd. To express these motifs, the artist is looking for appropriate picturesque techniques - alive, pure color, trepidate, separate stroke ("Kapuchin Boulevard", 1873, Moscow, GMI, landscapes made in Argente). However, in the future, the fixation of transient light and atmospheric effects is often becoming for the monocel. The shape and outlines of the objects are dissolved in the light-air environment, they lose density and materiality, turn into unsubstantial colorful stains. Monet sought to scientific accuracy in the transfer of light and air to local colors of objects, studied the laws of additional colors, paying special attention to the transfer of reflexes, and on this path of technical searches reached significant exaggerations. The formal technical side displaced deep knowledge and disclosure of reality in his work and departed in many of his later works a holistic artistic image. The most motive of nature ceases to interest the artist and turns only in the preposition for the transfer of color and light-air effects. This is especially significant for Monet's creativity since the late 1880s, when he creates a series of landscapes depicting the same motive at different times of the day: a series of stacks, Ruan Cathedrals, types of Thames, Venice. The perception of nature in these works is becoming increasingly subjective, and the desire to convey the fleeting visual impressions leads to the abandonment of the compositionally constructed picture and replacing it with a random etude. Many later works of Monet were noted not only by formal technical, but also decorative searches. This determines in some cases a significant conventionity and deliberation of composite and color solutions (series "Watercuts").
Being the head of French impressionism, Monet had a great influence on a number of artists who joined the course and working mainly in the field of landscape. Among them are mentioned primarily pussarro and sischi.
Camill Pissarro. Camill Pissarro (1830-1903) In early works, the traditions of the French realistic landscape (Kurba, Coro, Barbizonians) develops. Then, from the end of the 1860s, brings together with E. Manne and grouped around him with young artists, Pissarro turns to the player, to the lighted, irradiated palette and becomes one of the characteristic representatives of French impressionism. In his paintings, Pissarro depicted the streets of Rouran and Paris, his suburbs and surroundings, the shores of the Seine, meadow and country roads. Unlike other impressionists, he often introduces the figures of the peasants to his rural landscapes. Like all impressionists, Pissarro pays a lot of attention to picturesque search, transmission of light and air. However, the light-air effects rarely become in his paintings by the main motive. In its best scenery, Pissarro sololy perceives nature, transfers the wealth and a variety of her life. Summarizing his immediate impressions, the artist usually thoroughly thinks out a composite construction of the landscape and can make the monumentality to the most everyday motives.
Alfred Swells. More lyric was the work of Alfred Sisley (1839-1899). Comrade Mona on the workshop of Gleira, he adjoined in his early works to the Coro and Korotov, and then became one of the first participants in the exhibitions of Impressionists. Working exclusively in the field of landscape painting, sisley usually wrote the nature of Ile de France. It was attracted by intimate, immediate motifs - fields, villages, banks of rivers and canals, and he knew how to reveal their originality and attractiveness. Sisley possessed a subtle sense of color, sensiblely caught the variability of nature, the state of the light-hearted medium. But, taking the method of impressionism, it was more restrained in his formal technical searches than other impressionists, in particular Monet.

Introduction

Impressionism as a phenomenon in art

Impressionism in painting

Artists - Impressionists

3.1 Claude Monet

3.2 Edgar Degas

3.3 Alfred Sisley

3.4 Camille Pisserro

Conclusion

Bibliographic list

Introduction

This abstract is dedicated to impressionism in the statement of painting.

Impressionism is one of the brightest and most important phenomena in European art, in many respects determined by the entire development of contemporary art. Currently, the work not recognized in their time Impressionists are valued very highly and their artistic advantages are indisputable. The relevance of the chosen topic is due to the need for each modern person to understand the style of art, know the main milestones of its development.

I chose this topic, because Impressionism was a kind of revolution in art that changed the idea of \u200b\u200bthe works of art as a holistic, monumental things. Impressionism brought the personality of the Creator to the first place, his own vision of the world, pushed political and religious plots to the background, academic laws. Interestingly, emotions and impression, and not the plot and moral role played a major role in the works of impressionists.

Impressionism (FR. impressionNisme, OT. impression - The impression) - the 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 the most natural and unnecessary to capture the real world in its mobility and variability, transfer their mumbling impressions. Usually, under the term "impressionism" means a direction in painting, although his ideas also found their embodiment in literature and music.

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 as a basis the name of this picture Claude Monet.

Auguste Renoir Paddling pool, Metropolitan Museum, New York

Sources

In the era of the revival, the painters of the Venetian school tried to convey live reality using bright colors and intermediate tones. The Spaniards took advantage of their experiments, this is most clearly expressed in such artists as El Greco, Velasquez and Goya, whose creativity subsequently had a serious influence on Mana and Renoara.

At the same time, Rubens makes the shadows on its canvases with color, using transparent intermediate shades. By observing Delacroix, Rubens displayed light with thin, exquisite tones, and shadows - warmer and rich colors, transmitting the effect of lighting. Rubens did not use the black color, which will later become one of the basic principles of the painting of impressionists.

On Eduar Mana, the Netherlands artist Frans Hals, who wrote with sharp stars and loved the contrast of bright colors and black.

The transition of painting to impressionism also prepared English painters. During the Franco-Prussian War (1870-1871), Claude Monet, Sisley and Pissarro went to London in order to be able to be able to explore the great landscape players - Const Blows, Bonington and Turnner. As for the latter, already in its later work, it is noticeable how the connection with the real image of the world and the care of individual transmission of impressions disappears.

Eugene Delacroix had a strong impact, he already distinguished the local color and color acquired under the influence of lighting, its watercolors written in North Africa in 1832 or in Etretat in 1835, and especially the picture "Sea in Dieppe" (1835) allow us to talk about It is like the predecessor of impressionists.

The last element that influence innovators was Japanese. Since 1854, thanks to the exhibitions in Paris, young artists discover the masters of Japanese engravings such as Utamaro, Hokusai and Hiroshig. Special, unknown leisure in European visual art, the location of the image on a sheet of paper is a biased composition or a slope composition, a schematic transmission of the shape, a tendency to artistic synthesis, won the location of impressionists and their followers.

History

Edgar Dega, Blue dancers, 1897, GMI them. Pushkin, Moscow

The beginning of the search for Impressionists belongs to the 1860s, when young artists are no longer satisfied with the means and goals of Academism, as a result of which each of them is independently looking for other ways to develop their style. In 1863, Edward Mana exposes a picture of the "Breakfast on the grass" in the "salon" and actively performs at meetings of poets and artists in the cafe Gerbua, who visited all the future founders of the new current, thanks to which became the main defender of modern art.

In 1864, Eugene Budyon invites Monet to Onefleur, where he lived all autumn, watching his teacher writes Etudes Pastel and Watercolor, and his friend Yonkind imposes paint to his work with vibrating strokes. It was here that they taught him to work at the plenier and write with light tones.

In 1871, during the Franco-Prussian war, Monet and Pissarro are leaving to London, where they get acquainted with the work of the predecessor of impressionism by William Törsner.

Claude Monet. Impression. Sunrise. 1872, Museum Marottan Monet, Paris.

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 quite unwashed 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" Wentler, Edward Mana, Eugene Budy, etc.) In addition, the technical means of impressionists were known long before the XIX The centuries and their (partially limited) were used yet Titian and Velasquez, without giving the era with the dominant ideas.

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.

Impressionism as a phenomenon in art

Impressionism is one of the brightest and interesting destinations in the French art of the last quarter of the 19th century, was born in a very difficult situation, distinguished by variegated and contrasts, which gave impetus to the emergence of many modern trends. Impressionism, despite its short term, had a significant impact on art not only France, but also other countries: the United States, Germany (M. Lieberman), Belgium, Italy, England. In Russia, the effect of impressionism was experienced by K. Balmont, Andrei White, Stravinsky, K. Korovin (the closest in its aesthetics to impressionists), early V. Serov, as well as - I. Grabar. Impressionism has become the last majoristic artistic movement in France of the XIX century, which lasted the face between the art of the new and the latest time.

According to M. Aplasov, "pure impressionism probably did not exist. Impressionism is not a doctrine, he could not have canonized forms ... French artists-Impressionists are inherent in various degrees of its features. " Usually, under the term "impressionism" means a direction in painting, although his ideas found their embodiment and in other art types, for example, in music.

Impressionism is primarily the art of observing reality, transfer or creating an impression, art in which the plot is not important. This is a new, subjective artistic reality. Impressionists put forward their own principles of perception and display of the surrounding world. They erased the face between the main objects worthy of high art, and secondary items.

An important principle of impressionism was care from typical. The art includes momentum, a random look, it seems that the canvas of the impressionists are written by simple passersby, walking along the boulevards and enjoying life. It was a revolution in vision.

The aesthetics of impressionism was partly as an attempt to decisively free themselves from the convention of classic art, as well as from persistent symbolism and the deepness of the late-internal painting, which proposed to see the encrypted meanings in all of the examination. Impressionism approves not just the beauty of everyday reality, but also makes the artistically significant postal variability of the world, the naturalness of the spontaneous, unpredictable, accidental impression. Impressionists strive to fix it with a colorful atmosphere, not detailing and not extinguishing.

As an artistic course of impressionism, in particular in painting, quite quickly exhausted its capabilities. Classic French impressionism was too narrow, and few all their lives remained loyal to his principles. In the process of developing an impressionistic method, the subjectivity of the picturesque perception overcame the subject and climbed into an increasingly high formal level, opening the way to all the flows of postmingness, including the symbolism of Hogen and expressionism Van Gogh. But, despite the narrow temporary framework - some two decades, impressionism brought art on a fundamentally different level, having a significant impact on everything: modern painting, music and literature, as well as cinema.

Ipressionism introduced new topics; Mature style works are distinguished by bright and immediate vitality, the opening of new artistic features of the color, the aestheticization of the new picturesque technology, the structure of the work. It is these features that have arisen in impressionism receive further development in neo-simpressionism and postmingness. The impact of impressionism as an approach to reality or as a system of expressive receptions has found in almost all art schools of the beginning of the XX century, it has become a starting point for the development of a number of directions, up to abstractionism. Some principles of impressionism - the transmission of instantaneous movement, the fluidity of the form - to varying degrees were manifested in the sculpture of the 1910s., Ufa, oh. Roden, M. Bluebina. Artistic impressionism in a considerable extent enriched expressive funds in Literketura (P. Motlen), music (K. Debussy), theater.

2. Impressionism in painting

In the spring of 1874, a group of young painter artists, including Monet, Renuara, Pizarro, Sislai, Degas, Cesan and Bert Morizo, neglected the official salon and arranged his own exhibition, becoming under the central figures of the new direction. She took place from April 15 to May 15, 1874 in the workshop of the Nadar photographer in Paris, on the Kapuchin Boulevard. There were 30 artists, only 165 works. A similar act in itself was revolutionary and ripped with centuries, the paintings of these artists at first glance seemed even more hostile traditions. It took years before these, subsequently recognized, the classics of painting were able to convince the public not only in their sincerity, but also in their talent. All of these very different artists united the overall fight against conservatism and academism in art. Impressionists spent eight exhibitions, last - in 1886.

It was at the first exhibition in 1874 in Paris a picture of Claude Monet, depicting the sunrise. She attracted all the attention primarily by an unusual name: "Impression. Sunrise". But the painting itself was unusual, she passed the almost elusive, changeable game of paints and light. It is the name of this picture - "impression" - thanks to a mockery of one of the journalists, marked the beginning of a whole direction in painting, called impressionism (from the French word "impression" - the impression).

Trying to express your immediate impressions as accurately as possible, Impressionists created a new method of painting. Its essence consisted in the transfer of the external impression of light, shadows, reflexes on the surface of the objects by separate smears of clean paints, which visually dissolved the form in the surrounding light-air environment.

The truthfulness was sacrificed to the Personal Perception - Impressionists could depend on their vision to write green, and the grass of blue, fruits on their still lifes were unrecognizable, human figures are vague and schematically. It was important not what is depicted, but it is important "how." The object becomes a reason for solving visual problems.

It is typical, the sketch of the creative method of impressionism. After all, only a short etude made it possible to accurately fix the individual states of nature. The fact that was previously allowed only in Etudes, now became the main feature of completed canvases. Artists-Impressionists sought to overcome static painting, forever capture the entire charm of an elusive moment. They began to use asymmetric compositions to better highlight those who are interested in their acting individuals and items. In some applications of the imprintsionist construction of the composition and space, the influence of the enthusiasm for its age is not antiquity as previously, Japanese engravings (such Matrov, as Katsusik Hokusai, Hirosign, Utamaro) and partly the photos, its close-up plans and new points of view.

Impressionists also updated the flavor, they abandoned dark, earthy paints and varnishes and applied clean, spectral colors on canvas, almost without mixing them before palette. The conditional, "museum" black in their canvas is inferior to the game of colored shadows.

Thanks to the invention of metal tubes for paints, already ready and suitable for carrying, which replaced old paints, which are cooked by hand from oil and powder pigments, artists were able to leave their workshops to work at the Captive. They worked very quickly, because the movement of the sun has changed lighting and flavoring the landscape. Sometimes they squeezed out the paint on canvas straight from the tube and obtained clean sparkling colors with the smear effect. Putting a smear of one paint next to the other, they often left the surface of paintings with rough. In order to preserve the freshness and variety of paints in the picture, the Impressionists created a picturesque system, which is characterized by the decomposition of complex tones on clean colors and the integrapment of separate cleaner smears, as if mixed in the eye of the viewer, with colored shadows and are perceived by the viewer according to the law of additional colors.

In an effort to maximize the directness in the transfer of the world, Impressionists for the first time in the history of art 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. 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. The main theme for them was the loose light, the air, in which people and items are immersed. The wind was felt in their paintings, the land heated by the sun. They sought to show the amazing richness of color in nature.

Impressionism Introduced into art new topics - the daily life of the city, street landscapes and entertainment. The thematic and scene range was very wide. In their landscapes, portraits, multi-digurized compositions, artists seek to preserve the impassiveness, strength and freshness of the "first impressions", without going into separate details, where the world is always a changing phenomenon.

Impressionism is distinguished by bright and immediate vitality. It is characterized by the individuality and aesthetic self-relief of the canvas, their deliberate accident and incompleteness. In general, the works of impressionists are characterized by cheerfulness, passionate about the sensual beauty of the world.

franz.-impression): artistic direction arising in France in the 60s - 70s 19 V. and received the most vivid embodiment in the machine to the art. Impressionists have developed new picturesque techniques - colored shadows, mixing colors, flagrated flavor, as well as decomposition of complex tones on pure tones (overlaying them on canvas with individual smears generated their optical mixing in the eyes of the viewer). They sought to convey the beauty of the fleeting states of nature, variability and mobility of the surrounding life. These techniques helped to transfer the feeling of sparkling sunlight, vibration of light and air, created the impression of the festivity of being, the harmony of the world. Impressionistic techniques were used in other art types. In music, for example, they contributed to the transfer of the most subtle mental movements and fleeting sentiment.

Excellent definition

Incomplete definition ↓

Impressionism

from Franz. Impression is the impression) Direction in art that emerged in France in the last third of the XIX century. Main representatives and.: Claude Monet, Auguste Renoir, Camill Pissarro, Alfred Sisley, Berta Morizo, as well as Adukent Mae, Edgar Dega and some other artists. The development of a new style I. took place in the 60-70s., And for the first time as a new direction, opposing itself to the Academic Salon, the Impressionists declared themselves at their first exhibition in 1874. In particular, the picture of K.mona "Impression . Soleil Levant "(1872). Official artistic criticism negatively reacted to the new direction and in the mockery "Ongoretal" his representatives "Impressionists", reminding about the particularly annoying picture of Monet. However, the name reflected the essence of the direction, and its tools accepted it as an official designation of their method. As a holistic direction, I. existed for a long time - from 1874 to 1886, when 8 joint exhibitions were organized by impressionists. The official recognition of the same art connoisseurs and artistic criticism came significantly later - only in the mid-90s. I. provided that it became apparently in the following century, a huge impact on all subsequent development of fine art (and artistic culture as a whole). In fact, a fundamentally new stage of fiction culture began with it, which led in Ser. Hchw. To post-culture (see: post-), \u200b\u200bi.e., to the transition of culture to some fundamental other quality. O.Shpengler, who spread the concept of I. to culture, considered it one of the typical signs of the "sunset of Europe", that is, the destruction of the integrity of the worldview, the destruction of the traditionally established European culture. On the contrary, avant-gardists (see: Avangard) began the XX century. We saw in I. his forerunner, who opened the new horizons before the art, who freed him from extremely sophisticated tasks, from the dogmas of positivism, academism, realism, etc., with which it is impossible to disagree. The impressionists themselves, like pure painters, did not think about such a global meaning of their experiment. They did not even strive for a special revolution in art. They just saw the world surrounding them somewhat differently than saw his official representatives of the salon, and tried to consolidate this vision purely picturesque means. At the same time, they rely on artistic finds of their predecessors - first of all, the French painters of the XIX century. Delacroix, Coro, Kourbe, Barbizontev. On K. Monet who visited London in 1871, the work was made by the work of W.Terner. In addition, the Impressionists themselves call among their predecessors and French classicists of Poussin, Lorrena, Sharden, and the Japanese color engraving of the XVIII century, and art historians see the traits of proximity to Impressionists and in English artists T.geensboro and J. Constable, not to mention .Tener. Impressionists absolisted a number of picturesque techniques of these very different artists and created a holistic style system on this basis. In anti-academicists, Impressionists refused the thematic specificity (philosophical, moral, religious, socio-political, etc.) of art, from thoughtful, in advance of meaningful and clearly drawn plot compositions, i.e., began to fight with the "literary market" In painting, focusing the main attention on specifically picturesque means - on color and light; They came out of the workshops at the Plenuer, where they sought for one session to start and cum work on a specific work; They abandoned dark flowers and complex tones (earthy, "asphalt" flowers), characteristic of the art of the new time, going to clean bright colors (the palette of them was limited to 7-8 paints), laid on the canvas often separate strokes, consciously counting on their optical Mixing already in the psyche of the viewer, which reached the effect of special freshness and immediacy; Following the Delacroe, they mastered and absolished the color shadow, the game of color reflexes on various surfaces; dematerialized the subject of the visible world, dissolving it in the light-air environment, which was the main subject of their attention as pure painters; They actually abandoned the genre approach in the visual arts, focusing on the picturesque transfer of their subjective impression on the chance of a randomly seen fragment of reality - more often a landscape (like Monet, Sisley, Pissarro), less often plot scenes (like Renuara, Dega). At the same time, they sought to convey the impression often with an almost illusionistic accuracy of matching the color-light-air atmosphere of the depicted fragment and the moment of visible reality. The accident of the angle of view on the artistic vision of a fragment of nature, attention to a picturesque environment, and not subject to the subject, was often given to bold composite solutions, acute unexpected angles of view, cuts, activating the perception of the viewer, etc. effects, many of which subsequently were used by representatives of a variety of avant-garde. I. became one of the directions of "pure art" in thek. XiHv., Whose representatives of the main in art considered his artistic and aesthetic principle. Impressionists experienced the beauty of the light-color-air environment of the material world with the words and tried to almost with documentary accuracy (they are sometimes accused of naturalism for it, which is hardly legitimate) to capture it on their canvases. In painting, they are a kind of optimistic pantheists, the latest singers of the careless joy of earthly being, sun-plates. As the neo-simpressionist P. Signac was written with admiration, they have "Sunlight floods the whole picture; The air in it pegs, the light envelops, caresses, dispels the shape, penetrates everywhere, even in the shade area. " Style features I. in painting, especially the desire for the sophisticated artistic image of fleeting impressions, principled sketch, freshness of direct perception, etc. turned out to be close and representatives of other types of art of the time, which led to the spread of this concept on literature, poetry, music. However, in these art types there was no special direction I., although many of his features are found in the works of a number of writers and composers of the last third of Xih. XX century Such elements of impressionistic aesthetics as a blurry of the form, fixation of attention on bright, but random fleeting details, inexpensive, foggy hints, etc., inherent in the creativity of G. de Moopassana, A-P. Chekhov, early T.mann, Poetry R.- M. Rileka, but especially - Brothers Zh. and E. Gekrur, representatives of the so-called "psychological and\u003e, partially - K. Gamsun. The impressionistic techniques were based, substantially developing them, M.Prust and writers of "Consciousness flow". In music, the French composers of K. Trydsevi, M. Iravel, P. Dyuk and some others, who used the style and aesthetics I. in their work, consider impressionists. Their music is filled with the immediate experiences of the beauty and lyricity of the landscape, almost imitation of the game of sea waves or the rustle of the leaves, the bucular charm of the ancient mythological plots, the joy of momentary life, the spirituality of earthly existence, enjoying endless overflows of sound matter. Like painters, they blurry many traditional musical genres, filling them with a different content, strengthen the attention to the purely aesthetic effects of the musical language, significantly enriching the palette of expressive and visual media. "This applies first of all," the musicologist I. writes V.Nestev, - to the sphere of harmony with its technique of parallelism and a whimsical risk of unresolved colorful consonance-spots. Impressionists have noticeably expanded the modern tonal system by opening the way to many harmonious innovations of the XX century. (Although it was noticeably weakened by the clarity of functional relations). The complication and swelling of the chord complexes (Nonakkord, Uncormaccords, alternative quarters) are combined with a simplification, archaeization of lade thinking (natural freedoms, pentatonic, sense complexes). In the orchestration, composers-impressionists prevail pure paints, capricious glare; Solo of wooden winds often apply, passage of harp, complex Divisi string, CON SORDINO effects. Typical and purely decorative, evenly fluidault octic backgrounds. Rhythmics beyond Sybka and elusive. No rounded constructions are characteristic of the melodies, but short expressive phrases-symbols, simplicity of motifs. At the same time, the importance of each sound, timbre, chord, the infinite possibilities of the expansion of Lada revealed extraordinarily in the music of impressionists. Special freshness of the music of Impressionists gave a frequent appeal to the song-dance genres, the subtle implementation of the lade, rhythmic elements borrowed in the folklore of the peoples of the East, Spain, in the early forms of Negro Jazz "(Music Encyclopedia. T. 2, M., 1974. STB. 507 ). Putting the artist's artist's attention to the spotlight and focusing on the hedonistic-aesthetic function of art, I. revealed new perspectives and opportunities in front of the artistic culture, which she took advantage (and even sometimes excessively) in the XX century. Lit.: Venturi L. from Mana to Lotter. M., 1938; Revalad J. History of Impressionism. L.-M., 1959; Impressionism. Letters of artists. L., 1969; Serullaz M. ENCYCLOPEDIE DE LIMPRESSIONNISME. P., 1977; Montieret S. LimpressionNisme ET SON EPOQUE. T. 1-3. P., 1978-1980; Kroher E. Impressionismus in der Musik. Leipzig. 1957. L.B.