What are the main semantic values \u200b\u200bof the term Impressionism. The meaning of the word impressionism

IMPRESSIONISM(FR. IMPRESSIONNISME, from impression - impression) - direction in the art of the late 1860s - early 1880s, the main goal of which was the transfer of fleeting, changeable impressions. Impressionism was based on the latest discoveries of optics and color theory; In this, he was consonant with the spirit of scientific analysis characteristic of the end of 19 V. The most brightly impressionism manifested itself in painting, where special attention was paid to the transfer of color and light.

Impressionism appeared in France in the late 1860s. His leading representatives - Claude Monet, Auguste Renoir, Camille Pissarro, Berta Morizo, Alfred Sisley and Jean Frederick Basil. Together with them, Eduar Mane and Edgar Degar, although the style of their works can not be called impressionistic. The word "impressionism" comes from the name of the MONE picture Impression. Rising Sun(1872, Paris, Museum Marmottan), presented at the exhibition 1874. The name implied that the artist transmits only his fleeting impression of the landscape. Now the term "impressionism" is understood wider than just subjective vision of the artist: as a thorough study of nature, first of all in terms of color and lighting. This concept is essentially opposite to the traditional, coming from the era of the revival of understanding the main task of painting as the transfer of the form of objects. The purpose of the impressionists was an image of instant, as if "random" situations and movements. This contributed asymmetry, fragmentation of compositions, the use of complex angles and slices of figures. The picture becomes a separate frame, a fragment of the rolling world.

Landscapes and scenes from urban life - perhaps the most characteristic genres of impressionistic painting - wrote "at the plenier", i.e. directly from nature, and not on the basis of sketches and preparatory sketches. The impressionists briefly peered into nature, noticing colors and shades, usually invisible, such as blue in the shadows. Their artistic method was in the decomposition of complex tones to their pure color spectrum. Colored shadows and clean bright trepidation painting. Impressionists imposed paints with separate strokes, sometimes using contrast tones on one section of the picture, the size of the smears varied. Sometimes, for example, for the image of a clear sky, they smoothed with a brush into a more smooth surface (but even in this case a free, careless picturesque manner) was emphasized). The main feature of the impressionist paintings is the effect of lively flickering of paints.

Camille Pissarro, Alfred Sisley and Claude Monet in their work preferred landscapes and urban scenes. Auguste Renoir wrote people on the lap of nature or in the interior. His creativity perfectly illustrates a tendency to erase the faces between genres characteristic of impressionism. Such pictures like Ball in Moulin de la Gaette (Paris, Museum d "Ores) or Breakfast rowers (1881, Washington, Gallery Phillips), are the colorful memories of the joys of life, urban or rustic.

Similar searches for the transfer of the light-air medium, the decomposition of complex tones on the clear colors of the solar spectrum occurred not only in France. James Whistler (England and USA), Max Lieberman, Corintov (Germany), K. Korovina, I.E. Grabar, K.A. Korovina, I.E. Gabar (Russia) are counted to the Impressionists.

Impressionism in sculpture implies live free modeling of fluid soft forms, which creates a complex game of light on the surface of the material and a sense of incompleteness. In the poses, the moment of movement, development is accurate; The figures seem to be removed using a hidden camera, such as, for example, in some works of E.Dega and O. Emina (France), Medroad Rosso (Italy), P.P. Trubetsky (Russia).

At the beginning of the 20th century In painting there were new trends, expressed in refusal of realism and appeal to abstraction; They were the reason that younger artists turned away from impressionism. However, impressionism left rich heritage: primarily an interest in color problems, as well as an example of a bold break with tradition.

To the most important areas of modernism, which influenced the course and development of the art of the XX century. relate cubism, abstract art, Dadaism, surrealism, Kostruitivism in architecture dodecafonia and Aleatorica in music. The crucial effect on the development of literature was the work of J. Joyce and M. Proust. Essential attention is paid to impressionism as the first stage of formation of modernism. Since cubism and abstract art are well known, they are not particularly considered.

Even a brief description of the main directions and schools of modernism allows to visually present its internal heterogeneity and at the same time feel its internal, deep unity.

It is necessary, of course, to take into account that the artistic culture of the last century is not reduced only to modernism. Along with him, there was also art that continued the traditions of the previous culture, in particular the tradition of realism, and the phenomenon of the intermediate type, which combined modernism with traditional art forms. By the beginning of the 30s. There was also a completely different from modernism, it is possible to say that the art of a closed society can be said.

Impressionism

Impressionism is in anticipation of modernism. This is the beginning of the movement of art from an image of external objects to the image of a person's senses, and then to the image of his ideas.

Impressionism (from FR. impression - The impression) is a direction in visual arts, literature and music of the end of the XIX - early XX centuries. He developed in French painting of the 60-70s. XIX century The name of the course arose after the first exhibition of artists in 1874, on which the picture of K. Monte "The impression. Sunrise". The core of the first group of Impressionists were O. Renoir, K. Monte, K. Pissero, Sisley, Degas, and others.

The established iodine sign of romanticism, impressionism has never completely disappeared from ideals. At the Impressionists, such representations of romanticism were rendered directly or indirect, such as the refusal of the rules and laws in art, a bold proclamation of freedom by the main and its only law, a complete restraint of the feeling, the introduction of the concepts of time and movement, the idea of \u200b\u200bindependence and individualism of the artist, romantic ideas about The completion of the work of art, ideas relating to man, creativity, beautiful and ugly, etc. Impressionism was sober than romanticism, but it was still a romantic poverty behind this soberness.

Impressionism is a link and a mobile system, a combination of romanticism and "naturalism", reason and feelings, subjective and objective, poetry and science, freedom and hard law, an unrestrained impulse and restraining its frameworks.

One of the sources that fed impressionism was the Japanese colored engraving, widely shown in 1867 in Paris. There is nothing strange in this: still romanticism again (after Rococo) attracted the attention of Europeans to the east. The passion for Japanese art was simultaneously both fashion, and one of the time that affected the taste of the era. Baudelaire, Hangra, Mana, Degas, Whistler were the first connoisseurs and collectors of Japanese engravings, kimono, fans, porcelain. As Japanese Tougyandhold writes, in the Japanese engravings of the NA, there was a linear geometric perspective, which the European Academy was taught - but they had an air perspective in them, the sun's rays were flowing into them, the morning mist was flowing, the morning mist was ridiculous. The Japanese first great instincts understood that nature was not a totality of bodies, but an endless chain of eternally changing phenomena. They first began to portray whole series of the same landscape with different lighting and at different times of the year. Such were "100 species of Mount Fuji" Hokusai, "53 species of Tokaido Station" Hiroshiga. The Academy taught to build a composition as if the artist contemplated the scene depicted by him, sitting by the PAS in the balcony of the theater and seeing it in horizontal lines. The Japanese interpreted the composition as if the artist was the acting person of the depicted scene. That is why they prevail inclined lines over horizontal; That is why they are in the foreground often the flowering branch is often charged or other details, obscure the whole, although harmoniously associated with it. Using the example of the Japanese, French artists understood all the beauty of asymmetry, all the charm of surprises, all the magic of persuasion. On the example of the Japanese, they were convinced of the delights of light sketches, snapshots made by several lines and several stains.

The influence of Japanese art on impressionism should not be exaggerated. The Japanese, unlike impressionists, never wrote directly from nature. The impressions of the impressionists went from directly sensual perception, while the Japanese - from the emotional experience, connected to the steady consequences of traditional techniques.

T. Mann called the painting of impressionists "enchanted garden", emphasizing his devotion to the ideals of earthly life. For the aesthetic discoveries, impressionists had a modest corner of nature, the shores of the Seine, the streets of Paris. Everyday life, they believed, beautiful, and the artist NA needs sophisticated or exceptional.

Impressionists contrasted their art salon and official, beauty of everyday reality - the pompous and fright beauty of salon painting based on academic principles. They refused to write mythological plots, alien to "literary countries" (then this word was included in use), associated for them with the false salon, where, according to G. de Maupassant, the walls filled the paintings of duchschchalnaya and romantic, historical and indiscreet paintings, which and They are narrated, and reclaim, and teach, and moralize, but also corrupt. Impressionists avoided sentimentality, pathositudes, which is a deliberated elevation of the image. Arriving a new vision of the world, they democratized the idea of \u200b\u200bbeautiful.

Comparing impressionists with Russian mobile phone, which also fought with salon-academic art, we can say that the results turned out to be completely different. Russian nightmares rejected together with the salon beautiful and beauty of painting in general, insisting primarily on the moral and revolutionary value of art. Impressionists, who rejected the well-favorable, cerebral beautiful beauty, did not refuse to find beauty as such, but already in other forms.

Before Impressionists, artists, even the most "picturesque", always complemented visible visible on canvas. Impressionists sought to catch a flying moment, approaching clean visibility. Knowledge gave way to impression. Impressionism is primarily variability and movement. To transfer the instantaneous transfigurations of the world, the impressionists reduced the time of creating the picture, as close as possible to the real time of the image of nature. With the concept of the speed of creating the work, the requirements for the degree of its completion were connected.

Impressionism has changed the presentation not only about weight painting, but also about the most picture.

Artists-Impressionists NA set their special purpose of the incompleteness, the sketch of the picture and the nudity of the picturesque technology. At the same time, from the point of view of the requirements for the degree of decoration, we can talk about the dual incompleteness of the work of impressionists. First, this is the external sharpness of the finish, which often caused contemporary discontent. Secondly, incompleteness as the openness of the entire pictorial system, constant shortness, the length of time, so to speak in the end of the phrase. Because of the peculiar persuasion of the picture of impressionists, it is difficult to describe unequivocally, but in it - their exciting attractiveness. If it was necessary to withdraw a simple formula of impressionism, it could be: "variability, duality, reversibility, inexpensive."

Changing the idea of \u200b\u200bpainting, impressionism reached a special extent activation of the viewer (Even by his annoyance "incompleteness"). The viewer became like an accomplice to create an image and co-author of the artist.

In the mid-80s. XIX century The crisis of impressionism began. Many artists, before the reasons for the flow, found his framework too narrow. It was about the fact that the principles of impressionism deprive the picture of the intellectual and moral components. And although in the 90s. A wide recognition came to impressionism, it coincided with the beginning of its decay as a holistic course and nucleation within the PEGO other areas. Some of them wanted to somehow modernize impressionism, others generally searched for new paths. The poetic painting of the impressionists, their raised, bright perception of everyday life, the ability to give lyrical color with a changeable, fleeting its manifestations began to give way to other trends and sentiments.

To the currents trying to modernize impressionism, belonged in particular neo-simpressionism (or Pointelism). J. Serem has developed an unusual technique, and P. Xinyak tried to theoretically substantiate a new course. The differences between neo-simpressionism from impressionism were essential. Separate strokes characteristic of impressionists decreased to points; I had to abandon the fixation of the moment, since painting, seeking to fix a moment, is unlikely to speak of the eternal; The spontaneity and naturalness of the vision and image, interest in the carefully built and thought-out, even static composition, the color priority above the light is moved into the background. Pointelist artist, creating any form or shadow with the help of a huge number of point smears, does not need lines, pi in contours. The depth of the image is achieved due to the fact that the objects are in front are larger and gradually decrease as they remove into perspective. At a distance, the color points are optically merged, giving a surprisingly natural impression of light, shadow, transition from one tone to another. According to Syur, not an artist with her brush, but the viewer's eye should mix color points into a living optical range.

Neo-simpressionism existed long. It turned out that the new technique taled in itself and negative moments. She leveled the individuality of the artist. In addition, neo-simpressionism proclaimed the inconsistency of the artist, rejected the spontaneity characteristic of impressionism. The works of the Pointelists are difficult to distinguish each other. Feeling this, K. Pisserro, at first carried away by this system, then destroyed all his cloths performed in this manner.

The period that lasted from about 1886 to 1906 is customary called by postpressionism. This pretty conditional term denotes a period of time, the boundaries of which are determined, on the one hand, the last exhibition of impressionists, on the other, the time of the appearance of the first actually modern flows, such as Formism and cubism.

Paul Cesann had a very important impact on the formation of art of modernism. Being a contemporary of impressionists, he preached a diametrically opposite approach to nature: not to capture its fleeting states, but to identify a steady essence. Intressionist unsubstantia, an impressionistic "excellent moment" Cezanne contrasted the condensed materiality, the duration of the state and underlined constructiveness. Painting Cesanna is volitional, she builds a picture of the world, as building a building. Elements are given: color, bulk form, spatial depth and plane of the picture. Of these ordinary originally, Cesann builds its own worlds in which there is something impressive, the grandiose, despite the small sizes of his canvases and a stingy set of plots (Saint-Victor Mountain in Exca, a pond with a bridge, houses, rocks, apples and a jar on the tablecloth).

Cezanne was mainly an artist for artists. None of the following artists escaped his influence, although for most viewers-non-professionals it is difficult, and at first glance and is boring in his external monotony: he has neither interesting plots, nor lyrism, nor a palette eye.

In a stable, thick orange-green-blue gamma Cezanne sculpts its landscapes. They do not have a "mood", but the rare landscape of another artist can withstand the neighborhood on the same wall. In the landscapes of Cezanne prefers a high horizon, so the space of the Earth coincides with the canvas plane; He shifts plans, summarizes the masses. Even reflections in the water he makes massive, architectonic. He does not recognize the amorphousity and turns in nature the powerful forms. The picture for Cesanna is a plastic concept of visible, concept, not imitation. The concept arises from the resolution of the contradictions between the properties of nature and the properties of the picture. Nature is in continuous motion and change, the picture is static in nature, and the task of the artist is to lead the movement to stability and equilibrium. In kind - an infinite diversity of whimsical forms, the human spirit is typically reduced to a little, simpler. Cezanne advises: "... TRACT NOTE through a cylinder, ball, cone." The volumes of Cezanne really feel like to simplify, as it does not want to illusively destroy the plane. His goal is to translate the phenomena of nature into the language of the picturesque categories, caring that the sensation of the plane remains, synthesized with the feeling of volume and depth. He achieves this special organization of space, sometimes resorting to deformations and shifts and combining several points of view in the same composition on the items depicted.

In still lifes, the surface of the table is squeezed on the viewer, asserting the plane of the picture, and the fruits lying on the table are shown under a different angle of view. The "degrees" to the plane, located like each other, swearing fruit volumes are perceived with double intensity, and the fruits themselves look monumentally, pristine. At the same time, the artist neglects the texture of objects: his apples are not from those that you want to eat, they seem made from some solid, cold and dense substance, as well as a jug and even a tablecloth.

Unlike Impressionists, Cezanna more attracted the materiality and greatness of the form, rather than changing the game of light and shadow. The impressionists set the requirement to finish the picture in one reception in order to have time to fix on the canvase "instant" feeling. Cezanne preferred to return to the selected place several times, creating a more worked and "artificial" image. Impressionists, seeking to "catch MiG", resorted to soft, air strokes, Cezanne enjoyed strong confident strokes, making his canvas more voluminous. In its refusal of the blind following the laws of the linear perspective, Cezanne went even further. In an effort to portray the bulk world on a flat canvas, he distorted the proportion and perspective, if the specific compositional principle required.

Cezanna managed to create a special artistic language. The idea that the picture is not opened into the world window (Renaissance), and the two-dimensional plane with its own laws of the visual language, became central in the avant-garde painting of the XX central. It is not by chance that Picasso called himself "grandson Cesanna."

In painting Cezanna, the trend of discrepancies between the values \u200b\u200bof plastic (visual) and the values \u200b\u200bof human actually: in terms of his search, there was equal mountain, apple, harlequin, smoker, etc. Cezann did not recognize artistic attitudes that disengaged with his own. He did not have the slightest interest in Japanese art. Decorativeness, stylization, open color, contour, who fascinated many of his contemporaries, caused a negative attitude. Just as the "literary spirit" and genreism, under the influence of which, considered Cezanne, the artist "can avoid his real vocation - a specific study of nature." He did not like Nor Gogen, nor Van Gogh, he seemed to not notice Toulouse-lotroid at all.

Creativity Toulouse-Lotrek ironically, but also humane. He does not "brand flap", but also does not present it as a savory dish: it is also excluded by a feeling of adherence, the artist's involvement of this world - he is also like them, "neither worse, nor better." Lotter's artistic language is inherent: the bright characterity of the image, expression, limiting laconicism. He willingly engaged in drawing poster. His decorative gift, Lapidar expression raised this genre to the height of genuine art. Among the founders of the "applied graphics" of the modern city - poster, posters, advertising - Lotrek belongs to the first place.

In just five years of work, V. Van Gogh created about 800 paintings and countless figures; Most of them were created in the last two or three years of his life. This story of painting did not know. Van Gogh Dragged his inspiration of the NA only in the ideas of impressionism, but also in the Japanese engraving, which helped him to leave naturalism to a more expressive and clear manner. Gradually, the color in its paintings is becoming more and more bold, and the manner is more free, energetic, helping the artist to transfer his feelings to the canvas. Unlike symbolists and P. Gogen, in whose work influenced symbolism, Van Gogh never wrote a fictional world: he was simply uninteresting to write "untrue creatures", his paintings always had a solid realistic basis. Wang Gogh worked always from nature, the few canvases that he wrote, following the advice of Gauguen, on the memoil or on imagination, were weaker. "Express yourself" for Van Gogh mellow to express feelings, Duma, Associations, born in that he saw and watched: people, nature, things.

Never left Van Gogh intense looking for the highest sense of life determine the rare combination of drama and festivity, which marked his mature creativity. It is imbued with a suffer delight before the beauty of the world, executed emotional contrasts. It finds an expression in a picturesque language built on contrasting color consonants and more than ever expressive. Picturesque handwriting Van Gogh allows you to enter direct contact with the artist, feel His passion and high drying of the soul. This also contributes to a high pace of work - blows with a brush, like a whip, colorful clots, disseminating zigzags, sounding like a breaking exclamation. Pictures also testify about sharp changes in the mood of the artist; Being a religious person, he noticed once that the world created by God is just his unsuccessful etude.

• Cm:. Dmitrieva N. A. Brief history of arts. M., 1993. Issue III. P. 55-56.
• See: ibid. P. 83.

Impressionism in painting

Sources

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, limitedly) 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 focuses on superficialness, momentum of the moment, mood, lighting or visual coal.

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 sides of life, without affecting social problems, including such 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 his 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. This later became the reason for the abnormal.

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, the style of impressionism worked many masters, but the basis of the movement was Eduar Mane, 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)

• Second exhibition (April)

Address: ul. Lepellet, 11 (Durane Gallery). Participants: Bazil (posthumously, the artist died in 1870), Belior, Bureau, Debuten, Degas, Kaibott, Calc, Lever, Lepik, Lepik, Mille, Monet, Morizo, L. Otten, Pissarro, Renoir, Rouer, Sisley, Tillan, Francois

• Third exhibition (April)

Address: ul. Lepellet, 6. Participants: Guillaumen, Degas, Kaibott, Calc, Corde, Lever, Lyami, Monet, Morizo, Moro, Piett, Pisserro, Renoir, Rouer, Cezanne, Sisny, Tilla, Francois.

• Fourth exhibition (April 10 - May 11)

Address: Avenue Opera, 28. Participants: Weekend, Mrs. Praemon, Gaugugen, Degas, Dzandomena, Kaibott, Calc, Cassat, Leber, Monet, Piett, Pissarro, Rouer, Somm, Tilla, Forew.

• Fifth exhibition (April 1 - April 30)

Address: ul. Pyramids, 10. Participants: Weekend, Mrs. Praemon, Vidal, Vignon, Guillaumen, Gaugugen, Degas, Dzandomena, Kaibott, Cassat, Lebour, Lever, Morizo, Pissarro, Rafaelli, Rouer, Tillan, Forene.

• Sixth exhibition (April 2 - May 1)

Address: Kapuchin Boulevard, 35 (Atelier Photographer Nadar). Participants: Vidal, Vignon, Guillaumen, Gauguin, Degas, Dzandomena, Cassat, Morizo, Pissarro, Rafaelli, Rouer, Tilla, Forene.

• Seventh exhibition (March )

Address: FOBURG-SENT-ONOROV, 251 (U DURA-RUYEL). Participants: Vignon, Guillaumen, Gaugugen, Kaibott, Monet, Morizo, Pisserro, Renoir, Sisley.

• Eighth exhibition (May 15 - June 15)

Address: ul. Luffitt, 1. Participants: Mrs. Pambone, Vignon, Guillaumen, Gauguin, Degas, Dzandomena, Cassette, Morizo, Camille Pissarro, Lucien Pissarro, Redon, Rouer, Syra, Signac, Tilla, Foreland, Shiffenecker.

Impressionism in literature

In the literature, impressionism did not work out as a separate direction, but his features were reflected in naturalism and symbolism.

First of all, it is characterized by an expression of the author's private impression, the refusal of an objective picture of reality, the image of each moment, which was supposed to entail the lack of a plot, history and replacement of thought by perception, and the reason - instinct. The main features of the Impressionist style formulated the gangur brothers in their work "Diary", where the famous phrase " See, feel, express - this is all art"It became a central position for many writers.

In Naturalism, the main principle was the truthfulness, loyalty of nature, but it is impressed, and therefore the appearance of reality depends on each individual personality and its temperament. It is most fully expressed in the novels of Emil Zol, its detailed descriptions of smells, sounds and visual perceptions.

Symbolism, on the contrary, demanded a refusal of the material world and return to ideal, however, the transition is possible only through mumbling impressions, revealing the secret essence in visible things. A vivid example of poetic impressionism is a collection of fields of Vilna "Romances without words" (). In Russia, the effect of impressionism was experienced by Konstantin Balmont and Innocent Annensky.

Also, these sentiments touched on drama (Impressionist drama), the passive perception of the world invades the play, the analysis of moods, mental states, the whole composition decays to a row of scenes filled with lyricism, and mimolet fragments are concentrated in dialogs. The drama becomes one-act, designed for intimate theaters. These signs found their complete reflection in the work of Arthur Schnitzer.

Impressionism in music

Music impressionism was one of the currents of the musical modern. It is characterized by the transfer of mumbling impressions, moods, subtle psychological nuances.

The founder of impressionism in music is the French composer Eric Sati, published in 1886 "three melodies", and in 1887 - "Three Sarabands" carrying out all the main features of a new style. The bold openings of Erica Sati five and ten years later were picked up and developed by two friends, the brightest representatives of impressionism, Claude Debussy and Maurice Ravey.

Literature

• Jean-Paul Celebrel. Casual life of impressionists 1863-1883, Moscow "Young Guard",
• Maurice Serural and Artlete Serilla. Encyclopedia Impressionism, Moscow "Republic",
• "Impressionism", Brodskaya.n.N. St. Petersburg, Aurora, 2002 (254 pages, 269 il., 7 auth. Text sheets)

Links

• Impressionism, N.V. Krodskaya, ed.Ahrora 2010

Impressionism
Representatives
American impressionism
Collectors
Museums
Other

Wikimedia Foundation. 2010.

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.

fr. Impression is the impression) - direction in the art of the last third of the XIX - NCH. XX centuries, whose representatives began to write landscapes and genre scenes directly from nature, trying to be very clean and intense paints to convey sun glare, wind blow, rustling grass, city crowd. Impressionists sought the most natural and unnecessary to capture the real world in its mobility and variability, transfer their fleeting impressions.

Excellent definition

Incomplete definition ↓

IMPRESSIONISM

franz. impressionnisme, from impression - impression), direction in the art of con. 1860 - NCH. 1880s. The most brightly manifested in painting. Leading representatives: K. Monte, O. Renoir, K. Pisserro, A. Guillaomen, B. Morizo, M. Kassat, A. Sisley, Kaibott and J. F. Bazil. Together with them, E. Mane and E. Degi's paintings were put up, although the style of their works cannot be called completely impressionistic. The name "Impressionists" was entrenched behind a group of young artists after their first joint exhibition in Paris (1874; Monet, Renoir, Pizarro, Degas, Sisley, etc.), which caused a fierce perturbation of the public and critics. One of the pictures presented by K. Monte (1872) was called "impression. Sunrise "(" L'Impression. Soleil Levant "), and the reviewer in the mockery called artists" impressions "-" impressed ". Painters acted under this title at the Third Joint Exhibition (1877). At the same time, they began to produce the magazine "Impressionist", each number of which was devoted to the work of one of the participants in the group.

Impressionists sought to capture the world around him in its constant variability, fluidity, impartially express their immediate impressions. Impressionism was based on the latest discoveries of optics and color theory (spectral decomposition of the solar beam on seven colors of the rainbow); In this, he was consonant with the spirit of scientific analysis characteristic of the con. 19th century However, the impressionists themselves did not try to determine the theoretical foundations of their art, insisting on the elementaryness, intuitive artist's creativity. Artistic principles of impressionists were not uniform. Monte wrote landscapes only in direct contact with nature, outdoors (at the plenier) and even built a workshop in a boat. Degas worked in the workshop on memories or using photos. Unlike representatives of later radical flows, the artists did not go beyond the renaissance illusory-spatial system based on the use of direct perspective. They firmly adhered to the method of working with nature, which was erected by them into the main principle of creativity. The artists sought to "write what you see" and "as you see." The consistent application of this method led to the transformation of all the basics of the established scenic system: coloritis, composition, spatial construction. Clean paints were applied on canvas with small separate strokes: multicolored "points" lay nearby, mixing in a colorful spectacle not on the palette and not on the canvas, but in the eye of the viewer. Impressionists reached the unprecedented sonicity of the flavor, the unprecedented wealth of shades. The smear has become an independent means of expressiveness, filling the surface of a lively flickering vibration of color particles. The canvas was likened by the transfusing precious colors of the mosaic. In the former painting, black, gray, brown shades prevailed; In the canvases of impressionists, paint brightly shone. The impressionists did not apply lightness for transmission of volumes, they abandoned dark shadows, the shadows in their paintings were also colored. Artists widely used additional colors (red and green, yellow and purple), which increased the intensity of the color of the color. In the paintings of Monet, the paint was lazy and dissolved in the radiance of the rays of sunlight, local colors acquired a lot of shades.

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).

Impressionists have developed new principles for constructing the composition. Previously, the space of the picture was likened to the stage platform, now the captured scenes resembled a snapshot, a photocade. Invented in 19 V. The photo has had a significant impact on the composition of the Impressionistic picture, especially in the work of E. Degi, who himself was a passionate photographer and, according to his own words, sought to catch the ballerin's ballerinas, see them "As if through the keyhole," when their poses, body lines Natural, expressive and reliable. Creating paintings in the open air, the desire to capture rapidly changing lighting forced artists to speed up the work, write "Alla Prima" (in one reception), without preliminary sketches. Fragmentality, "Accident" of the composition and dynamic pictorial manner created a feeling of special freshness in the pictures of impressionists.

Favorite impressionistic genre was a landscape; The portrait also presented a kind of "face landscape" (O. Renoir. "Portrait of an actress J. Samari", 1877). In addition, artists significantly expanded the circle of painting plots, contacting the themes, previously considered unworthy attention: folk festivities, jumps, picnics of artistic bohemia, the backstage of theaters, etc. However, there is no detailed story in their pictures; The human life is dissolved in nature or in the atmosphere of the city. Impressionists wrote not events, but sentiment, shades of feelings. Artists fundamentally rejected historical and literary topics, avoided portraying dramatic, dark sides of life (war, disaster, etc.). They sought to free the art from the implementation of social, political and moral tasks, from the obligation to assess the depicted phenomena. The artists challenged the beauty of the world, able to turn the most domestic motive (repair of the room, gray London fog, smoke of steam locomotives, etc.) to the enchanting spectacle (Kaibott. "Parquetters", 1875; K. Monet. "Station Saint-Lazar" , 1877).

In 1886, the last exhibition of Impressionists took place (O. Renoir and K. Monet participated in it). By this time, significant differences were discovered between the members of the group. The possibilities of the Impressionism method were exhausted, and each of the artists began to look for their own way in art.

Impressionism as a holistic creative method was the phenomenon of predominantly french art, but the work of impressionists had an impact on the entire European painting. The desire to update the artistic language, the evilution of the colorful palette, the exposure of pictorial techniques, from now on, firmly entered the arsenal of artists. In other countries, J. Whistler (England and USA), M. Lieberman, L. Corint (Germany), H. Srima (Spain) were close to impressionism. The impact of impressionism was experienced by many Russian artists (V. A. Serov, K. A. Korovin, I. E. Grabar, etc.).

In addition to painting, impressionism was embodied in the work of some sculptors (E. Degas and O. Roden in France, M. Rosso in Italy, P. P. Trubetskoy in Russia) in a lively free modeling of fluid soft forms, which creates a complex game of light on the surface of the material and sense of incompleteness of the work; In the postures captured the moment of movement, development. In music, proximity to impressionism is discovered by the works of K. Debussy ("Sails", "fog", "reflections in water", etc.).

Excellent definition

Incomplete definition ↓