Pictures of the Epoch of Impressionism. What is the difference between Russian impressionism in painting from French? Specificity of Impressionism philosophy

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

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

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

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

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

Speaking of the plot:

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

Color schemes

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

Composition

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

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

Forerunities

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

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

Value

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

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

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

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

art of the twentieth century.

The phrase "Russian Impressionism" is still a year ago cut the hearing an average citizen of our immense country. Each educated person knows about light, light and rapid French impressionism, can distinguish Monet from Mana and learn from all still lifes the sunflowers of Van Gogh. Someone heard something about the American branch of development of this direction of painting - more urban compared to French Landscapes of Gassam and portrait images of chase. But the existence of Russian impressionism researchers argue to this day.

Konstantin Korovin

The history of Russian impressionism began with the painting "Portrait of Chores" Konstantin Korovina, as well as with misunderstanding and condemning the public. To see this work for the first time, I. E. Repin did not immediately believe that the work was executed by the Russian painter: "Spaniard! I see. Boldly, juicy writes. Perfectly. But only this painting for painting. Spaniard, though with temperament ... ". Konstantin Alekseevich himself began writing his canvas in an impressionistic manner in student years, being not familiar with the pictures of Cezanna, Monet and Renuara, for a long time before his trip to France. Only thanks to the experienced eye of Polenov Korovin found out that he uses the technique of the French of the time to which intuitively came. At the same time, the Russian artist gives the stories that he uses for his paintings - a recognized masterpiece "Northern idyll", written in 1892 and stored in the Tretyakov Gallery, demonstrates us the love of Korovin to Russian traditions and folklore. This love artist instilled "Mammoth Circle" - a community of creative intelligentsia, which included Repin, Polenov, Vasnetsov, Vrubel and many other friends of the well-known Petrite Sava Mamontov. In Abramtsevo, where the Mamontov estate was located and where members of the artistic mug were gathered, Korovina was lucky to meet and work with Valentin Serov. Thanks to this acquaintance, the creativity of the artist Serov has acquired the features of light, light and rapid impressionism, which we see in one of his early works - "Open window. Lilac".

Portrait of chores, 1883

North idyll, 1886

Cherry, 1912.

Gurzuf 2, 1915

Pier in Gurzuf, 1914

Paris, 1933.

Valentin Serov

Painting Serov is permeated inherent in the inherent in Russian impressionism - in his paintings not only the impression of the artist seen, but also the state of his soul at the moment. For example, in the picture "Saint Mark in Venice", written in Italy, where Serov went to in 1887 due to severe illness, cold gray tones prevail, which gives us an idea of \u200b\u200bthe state of the artist. But, despite the enough gloomy palette, the picture is a reference impressionistic work, since the Serov managed to capture the real world in its mobility and variability, transfer their mumbling impressions. In the letter, the bride from Venice has written: "in the current century everything is written, no longer. I want, I want to be pleasant, and I will write only the Otradny. "

Open window. Lilac, 1886.

Square St. Mark in Venice, 1887

Girl with peaches (portrait V. S. Mammoth)

Coronation. Miropomanazing Nicholas II in the Assumption Cathedral, 1896

The girl illuminated by the sun, 1888

Bathing Horse, 1905

Alexander Gerasimov

One of the students of Korovin and Serov, who took off their expressive smear, a bright palette and an Etude Maneru of the letter, became Alexander Mikhailovich Gerasimov. The flourishing of artist's creativity came at the time of revolution, which could not not affect the plots of his paintings. Despite the fact that Gerasimov gave his brush to the party service and became famous thanks to the outstanding portrait of Lenin and Stalin, he continued to work on impressionistic landscapes close to his soul. The work of Alexander Mikhailovich "After the Rain" opens the artist as a master of air and light transmission masters in the picture, which Gerasimov is obliged to influence its eminent mentors.

Artists At the cottage from Stalin, 1951

Stalin and Voroshilov in the Kremlin, 1950s

After the rain. Wet terrace, 1935

Still life. Field bouquet, 1952

Igor Grabar

In a conversation about late Russian impressionism, it is impossible not to apply to the work of the great artist of the art of Igor Emmanuilovich Grabar, who took over many techniques of French painters in the second half of the XIX century due to their numerous trips to Europe. Using the techniques of classical impressionists, in their paintings, Grabar depicts absolutely Russian landscape motifs and household plots. While Monet paints the flowering gardens of the governion, and Degas - beautiful ballerinas, Grabar depicts the same pastel colors of a harsh Russian winter and a rustic life. Most of all, Grabar loved to portray on his canvases and dedicated him a whole collection of works consisting of more than one hundred small colorful sketches created at different times of the day and with different weather. The complexity of work on such drawings consisted that the paint was frozen in the cold, so it was necessary to work quickly. But it was precisely this and allowed the artist to recreate the "the very moment" and convey his impression from him, which is the main idea of \u200b\u200bclassical impressionism. Often the style of painting Igor Emmanuilovich is called scientific impressionism, because he attached great importance to the light and air on the canvases and created a lot of research on color transfer. Moreover, it is for him that it is obliged to the chronological location of the paintings in the Tretyakov Gallery, the director of which he was in 1920-1925.

Birch Alley, 1940

Winter landscape, 1954

Inay, 1905.

Pears on blue tablecloths, 1915

Corner of the manor (ray of the sun), 1901

Yuri Pimenov

Completely non-classical, but still impressionism developed in Soviet times, the bright representative of whom Yuri Ivanovich Pimenov becomes, who came to the image of a "fleeting impression in bedtime" after work in the style of expressionism. One of the most famous works of Pimenova becomes the picture "New Moscow" of the 1930s - light, warm, as if written by the Renoara air strokes. But at the same time, the plot of this work is completely not combined with one of the main ideas of impressionism - the refusal of the use of social and political topics. Novaya Moscow Pimenova Just greatly reflects social changes in the life of the city, which always inspired the artist. "Pimenov loves Moscow, her new, her people. The painter generously gives her his sense to the viewer, "the artist and researcher Igor Dolbopolov writes in 1973. And indeed, looking at the pictures of Yuri Ivanovich, we will penetrate the love of Soviet life, new quarters, lyrical newsnels and urbanisy, captured in the technique of impressionism.

The work of Pimenova once again proves that in the whole "Russian" brought from other countries, its own special and unique path of development. So, French Impressionism in the Russian Empire and the Soviet Union did the features of the Russian worldview, a national character and life. Impressionism as a way of transmitting one perception of reality in its pure form remained a stranger for Russian art, because each picture of Russian artists is filled with meaning, awareness, the state of the changeable Russian soul, and not just a fleeting impression. Therefore, already next weekend, when the Museum of Russian Impressionism will rendet the main exposition of Muscovites and the guests of the capital, everyone will find something for themselves among Sensual portraits of Serov, Pimenov's urbanistics and atypical landscapes for Kustodiyev.

New Moscow

Lyrical housewarming, 1965

Costume Big Theater, 1972

Early morning in Moscow, 1961

Paris. Street Saint-Dominica. 1958.

Stewardess, 1964.

Perhaps, for most people, the names of Korovin, Serov, Gerasimov and Pimenov are not related to a certain style of art, but the Museum of Russian Impressionism, which opened in May 2016, still collected the works of these artists under one roof.

Impressionism is a direction in painting, originated in France in the 1860s and a lot of determined the development of the 19th century art. The masters fixed their fleeting impressions, they sought the most natural and unnecessary to capture the real world in its mobility and variability. The central figures of this direction were Cezanne, Degas, Mana, Pisarro, Renoir, and Sila, and the contribution of each of them in its development is unique. Impressionists opposed the conventions of classicism, romanticism and academism, argued the beauty of everyday reality, simple, democratic motives, sought the lively reliability of the image, tried to catch the "impression" from what the eye sees at a particular point. The most typical for impressionists the topic is a landscape, but they also affected their work and many other topics. Degi, for example, portrayed jumps, ballerinas, laundry, and Renoir - charming women and children. In the impressionistic landscapes created in the open air, a simple, domestic motive is often transformed by the all-permissive moving light that makes a festive feeling in the picture. In certain techniques of impressionistic construction of the composition and space, the influence of Japanese engraving and partly photographs. Impressionists first created a multifaceted picture of the daily life of the modern city, captured the peculiarity of his landscape and the appearance of the people inhabiting his people, their life, labor and entertainment.

Monet Claude Oscar One of the founders of impressionism, in his paintings, the artist Monet from the second half of the 1860s sought to transfer the variability of the light-hearted medium, the colorful wealth of the world, while maintaining the freshness of the first visual impression of nature. From the name of the landscape of Monet "Impression. Ascending Sun "(" Impression. Soleil Levant "; 1872, Museum Marmottan, Paris) The name of impressionism occurred. In its landscape compositions ("Kapuchin Boulevard in Paris", 1873, "Rocks in Etretat", 1886, - both in GMIA, Moscow; "Field of Makov", 1880s, State Hermitage, St. Petersburg) Moneta recreated the vibration of light and air with the help of small separate spinless smears and additional tones of the main spectrum, calculating their optical alignment in the process of visual perception. In an effort to capture the diverse transitional states of nature at different times of the day and with different weather, Monet created in the 1890s series of variations for one plot motive in the 1890s (Personal Cathedrals series, State Museum of Fine Arts named after A. S. Pushkin, Moscow , and other meetings). For the late period of MONE creativity, decolation is characterized, increasing dissolution of the subject forms in sophisticated combinations of color spots.

Degi Edgar. Starting with strict on the composition of historical paintings and portraits ("Family Belelli", about 1858), Degi in the 1870s came close to the representatives of Impressionism, turned to the image of modern urban life - streets, cafes, theatrical ideas ("Consent Square", about 1875; "Absinthe", 1876). In many works, degas shows the characterity of behavior and the appearance of people generated by the features of their life, reveals the mechanism of a professional gesture, poses, human movement, its plastic beauty ("ironing teams", 1884). In the approval of the aesthetic significance of the life of people, their everyday classes affects a kind of humanism of Degi's creativity. The art of degs is inherent in the connection of the beautiful, sometimes fantastic, and prosaic: transmitting the festive spirit of the theater in many ballet scenes, Pastel, 1878). The artist, like a sober and subtle observer, at the same time fixes the tedious workful work hiding behind the elegant entertainment ("Dance Exam", Pastel, 1880). The products of the degi with their strictly verified and at the same time dynamic, often asymmetric composition, an accurate flexible pattern, unexpected angles, active interaction of the figure and space combine the seeming imperfect and the randomness of the motive and architectonics of the picture with careful thoughtfulness and calculation. Late Degi works are highlighted by the intensity and wealth of colorite, which are complemented by the effects of artificial lighting, enlarged, almost plane forms, the constraint of the space that gives it a stress-dramatic character ("blue dancers", pastel). Since the end of the 1880s, Degi has been engaged in a lot of sculpture, seeking expressiveness in the transmission of instant movement ("Dancer", Bronze).

Renoir Pierre OwstIn 1862-1864, Renuar studied in Paris at the school of graceful arts, where he became closer to future condes on impressionism by Claude Monet and Alfred Siseli. Renoir worked in Paris, visited Algeria, Italy, Spain, Holland, the United Kingdom, Germany. In the early works of Renoara affects the influence of Hustava Kourba and the works of the young Eduar man ("Harchevnya Mother Antoni", 1866,). At the turn of the 1860-1870s, Renoir moves to painting at the plenier, organically, including human figures in a changeable light-air environment ("Swimming on Seine", 1869). Renuara's palette brightens, light dynamic smear becomes transparent and vibrating, color is saturated with silver-pearl reflexes ("Lodge", 1874). The depiction of episodes caught from the flow of life, random life situations, Renoir gave preference to the festive scenes of urban life - Balam, dancing, walks, as if trying to embody in them the sensual fullness and the joy of being ("Moulin de la Gall", 1876). Poetic and charming female images are specialized in the work of Renoara: internally different, but externally slightly similar among themselves, they seemed to be marked by the common seal of the era ("after lunch", 1879, "umbrellas", 1876; portrait of an actress Zhanna Samari, 1878) . In the image of the nude nature, Renoir reaches a rare sophistication of the carnations, built on a combination of warm bodily tones with sliding light greenish and gray-blue reflexes, giving the smoothness and mattness of the surface of the canvas ("Naked woman sitting on the couch", 1876). Wonderful colorist, Renoir often achieves the impression of painting monochromicity with the thinnest combinations of close on the color of the tones ("girls in black", 1883). Since the 1880s, Renoir has increasingly for the classical clarity and generalization of forms, in his painting the features of decorativeness and serene idyllism ("big swimsters", 1884-1887). Laconism, ease and urgency strokes are distinguished by numerous drawings and etchings ("swimsters", 1895) Renuara.

Mana Eduar The creativeness of Georgeon, Titian, Hals, Velasquez, Goya, Delacroix had a significant impact on the formation of Mana as an artist. In the works of the late 1850s - early 1860s, which made up the gallery of acutely transmitted human types and characters, Mane combined the vitality of the image with the romanticization of the external appearance of the model ("Lola from Valencia", 1862). Using and rethinking the plots and motifs of painting the old masters, Mane sought to fill them with relevant content, sometimes to make an image of a modern person ("Breakfast on the grass", Olympia - both 1863). In the 1860s, Eduar Mana turned to the themes of modern history ("the execution of the emperor Maximiliana", 1867), but the penetration of Mana to modernity was manifested primarily in scenes, as if gratened from everyday life, full of lyrical spirituality and internal significance (" Breakfast in the workshop "," Balcony "- both 1868), as well as in portraits close to them in art (portrait of Emil Zol, 1868, portrait of Berth Morizo, 1872). Eduar Mana anticipated by the appearance, and then became one of the founders of impressionism. In the late 1860s, Mane became close to Edgar Degas, Claude Monet, Auguste Renoir, moved from deaf and dense tones, a tense flavor with a predominance of dark flowers to light and free plenary painting ("in the boat", 1874, Metropolitan Museum; " In the zucchka dad Latuille, "1879). Many works are characterized by impressionistic picturesque freedom and fragmentation of the composition, the light-saturated colorful vibrating gamma ("Argenty"). At the same time, Mane retains the clarity of the drawing, gray and black tones in color, gives preference not to the landscape, and the domestic plot with a pronounced socio-psychological shareholder (a clash of dreams and reality, the ghost of happiness in the sparkling and festive world - in one of the last pictures mana "Bar in Foli-Berger, 1881-1882). In 1870-1880, Mane worked a lot in the field of portrait, expanding the possibilities of this genre and turning it into a kind of study of the inner world of the contemporary (portrait of S. Mallharma, 1876), wrote landscapes and still lifes ("Lilac Bouquet", 1883), He performed as a draftsman, a master of etching and lithographs.

Pissarro Camille. Tried the effect of John Constable, Camille Coro, Jean Francois Mill. One of the leading Masters of Impressionism, Pisserro in numerous rural landscapes revealed poetry and charm of nature of France, using a soft scenic gamut, a fine transmission of a light-hearted state gave charm of freshness by the most unassuming motifs ("plowed ground", 1874; "Tacchus", 1879,) . Subsequently, Pissarro often appealed to the city landscape ("Boulevard Montmartre", 1897; "Opera pass in Paris", 1898). In the second half of the 1880s, Pissarro was sometimes used by the picturesque technique of neo-simpressionism. Pissarro played one of the main roles in the organization of exhibitions of impressionists. In their works, Camille Pisserrro managed to avoid the extreme manifestation of the Plenuel, when the material objects seem to dissolve in the flicker of the light-hearted space ("Snow in Luvuresenne"; "Street in Luvuresenne", 1873). Many of his work is distinguished by interest in characteristic expressiveness, even portrait inherent in urban landscape ("View of Rouen", 1898)

Sisley Alfred Tried the effect of Camille Coro. One of the leading Masters of Impressionism, Sisley wrote an unassuming based on the scenery of Paris's neighborhoods marked with thin lyrics and weathered in the fresh and restrained light gamut. Landscapes of Sisley, transmitting the true atmosphere of Il de France, keep a special transparency and softness of natural phenomena of all seasons ("Little Square in Argentee", 1872, "Flood in Marley", 1876; "Frost in Luvurezenne", 1873, "Forest edge in Fontainebleau", 1885).

The charming images of the nature of the artist Alfred Sisley with a slight touch of sadness fascinating the amazing movement of the mood at a given time (the "coast of the village of Buhvyha", 1876). From the mid-1880s, the features of colorful decorativeism are growing in the work of silence.

Output: Masters of impressionism fixed their fleeting impressions, they sought the most natural and unbiased to capture the real world in its mobility and variability. E. Mane (formally not part of the Impressionist group), O. Rewar, E. Degi included the freshness and impedition of life perception, turned to the image of instant, grated from the stream of reality situations, human spiritual life, image of strong passions, spirituality of nature, interest

to the national past, the desire for synthetic art forms is combined with the motives of world sorrow, a "night" side of the human soul, with the famous "romantic irony", which allowed the romance to safely compare and equalize high and lowland, tragic and Comic, real and fantastic. We used fragmentary, reality situations, used fragmentary, at first glance unbalanced composite construction, unexpected perspectives, points of view, slices of figures. In 1870-1880, the landscape of French Impressionism is formed: K. Monte, K. Pisserro, A. Sisley developed a consistent system of plenuer, created a feeling of sparkling sunlight, the richness of the colors of nature, dissolving the forms in the vibration of light and air.

Impressionism is one of the most famous directions of French painting, if not the most famous. And it was born in the late 60s and early 70s of the XIX century and largely influenced the further development of the art of the time.

Impressionism in painting

The name " impressionism"It was invented by the French artistic critic name named Louis Leria after visiting the first exhibition of Impressionists in 1874, where he criticized the picture of Claude Monet" Impression: the ascending sun "(" impression "in the translation to French sounds like" impression ").

Claude Monet, Camille Pissarro, Edgar Degas, Pierre Auguste Renoir, Frederick Basil - the main representatives of impressionism.

Impressionism in painting is characterized by rapid, spontaneous and free strokes. The leading principle was a realistic image of a light-air environment.

Impressionists sought to capture an elusive moments on canvas. If the object appears in unnatural color, due to a certain angle of falling the light or reflection, then the artist so it depicts it: for example, if the sun paints the surface of the pond in pink color, then it will be written in pink.

Features of impressionism

Speaking about the main features of impressionism, it is necessary to name the following:

• immediate and optically accurate image of a fleeting point;
• execution of all outdoor work - more than any preparatory sketches and completion of work in the studio;

• using clean color on canvas, without prior mixing on the palette;
• the use of spray bright paint, smears of different magnitude and degree of squeaming, which visually add up in one picture, only if you look at it from the distance.

Russian Impressionism

One of the masterpieces of Russian painting is considered a reference portrait in this style - "Girl with peaches" of the authorship of Alexander Serov, for which impressionism, nevertheless, has become only a period of hobbies. Konstantin Korovin, Abraha Arkhipov, Philip Maalyavina, Igor Grabar and other artists are also refined to Russian impressionism.

This personality is rather conditional, since Russian and classic French impressionism have their own specifics. Russian impressionism was closer to the materiality, the subjects of works, it was to the artistic meaning, while French impressionism, as mentioned above, simply sought to portray moments of life, without unnecessary philosophy.

In fact, Russian impressionism took over from the French only the outer side of the style, the techniques of his painting, but never learned the very picturesque thinking invested in impressionism.

Modern impressionism continues the traditions of classic French impressionism. In modern painting of the XXI century, many artists operate in this direction, for example, Laurent Parkarel, Karen Tarlton, Diana Leonard and others.

Impressionism masterpieces

"Terrace in Saint Address" (1867), Claude Monet

This picture can be called the first masterpiece Monet. It is still the most popular picture of early impressionism. Here, too, there is a favorite theme of the artist - flowers and the sea. A few people are depicted on the canvas at the terrace on a sunny day. On chairs, back to the audience, the relatives of Monte itself are depicted.

The whole picture is filled with bright sunlight. The clear boundaries between the Earth, the sky and the sea are divided, organizing the composition vertically with the help of two flagpoles, but does not have a clear center composition. Flag colors are combined with the surrounding nature, emphasizing the variety and saturation of the paints.

"Ball in Moulin de la Gaette" (1876), Pierre Auguste Renoir

This picture is depicting a typical Sunday day in Paris of the XIX century, in Moulin de La Galette - a cafe with an open dance floor, whose name corresponds to the name of the mill, which is nearby and is a symbol of Montmartre. Next to this cafe was located the house of Renuara; He often visited the daytime Sunday dances and loved to watch happy couples.

Renoir demonstrates real talent and combines the art of a group portrait, still life and landscape painting in one picture. Using light in this composition and smooth smears best represent a wide viewer style impressionism. This picture has become one of the most expensive paintings ever sold at auctions.

"Montmartre Boulevard at night" (1897), Camille Pissarro

Despite the fact that Pissarro is famous for his paintings with the image of rural life, he also wrote a large number of beautiful urban stories of the XIX century in Paris. He loved to write the city because of the game of Light during the day and evening, due to roads lit as sunlight and street lamps.

In 1897, he rented a room on Montmartre Boulevard and depicted it at different times of the day, and this work became the only work from the series captured after the night came. The canvas filled with thick blue and bright yellow spots of urban lights. In all the pictures of the "boulevard" cycle, the main rod of the composition is the dealer distance.

Now the picture is located in the National Gallery of London, but during the life of Pissarro she never exhibited anywhere.

Watch the video about the history and conditions of creativity of the main representatives of impressionism here:

Impressionism- 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.

Painting.

Impressionism originated in France in the second half of the XIX century. Young artists wanted to go beyond classical painting. That was not so easy: no criticism, nor the public wanted to take pictures, so much different from the usual academic painting in the "antique" style.

The pictures of the artists of the new direction and did not count for the paintings, they were so similar to quick sketches.

But this was the essence of the new destination - to catch the moment, show the life like it is. The plots of impressionists do not come up with, they take them from everyday life: that's all that can see anyone, only going out.

Artists began to use a completely new drawing technique. The paints on the easel were not mixed, and they were superimposed on the canvas with separate strokes. Therefore, to make a holistic idea of \u200b\u200bthe picture, they should be considered from a short distance, and not near. With such perception, clear separate strokes are smoothly moving into each other, and there is an idea of \u200b\u200bthe picture.

Unlike the masters of the past, the impressionists did not work in the workshops, ending and modifying their sketches there. It is among them that the popular film technology is becoming a popular technique - that is, open air works. The artists leveled to the suburbs (the Fontainblo Fountains was especially popular), where Picnic sketched, or depicted the scenes of Paris Life: Monet and Renoir often portrayed scenes on the Seine's embankments, a series of Renoire paintings from Moulin de La La La La La La La La La La Galet is also known.

But far from always impressionists were interested in people or nature. It was much more interesting to transmit, for example, the movement of the air or the fall of the sun's rays. For example, on the picture of the Saint-Lazar train station, the main subject of the image is not even the station or train, and smoke that clubs rises from the smoking pipe.

The new course differed from academic painting, both in technical and ideological terms. First of all, the impressionists refused the contour, replacing it with small separate and contrasting strokes. 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

In general, in the style of impressionism, many masters worked, but the basis of the movement was Eduar Mana, Claude Monet, Auguste Renoir, Degas. 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.

Artists. (Many, but briefly know about their creativity)

How organically merged in the art of impressionists of tradition and innovation, indicates, above all, the work of an outstanding painter of the XIX century Eduar Man. Meanwhile, in these works, as in the future, their work, the artist relies on the experience of classical art. In an effort to aesthetically comprehend the modern life, mana uses majestic compositional schemes of the painters of Renaissance, starting with Georgeon and Titian and up to Velasquez and Goya. His paintings, a number of portraits and other works of the 1860s are written in a traditional picturesque manner, although the desire to open color and natural lighting is already felt here. Later, the palette mana becomes noticeably lighter. One of the first, he began to write on a pure-white soil, then "loading" his juicy bright smears of bright solar colors, then covering the finest halftons of noble pinkish and gray-nasy shades. He possessed a gift to transfer the infinite wealth of the paints and the living trepacy of the objective world, which was particularly clearly manifested in the still life - "None of the contemporaries of Mana could write still life better than he" innovation Mane was that he managed to look at a new way, unbiased to look at Environmental reality and expand the circle of phenomena to which visual arts addressed. He was not afraid to make the object of genuinely high art and embody in the perfect pictorial forms of such aspects of life and human relations, from which artists turned away or did not notice them.

In the art center Edgar Degas Always stood a man, while the landscape, almost the leading genre of impressionists, did not play in his work of a significant role. Large admirer of Engra, he attached an exceptional value of the drawing. In Italy, he admired Manteny, from French artists was interested in Pussen and copied his paintings. Degas passes under the influence of Mana to the image of the scenes of modern life. His main topics are the world of ballet and horse racing, only in rare cases, he goes beyond their limits, turning to the life of the Paris Bohemia, depicting modists, smoothlings and laundors. The innovation of the degass in the transmission of motion is inextricably linked with its compositional skill. He is even stronger than that of mana, it is not necessary, chance, the gravity of a separate episode from the stream of life. It reaches this unexpected asymmetry and the unusual point of view (often from above or side, at an angle), the "recklessness" of the space, as if peeped in the mirror, expressive cadry and bold frame cuts. This feeling of naturalness and complete freedom was conquered by hard labor, accurate calculation and addition of composite construction.

It is difficult to imagine a big antithhesi of the art of degi than painting Auguste Renoara One of the most sunny and life-affirming artists of France, which A.V. Lunacharsky called the painter of happiness. The highest renuclear achievements are associated with the image of women and children. His favorite type - women with magnificent forms, swelling lips, knotted nose and charming thoughtless eyes. He writes them dressed and naked, on the street in the rain, on a swing in the garden, during a bathing or breakfast with tanned boatmen. His models - girls from the people and poor bourgeoisles, healthy and fresh, not knowing the corset and not shy by their nudity