Impressionism constituted an entire era in French art in the second half of the 19th century. The hero of the Impressionist paintings was light, and the task of the artists was to open people's eyes to the beauty of the world around them. Light and color could best be conveyed with quick, small, voluminous strokes. The impressionistic vision was prepared by the entire evolution of artistic consciousness, when movement began to be understood not only as movement in space, but as the general variability of the surrounding reality.

Impressionism - (French impressionnisme, from impression - impression), a trend in art of the last third of the 19th - early 20th centuries. It took shape in French painting in the late 1860s - early 70s. The name “impressionism” arose after the exhibition of 1874, which exhibited the painting by C. Monet “Impression. Rising Sun". At the time of the maturity of impressionism (70s - first half of the 80s), it was represented by a group of artists (Monet, O. Renoir, E. Degas, K. Pissarro, A. Sisley, B. Morisot, etc.), united for struggle for the renewal of art and overcoming the official salon academism and organized 8 exhibitions for this purpose in 1874-86. One of the creators of impressionism was E. Manet, who was not part of this group, but back in the 60s and early 70s. who performed with genre works, in which he rethought the compositional and pictorial techniques of the masters of the 16th-18th centuries. in relation to modern life, as well as scenes of the Civil War of 1861-65 in the United States, the execution of the Parisian Communards, giving them a sharp political focus.

The Impressionists depicted the surrounding world in perpetual motion, the transition from one state to another. They began to paint a series of paintings, wanting to show how the same motif changes depending on the time of day, lighting, weather conditions, etc. (cycles Boulevard Montmartre by C. Pissarro, 1897; Rouen Cathedral, 1893- 95, and "London Parliament", 1903-04, C. Monet). Artists have found ways to reflect in the paintings the movement of clouds (A. Sisley. “Louan in Saint-Mamme”, 1882), the play of glare of sunlight (O. Renoir. “Swing”, 1876), gusts of wind (C. Monet. “Terrace in Sainte-Adresse", 1866), streams of rain (G. Caillebotte. "Jer. Effect of rain", 1875), falling snow (C. Pissarro. "Opera passage. Snow effect", 1898), swift running of horses (E. Manet "Races at Longchamp", 1865).

Now that the heated debate about the meaning and role of Impressionism is a thing of the past, hardly anyone will dare to dispute that the Impressionist movement was a further step in the development of European realistic painting. "Impressionism is, first of all, the art of observing reality, which has reached unprecedented refinement."

Striving for maximum immediacy and accuracy in the transfer of the world around them, they began to paint mainly in the open air and raised the importance of a study from nature, which almost supplanted the traditional type of painting, carefully and slowly created in the studio.

The Impressionists showed the beauty of the real world, in which every moment is unique. Consistently clarifying their palette, the Impressionists freed painting from earthy and brown varnishes and paints. Conditional, "museum" blackness in their canvases gives way to an infinitely diverse play of reflexes and colored shadows. They immeasurably expanded the possibilities of fine art, discovering not only the world of sun, light and air, but also the beauty of the London fogs, the restless atmosphere of the life of a big city, the scattering of its night lights and the rhythm of incessant movement.

By virtue of the very method of working in the open air, the landscape, including the urban landscape discovered by them, occupied a very important place in the art of the Impressionists.

However, it should not be assumed that the painting of the Impressionists was characterized only by a “landscape” perception of reality, for which critics often reproached them. The thematic and plot range of their work was quite wide. Interest in a person, and in particular in the modern life of France, was inherent in a number of representatives of this art direction in a broad sense. His life-affirming, basically democratic pathos clearly opposed the bourgeois world order. In this one cannot fail to see the continuity of impressionism in relation to the main line of development of French realistic art of the 19th century.

Depicting landscapes and forms using colored dots, the Impressionists questioned the solidity and materiality of the surrounding things. But the artist cannot be satisfied with one impression; he needs a drawing that organizes a complete picture. Beginning in the mid-1880s, a new generation of Impressionist artists associated with this art movement put more and more new experiments in their painting, as a result of which an increasing number of Impressionist movements (varieties), art groups and exhibition venues of their work.

The artists of the new direction did not mix different colors on the palette, but painted with pure colors. By placing a dab of one paint next to another, they often left the surface of the paintings rough. It has been observed that many colors become brighter next to each other. This technique is called the complementary color contrast effect.

Impressionist artists were sensitive to the slightest changes in the state of the weather, as they worked on nature and wanted to create an image of a landscape where the motif, colors, lighting would merge into a single poetic image of an urban or rural area. The Impressionists emphasized color and light at the expense of pattern and volume. Disappeared clear contours of objects, contrasts and chiaroscuro were forgotten. They sought to make the picture look like an open window through which the real world is visible. This new style influenced many artists of the time.

It should be noted that, like any direction in art, impressionism has its advantages and disadvantages.

Disadvantages of Impressionism:

French impressionism did not raise philosophical problems and did not even try to penetrate the colored surface of everyday life. Instead, impressionism focuses on superficiality, the fluidity of the moment, mood, lighting, or angle of view.

Like the art of the Renaissance (Renaissance), impressionism is built on the features and skills of perceiving perspective. At the same time, the Renaissance vision explodes with the proven subjectivity and relativity of human perception, which makes color and form autonomous components of the image. For impressionism, it is not so important what is shown in the figure, but how it is shown is important.

Their paintings represented only the positive aspects of life, did not violate social problems, and bypassed such problems as hunger, disease, death. This later led to a split among the Impressionists themselves.

Advantages of Impressionism:

The advantages of impressionism as a trend include democracy. By inertia, art in the 19th century was considered a monopoly of aristocrats, the upper strata of the population. It was they who acted as the main customers for murals, monuments, it was they who were the main buyers of paintings and sculptures. Plots with the hard work of the peasants, the tragic pages of our time, the shameful aspects of wars, poverty, social turmoil were condemned, not approved, not bought. Criticism of the blasphemous morality of society in the paintings of Theodore Gericault, Francois Millet found a response only from supporters of artists and a few experts.

The Impressionists in this matter occupied quite compromise, intermediate positions. Biblical, literary, mythological, historical plots inherent in official academicism were discarded. On the other hand, they ardently desired recognition, respect, even awards. Illustrative is the activity of Edouard Manet, who for years sought recognition and awards from the official Salon and its administration.

Instead, a vision of everyday life and modernity appeared. Artists often painted people in motion, during fun or relaxation, imagined a view of a certain place in a certain light, nature was also the motive of their work. They took subjects of flirting, dancing, staying in cafes and theaters, boat trips, on beaches and in gardens. Judging by the paintings of the Impressionists, life is a series of small holidays, parties, pleasant pastimes outside the city or in a friendly environment (a number of paintings by Renoir, Manet and Claude Monet). The Impressionists were among the first to paint in the air, without finalizing their work in the studio.

impressionism manet painting

Introduction

Impressionism as a phenomenon in art

Impressionism in painting

Artists - Impressionists

3.1 Claude Monet

3.2 Edgar Degas

3.3 Alfred Sisley

3.4 Camille Pissarro

Conclusion

Bibliographic list

Introduction

This essay is dedicated to impressionism in art - painting.

Impressionism is one of the brightest and most important phenomena in European art, which largely determined the entire development of contemporary art. At present, the works of the Impressionists, who were not recognized at the time, are highly valued and their artistic merit is undeniable. The relevance of the chosen topic is explained by the need for every modern person to understand the styles of art, to know the main milestones of its development.

I chose this topic because Impressionism was a kind of revolution in art that changed the idea of ​​works of art as integral, monumental things. Impressionism brought to the fore the individuality of the creator, his own vision of the world, pushed political and religious subjects, academic laws into the background. Interestingly, emotions and impressions, rather than plot and morality, played a major role in the works of the Impressionists.

Impressionism (fr. impressionnisme, from impression- impression) - a trend in art of the last third of the 19th - early 20th centuries, which originated in France and then spread throughout the world, whose representatives sought to most naturally and impartially capture the real world in its mobility and variability, to convey their fleeting impressions. Usually, the term "impressionism" means a direction in painting, although its ideas have also found their embodiment in literature and music.

The term "impressionism" arose from the light hand of the critic of the magazine "Le Charivari" Louis Leroy, who titled his feuilleton about the Salon of the Les Misérables "Exhibition of the Impressionists", based on the name of this painting by Claude Monet.

Auguste Renoir Paddling pool, Metropolitan Museum of Art, New York

origins

During the Renaissance, the painters of the Venetian school tried to convey living reality using bright colors and intermediate tones. The Spaniards took advantage of their experiences, this is most clearly expressed by such artists as El Greco, Velazquez and Goya, whose work subsequently had a serious influence on Manet and Renoir.

At the same time, Rubens makes the shadows on his canvases colored using transparent intermediate shades. According to Delacroix, Rubens displayed light with subtle, refined tones, and shadows with warmer and more saturated colors, conveying the effect of chiaroscuro. Rubens did not use black, which would later become one of the main principles of Impressionist painting.

Édouard Manet was influenced by the Dutch artist Frans Hals, who painted with sharp strokes and loved the contrast of bright colors and black.

The transition of painting to impressionism was also prepared by English painters. During the Franco-Prussian War (1870-1871), Claude Monet, Sisley and Pissarro traveled to London to study the great landscape painters Constable, Bonington and Turner. As for the latter, already in his later works it is noticeable how the connection with the real image of the world disappears and the withdrawal into the individual transmission of impressions.

Eugene Delacroix had a strong influence, he already distinguished local color and color acquired under the influence of lighting, his watercolors painted in North Africa in 1832 or in Etretat in 1835, and especially the painting "The Sea at Dieppe" (1835) allow us to speak of him as a forerunner of the Impressionists.

The last element that influenced the innovators was Japanese art. Since 1854, thanks to exhibitions held in Paris, young artists have been discovering masters of Japanese printmaking such as Utamaro, Hokusai and Hiroshige. A special, hitherto unknown in European fine art, the arrangement of the image on a sheet of paper - a displaced composition or a composition with an inclination, a schematic transfer of form, a penchant for artistic synthesis, won the favor of the Impressionists and their followers.

Story

Edgar Degas, blue dancers, 1897, Pushkin Museum im. Pushkin, Moscow

The beginning of the search for the Impressionists dates back to the 1860s, when young artists were no longer satisfied with the means and goals of academicism, as a result of which each of them independently seeks other ways to develop his style. In 1863, Edouard Manet exhibited the painting “Luncheon on the Grass” in the “Salon of the Rejected” and actively spoke at the meetings of poets and artists in the Guerbois cafe, which were attended by all the future founders of the new movement, thanks to which he became the main defender of modern art.

In 1864, Eugene Boudin invited Monet to Honfleur, where he lived all autumn, watching how his teacher painted sketches in pastel and watercolor, and his friend Jonkind applied paint to his work with vibrating strokes. It was here that they taught him to work in the open air and write in light colors.

In 1871, during the Franco-Prussian War, Monet and Pissarro leave for London, where they get acquainted with the work of the forerunner of Impressionism, William Turner.

Claude Monet. Impression. Sunrise. 1872, Marmottan-Monnet Museum, Paris.

The emergence of the name

The first important exhibition of the Impressionists took place from 15 April to 15 May 1874 in the studio of the photographer Nadar. There were presented 30 artists, in total - 165 works. Canvas Monet - “Impression. Rising Sun" ( Impression, soleil levant), now in the Musée Marmottin, Paris, written in 1872, gave birth to the term "impressionism": the obscure journalist Louis Leroy, in his article in the magazine "Le Charivari", to express his disdain, called the group "Impressionists". Artists, out of a challenge, accepted this epithet, later it took root, lost its original negative meaning and came into active use.

The name "Impressionism" is rather empty, unlike the name "Barbizon School", where at least there is an indication of the geographical location of the artistic group. There is even less clarity with some artists who were not formally included in the circle of the first impressionists, although their techniques and means are completely “impressionistic” (Whistler, Edouard Manet, Eugene Boudin, etc.) In addition, the technical means of the Impressionists were known long before the 19th centuries and they were (partially, limitedly) used by Titian and Velasquez, without breaking with the dominant ideas of their era.

There was another article (authored by Emile Cardon) and another title - "The Rebel Exhibition", absolutely disapproving and condemning. It was it that accurately reproduced the disapproving attitude of the bourgeois public and criticism towards the artists (Impressionists), which dominated for years. The Impressionists were immediately accused of immorality, rebellious moods, failure to be respectable. At the moment, this is surprising, because it is not clear what is immoral in the landscapes of Camille Pissarro, Alfred Sisley, the everyday scenes of Edgar Degas, the still lifes of Monet and Renoir.

Decades have passed. And a new generation of artists will come to a real collapse of forms and impoverishment of content. Then both the critics and the public saw in the condemned Impressionists - realists, and a little later, the classics of French art.

Impressionism as a phenomenon in art

Impressionism, one of the most striking and interesting trends in French art of the last quarter of the 19th century, was born in a very difficult environment, characterized by variegation and contrasts, which gave impetus to the emergence of many modern trends. Impressionism, despite its short duration, had a significant impact on the art of not only France, but also other countries: the USA, Germany (M. Lieberman), Belgium, Italy, England. In Russia, the influence of impressionism was experienced by K. Balmont, Andrei Bely, Stravinsky, K. Korovin (the closest in aesthetics to the impressionists), the early V. Serov, and also I. Grabar. Impressionism was the last major artistic movement in France in the 19th century, drawing the line between modern and modern art.

According to M. Aplatov, “pure impressionism probably did not exist. Impressionism is not a doctrine, it could not have canonized forms ... French Impressionist painters, to varying degrees, have one or another of its features. Usually, the term "impressionism" means a direction in painting, although its ideas have found their embodiment in other forms of art, for example, in music.

Impressionism is, first of all, the art of observing reality, conveying or creating an impression, which has reached unprecedented refinement, an art in which the plot is not important. This is a new, subjective artistic reality. The Impressionists put forward their own principles of perception and display of the surrounding world. They erased the line between the main objects worthy of high art and secondary objects.

An important principle of Impressionism was the departure from typicality. Transience, a casual look has entered art, it seems that the canvases of the Impressionists were written by a simple passer-by walking along the boulevards and enjoying life. It was a revolution in vision.

The aesthetics of impressionism took shape in part as an attempt to decisively free itself from the conventions of classic art, as well as from the persistent symbolism and thoughtfulness of late romantic painting, which offered to see encrypted meanings in everything that needed careful interpretation. Impressionism affirms not only the beauty of everyday reality, but also makes artistically significant the perceived variability of the surrounding world, the naturalness of a spontaneous, unpredictable, random impression. The Impressionists strive to capture its colorful atmosphere without detailing or interpreting it.

As an artistic movement, impressionism, in particular in painting, quickly exhausted its possibilities. Classical French impressionism was too narrow, and few remained true to its principles all their lives. In the process of development of the impressionistic method, the subjectivity of pictorial perception overcame objectivity and rose to an ever higher formal level, opening the way for all currents of post-impressionism, including Gauguin's symbolism and Van Gogh's expressionism. But, despite the narrow time frame - some two decades, impressionism brought art to a fundamentally different level, having a significant impact on everything: modern painting, music and literature, as well as cinema.

Impressionism introduced new themes; works of a mature style are distinguished by their bright and spontaneous vitality, the discovery of new artistic possibilities of color, the aestheticization of a new pictorial technique, the very structure of the work. It is these features that arose in impressionism that are further developed in neo-impressionism and post-impressionism. The influence of impressionism as an approach to reality or as a system of expressive techniques was found in almost all art schools of the early 20th century; it became the starting point for the development of a number of trends, up to abstractionism. Some of the principles of impressionism - the transmission of instantaneous movement, the fluidity of form - manifested themselves to varying degrees in the sculpture of the 1910s, by E Degas, Fr. Rodin, M. Golubkina. Artistic impressionism to a large extent enriched the expressive means in literature (P. Verlaine), music (C. Debussy), theater.

2. Impressionism in painting

In the spring of 1874, a group of young painters, including Monet, Renoir, Pizarro, Sisley, Degas, Cezanne and Berthe Morisot, neglected the official Salon and staged their own exhibition, later becoming the central figures of the new direction. It took place from April 15 to May 15, 1874 in the studio of the photographer Nadar in Paris, on the Boulevard des Capucines. There were presented 30 artists, in total - 165 works. Such an act was in itself revolutionary and broke with age-old foundations, while the paintings of these artists at first glance seemed even more hostile to tradition. It took years before these, later recognized, classics of painting were able to convince the public not only of their sincerity, but also of their talent. All these very different artists were united by a common struggle against conservatism and academicism in art. The Impressionists held eight exhibitions, the last in 1886.

It was at the first exhibition in 1874 in Paris that a painting by Claude Monet appeared, depicting a sunrise. It attracted everyone's attention primarily with an unusual title: “Impression. Sunrise". But the painting itself was unusual, it conveyed that almost elusive, changeable play of colors and light. It was the name of this painting - "Impression" - thanks to the ridicule of one of the journalists, that laid the foundation for a whole trend in painting called impressionism (from the French word "impression" - impression).

Trying to express their immediate impressions of things as accurately as possible, the Impressionists created a new method of painting. Its essence was to convey the external impression of light, shadow, reflexes on the surface of objects with separate strokes of pure colors, which visually dissolved the form in the surrounding light-air environment.

Credibility was sacrificed to personal perception - the Impressionists, depending on their vision, could write the sky green and the grass blue, the fruits in their still lifes were unrecognizable, human figures were vague and sketchy. What was important was not what was depicted, but the “how” was important. The object became an occasion for solving visual problems.

The brevity, etude nature of the creative method of impressionism is characteristic. After all, only a short study made it possible to accurately record individual states of nature. What was previously allowed only in sketches has now become the main feature of the completed canvases. Impressionist artists tried with all their might to overcome the static nature of painting, to forever capture all the charm of an elusive moment. They began to use asymmetrical compositions to better highlight the characters and objects they were interested in. In some methods of impressionistic construction of composition and space, the influence of passion for one’s age is tangible - not antiquity as before, Japanese engraving (by such masters as Katsushika Hokusai, Hiroshige, Utamaro) and partly photography, its close-ups and new points of view.

The Impressionists also updated coloring, they abandoned dark, earthy paints and varnishes and applied pure, spectral colors to the canvas, almost without mixing them first on the palette. Conditional, "museum" blackness in their canvases gives way to the play of colored shadows.

Thanks to the invention of ready-to-carry metal paint tubes, which replaced the old paints prepared by hand from oil and powdered pigments, artists were able to leave their studios to work in the open air. They worked very quickly, because the movement of the sun changed the lighting and color of the landscape. Sometimes they squeezed the paint onto the canvas directly from the tube and got pure sparkling colors with a brushstroke effect. By placing a dab of one paint next to another, they often left the surface of the paintings rough. In order to preserve the freshness and variety of colors of nature in the picture, the Impressionists created a pictorial system that is distinguished by the decomposition of complex tones into pure colors and the interpenetration of separate strokes of pure color, as if mixing in the eye of the viewer, with colored shadows and perceived by the viewer according to the law of complementary colors.

Striving for maximum immediacy in the transfer of the surrounding world, the Impressionists for the first time in the history of art began to paint mainly in the open air and raised the importance of a sketch from nature, which almost supplanted the traditional type of painting, carefully and slowly created in the studio. By virtue of the very method of working in the open air, the landscape, including the urban landscape discovered by them, occupied a very important place in the art of the Impressionists. The main theme for them was the quivering light, the air in which people and objects seem to be immersed. In their paintings, one could feel the wind, the damp, sun-warmed earth. They sought to show the amazing richness of color in nature.

Impressionism introduced new themes into art - the daily life of the city, street landscapes and entertainment. Its thematic and plot range was very wide. In their landscapes, portraits, and multi-figured compositions, the artists strive to preserve the impartiality, strength, and freshness of the “first impression,” without going into individual details, where the world is an ever-changing phenomenon.

Impressionism is distinguished by its bright and immediate vitality. It is characterized by the individuality and aesthetic value of the canvases, their deliberate randomness and incompleteness. In general, the works of the Impressionists are distinguished by cheerfulness, passion for the sensual beauty of the world.

IMPRESSIONISM (French impressio-n-nisme, from impression - vpe-chat-le-tion) - on-right-le-tion in is-kus-st-ve (pre-zh-de of everything in life -pi-si) in the next third of the 19th - 1st quarter of the 20th centuries.

Rise-nick-but-ve-nie ter-mi-in connection with the first you-stav-coy French hu-doge-no-kov-edi-but-mouse-len-ni-kov (under the name “Ano-nim-noe coo-pe-ra-tiv-noe community-of-st-vo hu-doge-ni-kov ...”), passed in the Parisian atelier G. Na-da-ra in 1874. One of the paintings presented on it by K. Mo-ne (“Vpe-chat-le-nie. Sunrise”; on-pi-sa-na in Gav-re in the spring of 1873; now - not in the Musee Mar-mot-tan, Paris) yes-la-water cri-ti-ku L. Le-roy from the magazine "Le Charivari" to call your an overview of the article “You-stav-ka-im-press-sio-ni-stov”. Sa-mo-word "vpe-chat-le-nie" in the meaning of spo-so-ba-artistic knowledge of action-st-vi-tel-no-sti meets -sya and earlier: these in-nya-ti-em were used by the poets Ch. T. Russo, Sh.F. Do-bi-ny (already in the 1860s, cri-ti-ka na-zy-va-la of his “head of the school vpe-chat-le-ny”), E. Mane. Ucha-st-ni-ka-mi you-sta-wok im-press-sio-ni-stov (later, the 8th was in 1886), in my opinion Mo- no, would L.E. Bu-den, A. Guy-au-men, E. De-gas, G. Kai-bott, M. Cassette, B. Mo-ri-zo, C. Pis-sar-ro, O. Re- nu-ar, A. Sis-ley, as well as P. Se-zann, P. Gauguin and others

Conditions for the history of impressionism in live-wee-si can be de-poured into periods: pre-preparation (co-maturation of new -go me-to-yes) - 1860s .; race-color and struggle for new art - 1870s (pe-ri-od of "class-si-che-impressionism"); na-chi-nayu-shche-go-sya kri-zi-sa (1880s); late - from the 1890s to the 1920s. No-va-tions of impressionism would be ready-to-le-we-discovery in the field of op-ti-ki and physio-logy of vision, theo- ri-her color contrasts M. Shev-re-la, E. De-lac-rua’s art in the field of up-to-full tones, Pei-zazh-noy live-in-pee-sue K. Ko-ro and ma-te-ditch of the bar-bi-zone school, us-pe-ha-mi in the region of pho-to -graphics. A significant role was also played by the rapprochement of future press-sio-nists with E. Mane (from the end of the 1860s), eye-manager shim big impact on the young hu-dozh-ni-kov (not participating in the exhibitions of the Impressionists, Man himself paid tribute to them-press -Sio-ni-stic ma-not-re writing), familiarity with English art (W. Turner, R. Bo-ning-ton, J. Con-stable) in 1870- 1871 (during the pre-by-va-niya in Lon-do-not by K. Mo-ne and K. Pis-sar-ro) and the “discovery” of ev-ro-pei-tsa- mi of Japanese art in the middle of the 19th century. The desire to catch the “instant-vein-ness” of the state of the at-mo-sphere and the natural environment can be noticed already in the lit creative-che-st-ve mas-ter-ditch of the so-called pre-dim-press-sio-niz-ma (E. Bu-den, J. Jon-gkind, F. Basil), but only within the framework of impressionism, these devices were transformed into a whole artistic system. The most-bo-le-after-before-va-tel-but keep this system-the-we-we in our creative-che-st-ve K. Mo-ne; in the works of other European (including Russian) and American hu-doge-ni-kov-im-press-sio-ni-stov, various techniques of impressionism on-ho-di- whether in each case there is no-on-second-ri-mo-in-di-vi-du-al-ny inter-pre-ta-tion.

Im-press-sio-ni-sta would be prin-qi-pi-al-ny-mi against-against-no-ka-mi of all-to-theo-re-ti-zi-ro-va-nia ; the theory of impressionism arose only at the beginning of the 20th century, it was based on the artistic discoveries of the masters of this nia, on the inherent impressionism in a different, incomprehensible mouse-le-nii. In the basis of impressionism, there was a non-traditional view of the world as a kind of “moving ma-te-ri-al-noy sub-stan- tion ”(B.A. Zer-nov), striving for-pe-chat-flying around the world in its mobility and from-men-chi-in- sti, “instantly-ven-no-sti” of random si-tua-tions, movements, states of nature. Im-press-sio-ni-stam would be close to sfor-mu-li-ro-van-noe E. Zo-la in-no-ma-nie pro-of-ve-de-niya art as “ corner of the world-ro-building, see-den-no-go through tem-pe-ra-ment ”(that is, in the subjective pre-lom-le-nii hu-dozh -Nika); they strove to ot-ra-zit in the “mic-ro-kos-me” one-nothing-no-go about-from-ve-de-niya not-ras-tor-zhi-muyu connection at-ro -dy and che-lo-ve-ka, in-di-vi-duu-ma and ok-ru-zhayu-schey environment.

Impressionism in painting

The development of aka-de-micic can-no-news in live-in-pee-si by the French impressionists co-ver-sha-moose in several on-right-le-ni-yah: refusal from all-to-ro-da, whether-te-ra-tour-no-sti, “plot-no-sti”, mo-ra-li-zi-ro-va-nia, own- st-ven-nyh sa-lon-no-mu is-kus-st-vu of that time-me-ni, from-is-kov from-vle-chen-noy "ra-fa-elevsky" beauty of the late French class-si-cis-ma (J.O.D. Ingres and his after-before-va-te-li), non-acceptance as a program -no-sti and pa-fo-sa of ro-mantic art, and for-ost-ryon-no-go so-chi-al-no-go real-liz-ma G. Kur-be. For a rare exception, the art of impressionism is about-ra-sche-but to the present-time: it pre-ob-la-da-yut those-we-go- ro-yes, “cha-st-noy” life (everyday life, rest, entertainment), beauty of rural landscapes. Impressionism destroyed all the traditional ideas about the ie-rar-chia of genres and their special-ci-fi-ke ra with port-re-tom, port-re-ta with landscape or in-ter-e-rum, etc.), about whom-by-zi-tion as a castle-well-that whole-lo- st-th structure-tu-re ob-ra-call. The next in the life-in-pee-si of impressionism for-me-not-on-no-ma-no-eat car-ty-ny as a fragment-men-ta on-tu-ry, word-but see-den-no-go in the window-no (or yes, “under-look-ren-no-go through the piss-well-zhe-well”, according to op-re-de-le- nyu E. Degas). For pictures im-press-sio-ni-stov ha-rak-ter-na "non-for-given-ness" of the frame, de-centr-tra-li-za-tion of the image-bra-same- niya (from-day-st-vie-central-system-te-we-re-call and static, single-st-ven-noy point of view), not-usual- the quality of the bi-rai-my ra-courses, the displacement of the compositional axes, the “pro-of-free” sections of the parts of the com-po-zi-tion, before -me-tov and fi-gur ra-my car-ti-ny.

Striving for-pe-chat-flying in life-in-pee-si in a hundred-yan-but changing-sya (due to-vi-si-mo-sti from os-ve- sch-niya) beautiful raz-no-ob-ra-zie vi-di-mo-go mi-ra with-ve-lo im-press-sio-n-stov (for ex-key-che- ni-em E. De-ha) to his kind of co-lo-ri-istic re-form-me - from-ka-zu from complex (mixed) to-news, times -lo-nium them into pure spectral colors, onto the canvas with separate smears, some should be opt-ti- che-ski mix-shi-va-sya in the eyes of the viewer-te-la. The color in the life-in-pee-si of impressionism gives-ob-re-ta-et not-its-st-ven-nuyu to him earlier av-to-no-miya, up to from-de-le-niya from pre-me-ta, and yav-la-et-sya but-si-te-lem of light-of-the-rows, pro-no-za-vayu-shchih everything in the same way -tion. Ple-ner pre-la-ha-et-great subtlety of gradation of light-to-the-no, color-to-out-of-no-necks and re-re-ho- dov, carefully raz-ra-bot-ku sis-te-we va-le-ditch.

The os-lab-le-tion of the plastic on-cha-la in the live-in-pee-si of impressionism is connected with the refusal from the pro-ti-in-staging light and dark as a form of-mo-ob-ra-zuyu-go fak-to-ra. The light is becoming, but, it’s almost the main “hero” of the life of the Impressionists, the most important component of the whole image structures-tu-ry, sub-stan-qi-her form; bright solar-nech-ny light does not amplify the sound of color, but you-light-la-et it, dis-creating from-shadows. Te-no ut-ra-chi-va-yut not-about-no-tsae-bridge and black-but-that, becoming-but-blooming color-us and transparent-us; in the shadows, the color only te-rya-ems its light-si-lu and is enriched with full-full then-on-mi-ho-lod-ny part of the spectrum. Na-chi-naya since the 1870s from zhi-vo-pi-si im-press-sio-ni-stov almost windows-cha-tel-but from-gna-na ah-ro-ma-ti- che-sky colors (black, gray and open white), ko-lo-rit ple-ner-nyh pictures os-no-van on co-pos-tav- le-ni-yah of warm and cold spectral colors, they use the possibility of “pro-country-st- ven-no-go "color-ta - image-bra-ing of the elements of water, no-ba, ob-la-kov, tu-ma-na, air-du-ha, in-lu- tea-chewing ok-ra-sku due to races-se-yan-no-go and from-ra-wives-no-go sun-no-no-go light. Us-lie-non-live-in-writing-no-th-language, pay attention to re-re-da-che effects of os-ve-shche-tion and color- vyh ref-leks-owls bring to their kind-yes de-ma-te-ria-li-za-tion of the subject-met-no-go world-ra, ut-ra-them to them no-sti, mutually-pro-nick-but-ve-niyu elements of iso-bra-zhe-niya. Found in the process of working on the pr-ro-de, these tricks, we soon began to use-pol-zo-vat-sya not only in the landscape -noy live-in-pee-si; similar sys-te-mu time-ra-ba-you-val E. De-ga, from-ri-tsav-shi in general not-about-ho-di-bridge of ra-bo-you on Ple-ne-re.

Another no-va-tion of impressionism - after-before-va-tel-naya "re-vision" of the traditional per-spec-ty-you, rejection of non-movement no-go and uni-kal-no-go center-tra project-tion, pro-ti-vo-re-cha-sche-go es-te-st-ven-no-mu (bi-fo-kal -no-mu and from-part of the sphere-ri-che-sko-mu) perception of pro-country-st-va; ten-den-tion to for-tu-she-you-va-tion of depth-be-us, strength-le-tion of two-dimensionality; in some cases, the use of ak-so-no-met-rii, the effects of sharply intensified direct-my direct-bo-cri-vo-li -ne-noy per-spec-ty-you, later-turning-tiv-she-sya at P. Se-zan-n into a complete system-te-mu “per-chain- tiv-noy "per-spec-ti-you. Impressionism's successive rejection of the anthro-centric concept of European art (man-age is not the center of the world-building, but his hour -ti-tsa) pro-iso-went to a significant degree under the influence of Japanese art and appeared in equal-but-pra-vii of all elements of comp-po -zi-tion, equal to the main image and the second-degree-pen-noy de-ta-li, up to almost half-but-th “glos-sche -niya "of the main image, drink-for-we-bo-bo-re-re-drink, drink-for-mother in the smoke of a slip-of-the-tu-ma-na; in general, in ethical terms, not-dos-ka-zan-no-sti and “silence-cha-ny”.

Striving for-pe-chat-letting a “single moving-ma-ter-riyu” es-te-st-ven-but with-ve-lo im-press-sio-ni -stov (also not without the influence of the Japanese gra-vu-ra) to the creation of series and cycles of work, in a way dedicated to the same pre-me -that image-bra-zhe-niya and fi-si-ruyu-shchih-bo di-na-mi-ku image (im-bra-zhe-tion “that-po-lei”, “in-kza -loving "by K. Mo-net, "dancers" by E. Degas, many people in Paris boulevards, etc.), more changing effect-you os-ve-shche-tion and color-no-sti in their mutual connection, move im-ma-te-ri-al -noy verses of light (“one hundred ha se-na”, “so-bo-ry” Mo-ne). Each of the ra-bots of such a se-ri (or cycle) ras-kry-va-is some kind of as-pect of the image-bra-zhae-mo-go, and their co- in-kup-ness creates a whole-lo-st-ny, syn-the-tic image in the pre-de-lah of the general for-the-thought-la hu-doge-no-ka.

On-cha-lu, impressionism caused a fierce rejection of most of the cri-ti-ki and the public; support for new is-ka-ni-yam in the art of eye-for-li E. Zo-la, S. Mal-lar-me, J.K. Gyu-is-mans, cri-ti-ki T. Du-re, E. Du-ran-ti, G. Geoff-froy, collec-cio-ne-ry P. Du-ran-Ryu-el, G. Kaibotte, J.B. For and V. Sho-ke. Shi-ro-ko-go recognition of them-press-sio-ni-sta did not reach only in the 1890s, when impressionism entered its last phase . Late impressionism from-marked on-ras-ta-ni-em de-ko-ra-tiv-nyh ten-den-tions (common for the art of the epoch of modernity), everything is pain -shay iso-shren-no-styu of a co-lo-ristic game from-tin-kov and to-full tones, in a swarm with unusual color-vi-de- no-eat (drink-for-zhi E. De-gas of the late 1890s, a series of “pla-ku-chih willows” by K. Mon-ne, late life-writing of O. Re-noy -ra and others), ak-tsen-ti-ro-va-ni-em sa-mo-tsen-no-sti in-di-vi-du-al-noy hu-artistic ma-ne-ry, “lich -but-st-no-go "style.

In these years, new directions were already approved in art, however, the impact of the innovations of impressionism in one way or another re is-py-ta-li many hu-doge-ni-ki of French sa-lon-no-go art, post-im-press-sio-niz-ma and early European avant-gar- dis-ma. So, the principle of optical mixing of colors formed the basis of the theory of neo-im-press-sio-niz-ma (di-visio-niz-ma); life-writing with “pure color”, suggestive function of color (giving him emotiveness and power of suggestion) in co-che-ta-nii with a free ex-press-si-her smear-whether we-le-before-va-na V. Van Go-gom, P. Go-ge-nom, mas-te-ra-mi fo-vis-ma and the “na-bi” group, as well as ab-st-rak-tsio-niz-ma.

At the same time, behind the pre-de-la-mi of France, the influence of impressionism manifested itself in the-im-st-in-va-nii of individual techniques (ef-fek-you ple-ne -riz-ma, you-light-le-ne-pa-lit-ry, es-kiz-nost and freedom of life-in-pis-noy ma-ne-ry), in a-ra-sche- nii to the modern te-ma-ti-ke - in the creation-che-st-ve hu-dozh-ni-kov Ve-li-ko-bri-ta-nii (W. Sikkert, W. Steer), Ger -mania (M. Lie-ber-man, L. Ko-rint, M. Sle-vogt), Italy (J. De Nit-tis), Nor-ve-gie (F. Tau-lov) , Poland (L. Vy-chul-kovsky), USA (M. Cassett, M. Pre-der-gast, T. Robin-son, J.S. Sard-zhent, J. G. Tu-ok-t-men) and others. In Russia, the influence of impressionism has been felt since the end of the 1880s - in the open air of I.E. Re-pi-na, V.A. Se-ro-va, I.I. Le-vi-ta-na, V.D. Po-le-no-va, N.N. Dub-bov-th; almost tse-whether-come-above-le-lives this-mu-on-the-right-le-niyu art of K.A. Ko-ro-wi-na, I.E. Gra-ba-rya; “im-press-sio-ni-st-sky” pe-ri-od can-but you-de-pour the same way at the future masters of the Russian avant-garde (K.S Ma-le-vi-cha, M.F. La-rio-no-va, A.D. Dre-vi-na).

The term “impressionism” is also applied to the sculpture of the 1880-1910s. (the desire to re-re-da-che instantaneous-vein-no-go movement, flow of forms, on-ro-chi-taya plastic not-over-ver- shen-nost, mutually-mo-de-st-vie sculpt-tu-ry with light); the most remarkable traits of impressionism in the sculptural tour of the art of O. Ro-de-na and E. De-ga (France), M. Ros- co (Italy), P.P. Tru-bets-ko-go and A.S. Go-lub-ki-noy (Russia).

Programming principles of life-in-painting-no-impressionism in the aftermath of art began to re-re-no-sit on other art-art-st-va: muse -ku, li-te-ra-tu-ru, te-atr, ho-reo-gra-fia, ki-no, fo-to-is-kus-st-vo. The application of the term “impressionism” in relation to them is-la-is-dos-that-accurately conditional and os-pa-ri -va-et-sya part of the study-after-to-va-te-lei.

Impressionism in music

From impressionism in music, someone who does not represent a direct analogy of impressionism in life and does not co-pa-da- chro-no-lo-gi-che-ski with him (the time of the races of musical impressionism - 1890-1900s), usually they connect choo from-men-chi-out-of-tunings, subtle psycho-logical-nu-an-owls, ty-go-te-nie to the ethical landscape program no-sti (including for displaying in the sounds of the play of waves, glare of light on the water, wind, cloud-la-kov, and the like), according to -the composer's high in-te-res to the bro-howl and harmonious colorfulness. But-vis-on-artistic means did not-rarely co-feat with pre-your-re-no-em from scanned images of old-fashioned art ( zhi-vo-pi-si style-la ro-ko-ko, mu-zy-ki of French clans-ve-si-ni-stov).

The pre-forms of musical impressionism - in the sound-to-pi-si in the zd-not-go F. Lis-ta, the co-lo-ri-stic on-the-walks of A.P. Bo-ro-de-na, E. Gri-ga, N.A. Rome-ko-go-Kor-sa-ko-va, svo-bo-de go-lo-so-ve-de-niya and element-hiy-noy im-pro-vi-for-qi-on-no- sti M.P. Mu-sorg-sko-go. Impressionism found the classic expression in French music, pre-f-de everything in the work of K. De-bus-si; the devil you showed up in the music of M. Ra-ve-la, P. Du-ka, F. Schmitt, J. J. Ro-zhe-Du-ka-sa. Musical impressionism unas-le-do-val many especially-ben-no-sti of late ro-man-tiz-ma and national music schools of the 19th century. At the same time, stormy pa-te-tik, rel-ef-no-mu te-ma-tiz-mu, tense cha-go-te-ni-yam hro-ma-ti -che-ski us-loose-nyon-noy to-nal-noy gar-mo-nii of late ro-man-ti-kov (especially ben-no R. Vag-ne-ra) im-press-sio -ni-sta pro-ti-vo-pos-ta-vi-whether emo-tsio-nal-restraint, brevity and not-perceptible-of-men-chi-vost- hundred-yang-but vari-and-rue-my mo-ti-vov, dia-to-no-ku, mod-range of sym-metric frets (including whole -but-in-go), transparent fact-tu-ru. The creation-che-st-in-com-po-zi-to-ditch of impressionism in many ways both-ha-ti-lo expressive media of music, especially ben-no sphere -ru gar-mo-nii, dos-tig-shey big uton-chen-no-sti. Us-false-non-ac-kor-do-vy complexes-owls co-che-ta-et-sya in harmony with impressionism with ar-hai-for-qi-her la-do-vo th mouse-le-tion; rit-we are unsteady, under the hour ost-ro-ha-rak-ter-ny. Strengthen-whether-va-et-sya phonic you-ra-zi-tel-ness of ka-zh-do-go ak-kor-da (see Phonism), due to the introduction of non-se-niya on new-howl os-no-ve element-men-tov mod-distant gar-mo-nii ras-shi-rya-et-sya la-do-va sphere-ra, in or-ke-st-ditch- ke pre-ob-la-da-yut pure timbres. I especially-buy the freshness of the music of the French Impressionists with-yes-wa-whether it’s about the pe-sen-but-tang-tse-val-ny genres, to the element-men- there is a musical language of na-ro-dov Vos-to-ka, Is-pa-nii, sti-li-for-tion of early forms of jazz. For the pre-de-la-mi of France, the principles of musical impressionism, ori-gi-nal-but raz-vi-va-li M. de Fa-lya in Is-pa-nii, O. Res-pi -gi, from-cha-ty A. Ka-zel-la and J.F. Ma-lip-e-ro in Italy, F. Di-li-us and S. Scott in Ve-li-ko-bri-ta-nii, K. Shi-ma-nov-sky in Poland, A.K. Lyadov, N.N. Che-rep-nin (see Che-rep-nin), from-part-ty I.F. Stra-Vinsky in Russia.

Impressionism in literature

Su-shche-st-in-va-ing of impressionism as an au-to-nome-no-go-right-le-niya in li-te-ra-tu-re - the subject of long discussions this. Literary impressionism is not-rarely-boo-o-zhde-st-in-la-et-xia with on-to-ra-liz-mom, or is it considered to be pro-me-zhu- exact yav-le-ni-em me-zh-du on-tu-ra-liz-mom and sim-liz-mom, whether it’s closer to sim-liz- mom. As a self-standing literary direction, impressionism is most often you-de-la-et-xia in French, as well as Austrian (the so-called Viennese mo- turf) literature of the era-chi de-ka-dan-sa. They say the same about them-press-sio-ni-stich-no-sti as a sti-le-howl especially-ben-no-sti, with-su-schey to many pi-sa-te-lyam 2 th half of the 19th - early 20th centuries. Literary impressionism did not create a theoretical program, but was influenced, in my opinion, by the French im-press-sio-ni-sts, muen-chen-sko-go and ven-sko-go se-ces-sio-nov, fi-lo-so-fii time-me-ni A. Berg-so-na, psi-ho-logi U. James-sa (the idea of ​​​​a-so-so-s-on-niya), uh-pi-ri-ok-ri-ti-cis-ma E. Ma-ha, psi-ho-ana-li-za Z. Frey -Yes. From impressionism in literature, they usually focus on sug-gestive-no-sti, the construction of an image-of-a-no-th row according to the principle of qi-pu -bod as-so-cia-tions, called to inspire chi-ta-te-lu not-op-re-de-len-noe “mu-zy-kal-noe” in tune -ing, drawing him-gi-vayu-she into the world of lyrical pe-re-zhi-va-niy av-to-ra - es-te-ta-ge-do-ni-hundred, co-zero-tsa -te-la mi-ra in his hundred-yan-noy from-men-chi-in-sti.

In poetry, im-press-sio-ni-stic-ness is manifested-la-et-sya in the os-lab-le-nii of the metric and semantic-word-of-one-st-va stro- ki (the so-called you-svo-bo-g-de-nie sti-ha), pre-heaven-re-same-ni re-gu-lyar-no-stu rhythm-ma and exact riff-my (up to up to half-but-from-ka-za from riff-we in ver-lib-re), with-hot-li-vy an-jamb-ma-nah (P. Ver-len, A. Rem-bo in France, D. von Li-li-en-kron in Germany, G. von Hoff-mann-steel, R. M. Ril-ke in Austria, K. D. Bal- mont, I.F. An-nensky in Russia, and others); in pro-se - in general to small forms (fragment, a cycle of weakly related ko-vye for-pi-si, es-sei-static on-bro-juice), demon-plot-no-sti, use-zo-va-nii word-weight-but-about-raz- nyh leit-mo-ti-vov, de-ko-ra-tiv-no-sty style (J.K. Hu-is-mans, M. Proust, A. Gide in France; P. Al- tenberg in Austria, O. Wilde in Great Britain, G. D'Annunzio in Italy, K. Gam-sun in Norway, A. Be-ly in Russia, and others). Im-press-sio-ni-stic-ness in cri-ti-ke is connected with the genre-ra-mi "etyu-da", "si-lu-this", "pro-fi-la" with their aphoristic, subject-ek-tiv-no-vku-so-you-mi ha-rak-te-ri-sti-ka-mi (A. France, R. de Gour-mon, A. de Re-nier in France, D.S. Merezhkov-sky, Y.I. Ai-khen-wald, M.A. Kuz-min in Russia).

Impressionism in dramaturgy

Impressionism (fr. impressionnisme, from impression- impression) - a trend in art of the last third of the 19th - early 20th centuries, which originated in France and then spread throughout the world, whose representatives sought to develop methods and techniques that made it possible to most naturally and vividly capture the real world in its mobility and variability, to convey their fleeting impressions. Usually, the term “impressionism” means a direction in painting (but this is, first of all, a group of methods), although its ideas have also found their way into literature and music, where impressionism also appeared in a certain set of methods and techniques for creating literary and musical works, in which the authors sought to convey life in a 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 feelings of the artist. If he was ordered a formal portrait, then it was necessary to show the customer in a favorable light: without deformities, stupid facial expressions, etc. If it was a religious story, then it was necessary to evoke a feeling of reverence and amazement. If the landscape - then show the beauty of nature. However, if the artist despised the rich man who commissioned the portrait, or was an unbeliever, then there was no choice and all that remained was to develop his own unique technique and hope for good luck. However, in the second half of the nineteenth century, photography began to develop actively and realistic painting began to gradually move aside, since even then it was extremely difficult to convey reality as believably as in photography.

In many ways, with the advent of the Impressionists, it became clear that art can be of value as the subjective representation of the author. After all, each person perceives reality differently and reacts to it in his own way. It is all the more interesting to see how reality is reflected in the eyes of different people and what emotions they experience at the same time.

The artist has an incredible amount of opportunities for self-expression. Moreover, self-expression itself has become much freer: take a non-standard plot, topic, tell something other than religious or historical topics, use your own unique technique, etc. For example, the Impressionists wanted to express a fleeting impression, the first emotion. That is why their work is vague and as if unfinished. This was done in order to show an instant impression, when the objects had not yet taken shape in the mind and only slight overflows of light, halftones and blurry contours were visible. Myopic people will understand me) imagine that you have not yet seen the whole object, you see it from afar or simply do not peer, but already form some kind of impression about it. If you try to portray this, then it is likely that you will end up with something like impressionist paintings. Something like a sketch. That is why it turned out that for the Impressionists it was more important not what is depicted, but how.

The main representatives of this genre in painting were: Monet, Manet, Sisley, Degas, Renoir, Cezanne. Separately, Umlyam Turner should be noted as their predecessor.

Speaking of the plot:

Their paintings represented only the positive aspects of life, not affecting social problems, including such as hunger, disease, death. This later led to a split among the Impressionists themselves.

Color schemes

The Impressionists paid great attention to color, fundamentally refusing gloomy shades, especially black. Such attention to the color of their work brought the color itself to a very important place in the picture and prompted future generations of artists and designers to be attentive to color as such.

Composition

The composition of the Impressionists resembled Japanese painting, they used complex compositional schemes, other canons (not the golden ratio or the center). In general, the structure of the picture has become more often 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 subjects of painting, in contrast to the classical one, where it more often (but not always) carried the role of a scheme according to which any work was built. At the end of the 19th century, it became clear that this is a dead end, and the composition itself can carry certain emotions and support the plot of the picture.

forerunners

El Greco - because he used similar techniques in applying paint and the color acquired a symbolic meaning from him. He also distinguished himself by a very original manner, individuality, which the Impressionists also aspired to.

Japanese engraving - because it gained great popularity in Europe of those years and showed that a picture can be built according to completely different rules than the classical canons of European art. This applies to composition, use of color, detailing, and so on. Also, in Japanese and generally oriental drawings and engravings, everyday scenes were depicted much more often, which was almost absent in European art.

Meaning

The Impressionists left a bright mark in world art, developing unique painting techniques and having a huge impact on all subsequent generations of artists with their bright and memorable works, protest against the classical school and unique work with color. Striving for maximum immediacy and accuracy in the transfer of the visible world, they began to paint mainly in the open air and raised the importance of a study from nature, which almost supplanted the traditional type of painting, carefully and slowly created in the studio.

Consistently clarifying their palette, the Impressionists freed painting from earthy and brown varnishes and paints. Conditional, "museum" blackness in their canvases gives way to an infinitely diverse play of reflexes and colored shadows. They immeasurably expanded the possibilities of fine art, discovering not only the world of sun, light and air, but also the beauty of the London fogs, the restless atmosphere of the life of a big city, the scattering of its night lights and the rhythm of incessant movement.

By virtue of the very method of working in the open air, the landscape, including the urban landscape discovered by them, occupied a very important place in the art of the Impressionists. However, it should not be assumed that their painting was characterized only by a "landscape" perception of reality, for which they were often reproached. The thematic and plot range of their work was quite wide. Interest in man, and in particular in the modern life of France, was inherent in a number of representatives of this trend in a broad sense. His life-affirming, basically democratic pathos clearly opposed the bourgeois world order.

At the same time, impressionism and, as we will see later, post-impressionism are two sides, or rather, two consecutive time stages of that fundamental change that marked the boundary between the art of modern and modern times. In this sense, impressionism, on the one hand, completes the development of everything after the Renaissance art, the leading principle of which was the reflection of the surrounding world in visually reliable forms of reality itself, and on the other hand, it is the beginning of the largest upheaval in the history of fine art after the Renaissance, which laid the foundations for a qualitatively new art. stage -

art of the twentieth century.

“A new world was born when the Impressionists painted it”

Henri Kahnweiler

XIX century. France. The unthinkable happened in painting. A group of young artists decided to shake the 500-year-old tradition. Instead of a clear drawing, they used a wide “sloppy” brushstroke.

And they completely abandoned the usual images, depicting everyone in a row. And ladies of easy virtue, and gentlemen of dubious reputation.

The public was not ready for Impressionist painting. They were ridiculed and scolded. And most importantly, they did not buy anything from them.

But the resistance was broken. And some Impressionists lived to see their triumph. True, they were already over 40. Like Claude Monet or Auguste Renoir. Others waited for recognition only at the end of their lives, like Camille Pissarro. Someone did not live up to it, like Alfred Sisley.

What revolutionary did each of them? Why did the public not accept them for so long? Here are 7 of the world's most famous French Impressionists.

1. Edouard Manet (1832-1883)

Edward Mane. Self portrait with palette. 1878 Private collection

Manet was older than most of the Impressionists. He was their main inspiration.

Manet himself did not claim to be the leader of the revolutionaries. He was a man of the world. Dreamed of official awards.

But he waited a very long time for recognition. The public wanted to see Greek goddesses or still lifes at worst, so that they looked beautiful in the dining room. Manet wanted to paint contemporary life. For example, courtesans.

The result was "Breakfast on the Grass". Two dandies are relaxing in the company of ladies of easy virtue. One of them, as if nothing had happened, sits next to dressed men.

Edward Mane. Breakfast on the grass. 1863, Paris

Compare his "Breakfast on the Grass" with Thomas Couture's "Romans in the Decline". Couture's painting made a splash. The artist instantly became famous.

"Breakfast on the Grass" was accused of vulgarity. Pregnant women were absolutely not recommended to look at her.

Thomas Couture. Romans in decline. 1847 Musée d'Orsay, Paris. artchive.ru

In Couture's painting, we see all the attributes of academicism (traditional painting of the 16th-19th centuries). Columns and statues. Apollonian people. Traditional muted colors. The mannerism of postures and gestures. A plot from a distant life of a completely different people.

“Breakfast on the Grass” by Manet is a different format. Before him, no one portrayed courtesans like that easily. Close to respectable citizens. Although many men of that time spent their leisure time in this way. It was the real life of real people.

Once he portrayed a respectable lady. Ugly. He couldn't flatter her with a brush. The lady was disappointed. She left him in tears.

Edward Mane. Angelina. 1860 Musée d'Orsay, Paris. wikimedia.commons.org

So he continued to experiment. For example, with color. He did not try to portray the so-called natural color. If he saw gray-brown water as bright blue, then he depicted it as bright blue.

This, of course, annoyed the public. “After all, even the Mediterranean Sea cannot boast of such a blue as the water at Manet,” they quipped.

Edward Mane. Argenteuil. 1874 Museum of Fine Arts, Tournai, Belgium. wikipedia.org

But the fact remains. Manet fundamentally changed the purpose of painting. The picture became the embodiment of the individuality of the artist, who writes as he pleases. Forget about patterns and traditions.

Innovations did not forgive him for a long time. Recognition waited only at the end of life. But he no longer needed it. He was agonizingly dying from an incurable disease.

2. Claude Monet (1840-1926)

Claude Monet. Self-portrait in a beret. 1886 Private collection

Claude Monet can be called a textbook impressionist. Since he was faithful to this direction all his long life.

He painted not objects and people, but a single color construction of highlights and spots. Separate strokes. Air trembling.

Claude Monet. Paddling pool. 1869 Metropolitan Museum of Art, New York. Metmuseum.org

Monet painted not only nature. He was also good at urban landscapes. One of the most famous - .

There is a lot of photography in this painting. For example, motion is conveyed using a blurry image.

Pay attention: distant trees and figures seem to be in a haze.

Claude Monet. Boulevard des Capucines in Paris. 1873 (Gallery of European and American Art of the 19th-20th centuries), Moscow

Before us is a stopped moment of the bustling life of Paris. No staging. Nobody is posing. People are depicted as a collection of strokes. Such plotlessness and the “freeze frame” effect is the main feature of impressionism.

By the mid-1980s, artists had become disillusioned with Impressionism. Aesthetics is, of course, good. But the plotlessness of many oppressed.

Only Monet continued to persist, exaggerating impressionism. This developed into a series of paintings.

He depicted the same landscape dozens of times. At different times of the day. At different times of the year. To show how much temperature and light can change the same view beyond recognition.

So there were countless haystacks.

Paintings by Claude Monet at the Museum of Fine Arts, Boston. Left: Haystacks at sunset at Giverny, 1891 Right: Haystack (snow effect), 1891

Please note that the shadows in these paintings are colored. And not gray or black, as was customary before the Impressionists. This is another one of their inventions.

Monet managed to enjoy success and material well-being. After 40, he already forgot about poverty. Got a house and a beautiful garden. And he did it for his pleasure for many years to come.

Read about the most iconic painting by the master in the article

3. Auguste Renoir (1841-1919)

Pierre-Auguste Renoir. Self-portrait. 1875 Sterling and Francine Clark Institute of Art, Massachusetts, USA. Pinterest

Impressionism is the most positive painting. And the most positive among the Impressionists was Renoir.

You will not find drama in his paintings. He didn't even use black paint. Only the joy of being. Even the most banal Renoir looks beautiful.

Unlike Monet, Renoir painted people more often. Landscapes for him were less significant. In the paintings, his friends and acquaintances are relaxing and enjoying life.

Pierre-Auguste Renoir. Rowers breakfast. 1880-1881 Phillips Collection, Washington, USA. wikimedia.commons.org

You will not find in Renoir and thoughtfulness. He was very glad to join the Impressionists, who completely refused subjects.

As he himself said, finally he has the opportunity to paint flowers and call them simply “Flowers”. And don't make up any stories about them.

Pierre-Auguste Renoir. Woman with an umbrella in the garden. 1875 Thyssen-Bormenis Museum, Madrid. arteuam.com

Renoir felt best in the company of women. He asked his maids to sing and joke. The more stupid and naive the song was, the better for him. A man's chatter tired him. It is not surprising that Renoir is known for nude paintings.

The model in the painting “Nude in Sunlight” seems to appear against a colorful abstract background. Because for Renoir there is nothing secondary. The eye of the model or the area of ​​the background are equivalent.

Pierre-Auguste Renoir. Nude in the sunlight. 1876 ​​Musée d'Orsay, Paris. wikimedia.commons.org

Renoir lived a long life. And never put down the brush and palette. Even when his hands were completely shackled by rheumatism, he tied the brush to his arm with a rope. And he painted.

Like Monet, he waited for recognition after 40 years. And I saw my paintings in the Louvre, next to the works of famous masters.

Read about one of the most charming portraits of Renoir in the article

4. Edgar Degas (1834-1917)

Edgar Degas. Self-portrait. 1863 Calouste Gulbenkian Museum, Lisbon, Portugal. cultured.com

Degas was not a classical impressionist. He did not like to work in the open air (outdoors). You will not find a deliberately brightened palette with him.

On the contrary, he loved a clear line. He has plenty of black. And he worked exclusively in the studio.

But still he is always put on a par with other great impressionists. Because he was an impressionist of gesture.

Unexpected angles. Asymmetry in the arrangement of objects. Characters caught off guard. Here are the main attributes of his paintings.

He stopped the moments of life, not allowing the characters to come to their senses. Look at least at his “Opera Orchestra”.

Edgar Degas. Opera Orchestra. 1870 Musée d'Orsay, Paris. commons.wikimedia.org

In the foreground is the back of a chair. The musician has his back to us. And in the background, the ballerinas on the stage did not fit into the “frame”. Their heads are mercilessly “cut off” by the edge of the picture.

So his favorite dancers are not always depicted in beautiful poses. Sometimes they just stretch.

But such improvisation is imaginary. Of course, Degas carefully thought out the composition. This is just a freeze frame effect, not a real freeze frame.

Edgar Degas. Two ballet dancers. 1879 Shelbourne Museum, Wermouth, USA

Edgar Degas loved to paint women. But the disease or the characteristics of the body did not allow him to have physical contact with them. He never married. Nobody ever saw him with a lady.

The absence of real plots in his personal life added a subtle and intense eroticism to his images.

Edgar Degas. Ballet star. 1876-1878 Musee d'Orsay, Paris. wikimedia.comons.org

Please note that in the picture “Ballet Star” only the ballerina herself is drawn. Her backstage colleagues are barely distinguishable. Just a few legs.

This does not mean that Degas did not finish the picture. Such is the reception. Keep only the most important things in focus. Make the rest disappear, illegible.

Read about other paintings by the master in the article.

5. Berthe Morisot (1841-1895)

Edward Mane. Portrait of Berthe Morisot. 1873 Marmottan Monet Museum, Paris.

Bertha Morisot is rarely put in the forefront of the great Impressionists. I'm sure it's undeserved. Just in her you will find all the main features and techniques of impressionism. And if you like this style, you will love her work with all your heart.

Morisot worked quickly and impetuously, transferring her impression to the canvas. The figures seem to be about to dissolve into space.

Berthe Morisot. Summer. 1880 Fabre Museum, Montpellier, France.

Like Degas, she often left some details unfinished. And even body parts of the model. We cannot distinguish the hands of the girl in the painting “Summer”.

Morisot's path to self-expression was difficult. Not only was she engaged in “sloppy” painting. She was still a woman. In those days, a lady was supposed to dream of marriage. After that, any hobby was forgotten.

Therefore, Bertha refused marriage for a long time. Until she found a man who respectfully treated her occupation. Eugene Manet was the brother of the painter Edouard Manet. He dutifully carried an easel and paints for his wife.

Berthe Morisot. Eugene Manet with his daughter in Bougival. 1881 Marmottan Monet Museum, Paris.

But it was still in the 19th century. No, Morisot didn't wear trousers. But she could not afford complete freedom of movement.

She could not go to the park to work alone, without being accompanied by someone close to her. I couldn't sit alone in a cafe. Therefore, her paintings are people from the family circle. Husband, daughter, relatives, nannies.

Berthe Morisot. A woman with a child in a garden in Bougival. 1881 National Museum of Wales, Cardiff.

Morisot did not wait for recognition. She died at the age of 54 from pneumonia, having sold almost none of her work during her lifetime. On her death certificate, there was a dash in the “occupation” column. It was unthinkable for a woman to be called an artist. Even if she really was.

Read about the paintings of the master in the article

6. Camille Pissarro (1830 - 1903)

Camille Pissarro. Self-portrait. 1873 Musée d'Orsay, Paris. wikipedia.org

Camille Pissarro. Non-confrontational, reasonable. Many considered him as a teacher. Even the most temperamental colleagues did not speak badly of Pissarro.

He was a faithful follower of impressionism. In dire need, with a wife and five children, he still worked hard in his favorite style. And never switched to salon painting to become more popular. It is not known where he got the strength to fully believe in himself.

In order not to die of hunger at all, Pissarro painted fans, which were eagerly sold out. And the real recognition came to him after 60 years! Then at last he was able to forget about the need.

Camille Pissarro. Stagecoach at Louveciennes. 1869 Musée d'Orsay, Paris

The air in Pissarro's paintings is thick and dense. Unusual fusion of color and volume.

The artist was not afraid to paint the most changeable phenomena of nature, which appear for a moment and disappear. First snow, frosty sun, long shadows.

Camille Pissarro. Frost. 1873 Musée d'Orsay, Paris

His most famous works are views of Paris. With wide boulevards, vain motley crowd. At night, during the day, in different weather. In some ways, they echo the series of paintings by Claude Monet.