School Encyclopedia. Edgar Degas - Blue Dancers

Impressionism is an art movement that emerged in the 70s. XIX century in french painting, and then manifested in music, literature, theater.

Impressionism in painting began to take shape long before the famous exhibition of 1874. Edouard Manet is traditionally considered the founder of the Impressionists. He was very inspired by the classical works of Titian, Rembrandt, Rubens, Velazquez. Manet expressed his vision of images on his canvases, adding “vibrating” strokes that created the effect of incompleteness. In 1863, Manet created "Olympia", which caused big scandal in a cultural society.

At first glance, the picture is made in line with traditional canons, but at the same time it already carried innovative trends. About 87 reviews were written about Olympia in various Parisian publications. A lot of negative criticism fell upon her - the artist was accused of vulgarity. And only a few articles could be called benevolent.

Manet in his work used the technique of overlaying a single layer of paint, which created the effect of spots. Subsequently, this technique of overlaying paints was adopted by impressionist artists as the basis for images on paintings.

A distinctive feature of impressionism was the subtlest fixation of fleeting impressions, in a special manner of reproducing the light environment with the help of a complex mosaic of pure colors, cursory decorative strokes.

It is curious that at the beginning of their search, the artists used a cyanometer - an instrument for determining the blueness of the sky. The black color was excluded from the palette, it was replaced by other color shades, which made it possible not to spoil the sunny mood of the paintings.

The Impressionists focused on the latest scientific discoveries of their time. The color theory of Chevreul and Helmholtz boils down to the following: a sunbeam is split into component colors, and, accordingly, two paints placed on a canvas enhance the pictorial effect, and when mixed, the paints lose their intensity.

The aesthetics of impressionism took shape, in part, as an attempt to decisively free ourselves from the conventions of classicism in art, as well as from the persistent symbolism and thoughtfulness of late romantic painting, which invited everyone to see encrypted ideas that needed careful interpretation. Impressionism claimed not just the beauty of everyday reality, but the fixation of a colorful atmosphere, without detailing or interpreting, depicting the world as an ever-changing optical phenomenon.

Impressionist artists developed a complete plein air system. The forerunners of this stylistic features were landscape painters who came from the Barbizon school, the main representatives of which were Camille Corot and John Constable.

Working in open space gave more opportunity capture the slightest color changes in different time days.

Claude Monet created several series of paintings on the same subject, for example, “Rouen Cathedral” (a series of 50 paintings), “Hacks” (a series of 15 paintings), “Pond with water lilies”, etc. The main indicator of these series there was a change in light and colors in the image of the same object, written at different times of the day.

Another achievement of Impressionism is the development of an original painting system, where complex tones are decomposed into pure colors transmitted by separate strokes. The artists did not mix colors on the palette, but preferred to apply strokes directly to the canvas. This technique gave the paintings a special trepidation, variability and relief. The works of artists were filled with color and light.

The exhibition on April 15, 1874 in Paris was the result of the period of formation and presentation to the general public of a new trend. The exposition was deployed in the studio of photographer Felix Nadar on Boulevard des Capucines.

The name "Impressionism" arose after the exhibition, which featured Monet's painting "Impression. Sunrise". The critic L. Leroy, in his review in Sharivari, gave a playful description of the 1874 exhibition, citing the work of Monet as an example. Another critic, Maurice Denis, reproached the Impressionists for their lack of individuality, feeling, and poetry.

About 30 artists showed their works at the first exhibition. This was the largest number in comparison with subsequent exhibitions until 1886.

It is impossible not to say about the positive feedback from the Russian society. Russian artists and democratic critics, always keenly interested in artistic life France - I. V. Kramskoy, I. E. Repin and V. V. Stasov - highly appreciated the achievements of the Impressionists from the very first exhibition.

The new stage in the history of art, which began with the exhibition of 1874, was not a sudden explosion of revolutionary tendencies - it was the culmination of a slow and consistent development.

Despite the fact that all the great masters of the past have contributed to the development of the principles of impressionism, the immediate roots of the current can most easily be found in the twenty years preceding the historical exhibition.

Parallel to the exhibitions in the Salon, exhibitions of the Impressionists were gaining momentum. Their works demonstrated new trends in painting. This was a reproach to salon culture and exhibition traditions. In the future, impressionist artists managed to attract admirers of new trends in art to their side.

Theoretical knowledge and formulations of impressionism began to take shape quite late. The artists preferred more practice and their own experiments with light and color. In impressionism, primarily pictorial, the legacy of realism is traced, it clearly expresses the anti-academic, anti-salon orientation and installation of the image of the surrounding reality of that time. Some researchers note that impressionism has become a special offshoot of realism.

Undoubtedly, in impressionistic art, as in every artistic movement that arises during the period of the turning point and crisis of the old traditions, various and even contradictory tendencies were intertwined, for all its outward integrity.

The principal features were in the theme of the artists' works, in the means artistic expressiveness. Irina Vladimirova's book about the Impressionists includes several chapters: "Landscape, nature, impressions", "City, places of meetings and partings", "Hobbies as a way of life", "People and characters", "Portraits and self-portraits", "Still life". It also describes the history of creation and the location of each work.

During the heyday of impressionism, artists found a harmonious balance between objective reality and its perception. Artists tried to capture every ray of light, the movement of the breeze, the changeability of nature. To preserve the freshness of the paintings, the Impressionists created an original pictorial system, which later turned out to be very important for the development of art in the future. Despite the general trends in painting, each artist has found his own creative path and the main genres in painting.

Classical Impressionism is represented by such artists as Edouard Manet, Claude Monet, Pierre Auguste Renoir, Edgar Alfred Sisley, Camille Pissarro, Jean Frederic Basil, Berthe Morisot, Edgar Degas.

Consider the contribution of some artists to the formation of impressionism.

Edouard Manet (1832-1883)

Manet received his first painting lessons from T. Couture, thanks to this future artist acquired a lot of necessary professional skills. Due to the teacher's lack of proper attention to his students, Manet leaves the master's atelier and engages in self-education. He visits exhibitions in museums, on his creative formation the old masters, especially the Spanish ones, had a great influence.

In the 1860s, Manet wrote two works that show the basic principles of his artistic style. Lola from Valencia (1862) and The Flutist (1866) show Manet as an artist who reveals the character of the model through the rendering of color.

His ideas on brushstroke technique and attitude towards color were adopted by other Impressionist painters. In the 1870s, Manet became close to his followers and worked en plein air without black on the palette. The advent of impressionism was the result of the creative evolution of Manet himself. Manet's most impressionistic paintings are In a Boat (1874) and Claude Monet in a Boat (1874).

Manet also painted many portraits of various secular ladies, actresses, models, beautiful women. In each portrait, the uniqueness and individuality of the model was conveyed.

Shortly before his death, Manet writes one of his masterpieces - "Bar Folies-Bergere" (1881-1882). This picture combines several genres at once: portrait, still life, domestic scene.

N. N. Kalitina writes: “The magic of Manet’s art is such that the girl resists the environment, thanks to which her mood is so clearly revealed, and at the same time is a part, because the entire background, vaguely guessed, indefinite, agitated, is also resolved in blue-black , bluish-white, yellow tones.

Claude Monet (1840-1926)

Claude Monet was the undisputed leader and founder of classical impressionism. The main genre of his painting was landscape.

In his youth, Monet was fond of caricature and caricature. The first models for his work were his teachers, comrades. For a sample, he used cartoons in newspapers and magazines. He copied the drawings in Golois by E. Karzh, a poet and caricaturist, a friend of Gustave Coubret.

In college, Monet was taught by Jacques-Francois Hauchard. But it is fair to note the influence on Monet of Boudin, who supported the artist, gave him advice, motivated him to continue his work.

In November 1862 in Paris, Monet continued his studies in Paris with Gleyre. Thanks to this, Monet met Basil, Renoir, Sisley in his studio. Young artists were preparing to enter the School of Fine Arts, respecting their teacher, who took little for his lessons and gave soft advice.

Monet created his paintings not as a story, not as an illustration of an idea or theme. His painting, like life, did not have clear goals. He saw the world without focusing on the details, on some principles, he went to "landscape vision" (the term of the art historian A. A. Fedorov-Davydov). Monet strove for plotlessness, a fusion of genres on the canvas. The means of implementing his innovations were sketches, which were supposed to become finished paintings. All sketches were drawn from nature.

He painted meadows, and hills, and flowers, and rocks, and gardens, and village streets, and the sea, beaches and much more, he turned to the image of nature at different times of the day. Often he painted the same place at different times, thus creating whole cycles from his works. The principle of his work was not the image of objects in the picture, but the exact transmission of light.

Here are a few examples of the artist's works - "Field of poppies at Argenteuil" (1873), "Frog" (1869), "Pond with water lilies" (1899), "Wheat stacks" (1891).

Pierre Auguste Renoir (1841-1919)

Renoir is one of the outstanding masters of secular portraiture, in addition, he worked in the genres of landscape, domestic scene, still life.

The peculiarity of his work is an interest in the personality of a person, the disclosure of his character and soul. In his canvases, Renoir tries to emphasize the feeling of the fullness of being. The artist is attracted by entertainment and holidays, he paints balls, walks with their movement and a variety of characters, dances.

Most notable works artist - "Portrait of the actress Jeanne Samary", "Umbrellas", "Bathing in the Seine", etc.

It is interesting that Renoir was distinguished by his musicality and as a child he sang in the church choir under the guidance of the outstanding composer and teacher Charles Gounod in Paris in the Cathedral of Saint-Eustache. C. Gounod strongly recommended that the boy study music. But at the same time, Renoir discovered his artistic talent - from the age of 13 he already learned how to paint porcelain dishes.

Music lessons influenced the formation of the artist's personality. A number of his works are related to musical themes. They reflected playing the piano, guitar, mandolin. These are the paintings "Guitar Lesson", "Young Spanish Woman with Guitar", "Young Lady at the Piano", "Woman Playing the Guitar", "Piano Lesson", etc.

Jean Frederic Basile (1841-1870)

According to his artist friends, Basil was the most promising and outstanding impressionist.

His work is bright colors and spirituality of images. Pierre-Auguste Renoir, Alfred Sisley and Claude Monet had a great influence on his creative path. Jean Frederic's apartment for novice painters was a kind of studio and housing.

Basil mostly painted en plein air. The main idea of ​​his work was the image of man against the backdrop of nature. His first heroes in the paintings were his artist friends; many impressionists were very fond of painting each other in their works.

Frédéric Bazille marked the course of realistic impressionism in his work. His most famous painting, Family Reunion (1867), is autobiographical. The artist depicts members of his family on it. This work was presented at the Salon and received an approving assessment of the public.

In 1870, the artist died in the Prussian-French war. After the death of the artist, his artist friends organized the third exhibition of the Impressionists, where his canvases were also exhibited.

Camille Pissarro (1830-1903)

Camille Pissarro is one of the largest representatives of landscape painters after C. Monet. His work was constantly exhibited in the expositions of the Impressionists. In his works, Pissarro preferred to depict plowed fields, peasant life and labor. His paintings were distinguished by the structure of forms and the clarity of composition.

Later, the artist began to paint and paintings on urban themes. N. N. Kalitina notes in her book: “He looks at the city streets from the windows upper floors or from balconies, without introducing them into compositions.

Under the influence of Georges-Pierre Seurat, the artist took up pointillism. This technique involves the imposition of each stroke separately, as if putting dots. But the creative prospects in this area were not realized, and Pissarro returned to impressionism.

Pissarro's most famous paintings are Boulevard Montmartre. In the afternoon, sunny”, “Opera passage in Paris”, “Square French theater in Paris”, “Garden in Pontoise”, “Harvest”, “Haymaking”, etc.

Alfred Sisley (1839-1899)

The main genre of painting by Alfred Sisley was the landscape. In his early works, one can see mainly the influence of K. Corot. Gradually, in the process of joint work with C. Monet, J. F. Basil, P. O. Renoir, light colors begin to appear in his works.

The artist is attracted by the play of light, the change in the state of the atmosphere. Sisley addressed the same landscape several times, capturing it at different times of the day. In his works, the artist gave priority to the image of water and sky, which changed every second. The artist managed to achieve perfection with the help of color, each shade in his works carries a kind of symbolism.

The most famous of his works: "Country Alley" (1864), "Frost in Louveciennes" (1873), "View of Montmartre from the Flower Island" (1869), "Early Snow in Louveciennes" (1872), "The Bridge at Argenteuil" (1872 ).

Edgar Degas (1834-1917)

Edgar Degas is an artist who began his creative career by studying at the School of Fine Arts. He was inspired by artists Italian Renaissance which influenced his work in general. In the beginning, Degas wrote historical paintings, for example, “Spartan girls challenge Spartan boys to a competition. (1860). The main genre of his painting is a portrait. In his works, the artist relies on classical traditions. He creates works marked by a keen sense of his time.

Unlike his colleagues, Degas does not share the joyous, open outlook on life and things inherent in Impressionism. The artist is closer to the critical tradition of art: compassion for the fate of the common man, the ability to see the souls of people, their inner world, inconsistency, tragedy.

For Degas, objects and the interior surrounding a person play an important role in creating a portrait. Here are a few works as an example: "Desiree Dio with an orchestra" (1868-1869), "Portrait of a Woman" (1868), "The Morbilli Couple" (1867), etc.

The principle of portraiture in the works of Degas can be traced throughout his entire career. In the 1870s, the artist depicts the society of France, in particular Paris, in his works in full glory. In the interests of the artist - urban life in motion. “Movement was for him one of the most important manifestations of life, and the ability of art to convey it was the most important conquest. modern painting”, - writes N.N. Kalitina.

During this period of time, such paintings as "The Star" (1878), "Miss Lola at the Fernando Circus", "Epsom Races" and others were created.

A new round of Degas' creativity is his interest in ballet. It shows the backstage life of ballerinas, talks about their hard work and hard training. But, despite this, the artist manages to find airiness and lightness in the transfer of their images.

In the ballet series of paintings by Degas, achievements in the field of transmitting artificial light from the footlight are visible, they speak of the artist's coloristic talent. Most famous paintings « blue dancers"(1897)," Dance class"(1874), "Dancer with a Bouquet" (1877), "Dancers in Pink" (1885) and others.

At the end of his life, due to the deterioration of his eyesight, Degas tries his hand at sculpture. The same ballerinas, women, horses become his objects. In sculpture, Degas tries to convey movement, and in order to appreciate the sculpture, you need to look at it from different angles.

There is an opinion that painting in impressionism occupies not such an important place. But impressionism in painting is the opposite. The statement is very paradoxical and contradictory. But this is only at first, superficial glance.

Perhaps, that for all the millennia of existence in the arsenal of mankind of artistic fine art, nothing more new, revolutionary has appeared. Impressionism is in any modern art canvas. It can be clearly seen both in the frames of the film of the famous master, and among the gloss of a ladies' magazine. He penetrated music and books. But once upon a time everything was different.

Origins of Impressionism

In 1901, in France, in the Combarel cave, cave paintings were accidentally discovered, the youngest of which was 15,000 years old. And it was the first impressionism in painting. Because the primitive artist did not set out to read morality to the viewer. He simply painted the life that surrounded him.

And then this method was forgotten for many, many years. Mankind has invented others And the transfer of emotions by the visual method has ceased to be topical for him.

In some ways, the ancient Romans were close to impressionism. But part of their efforts were covered in ashes. And where Vesuvius did not reach, the barbarians came.

Painting was preserved, but began to illustrate texts, messages, messages, knowledge. She ceased to be a feeling. It has become a parable, an explanation, a story. Look at the tapestry from Bayeux. He is wonderful and priceless. But this is not a picture. This is seventy meters of linen comics.

Painting in impressionism: the beginning

Slowly and majestically developed painting in the world for thousands of years. New colors and techniques appeared. Artists learned the importance of perspective and the power of a colorful hand-drawn message on the human mind. Painting became an academic science and acquired all the features of monumental art. She became clumsy, prim and moderately pretentious. At the same time, refined and unshakable, like a canonical religious postulate.

Religious parables, literature, staged genre scenes served as the source of plots for the paintings. The strokes were small and inconspicuous. Glazing was introduced into the rank of dogma. And the art of drawing in the foreseeable future promised to ossify like a primeval forest.

Life was changing, technology was rapidly developing, and only artists continued to churn out prim portraits and smoothed sketches of country parks. This state of affairs did not suit everyone. But the inertia of the consciousness of society was overcome with difficulty at all times.

However, the 19th century was already in the yard, having long passed its second half. Social processes that used to take centuries now took place before the eyes of one generation. Industry, medicine, economics, literature, and society itself developed rapidly. It was then that painting showed itself in impressionism.

Happy birthday! Impressionism in painting: paintings

Impressionism in painting, like paintings, has an exact dating of its birth - 1863. And his birth was not without curiosities.

The center of world art then, of course, was Paris. It annually hosted large Parisian salons - world exhibitions and sales of paintings. The jury, which selected works for the salons, was mired in petty internal intrigues, useless squabbles and stubbornly oriented towards the senile tastes of the then academies. As a result, new ones did not get into the salon at the exhibition, bright artists, whose talent did not correspond to the ossified academic dogmas. During the selection of participants in the exhibition in 1863, over 60% of applications were rejected. These are thousands of painters. A scandal was brewing.

Emperor-gallery

And the scandal erupted. The inability to exhibit deprived a huge number of artists of their livelihood and access to the general public. Among them are names now known to the whole world: Monet and Manet, Renoir and Pissarro.

It is clear that this did not suit them. And there was a big buzz in the press. It got to the point that on April 20, 1893, Napoleon III visited the Paris Salon and, in addition to the exposition, purposefully examined some of the rejected works. And I did not find anything reprehensible in them. And even made this statement in the press. That is why, in parallel with the great Paris Salon, an alternative exhibition of paintings with works rejected by the salon jury was opened. It went down in history under the name "Exhibition of Outcasts".

So, April 20, 1863 can be considered the birthday of all contemporary art. Art that has become independent of literature, music and religion. Moreover, painting itself began to dictate its terms to writers and composers, for the first time getting rid of subordinate roles.

Representatives of impressionism

When we talk about impressionism, we first of all mean impressionism in painting. Its representatives are numerous and multifaceted. Suffice it to name the most famous: Degas, Renouan, Pissarro, Cezanne, Morisot, Lepic, Legros, Gauguin, Renoir, Thilo, Forain and many, many others. For the first time, the Impressionists set the task of capturing not just a static picture from life, but snatching a feeling, an emotion, an inner experience. It was an instant cut, a high-speed photograph of the inner world, the emotional world.

Hence the new contrasts and colors, hitherto not used in painting. Hence the large, bold strokes and the constant search for new forms. There is no former clarity and slickness. The picture is blurry and fleeting, like a person's mood. This is not history. These are feelings that are visible to the eye. Look at them. They are all a little cut off in mid-sentence, a little fleeting. These are not paintings. These are sketches brought to ingenious perfection.

The emergence of post-impressionism

It was the desire to bring a feeling to the fore, and not a frozen temporal fragment, that was revolutionary and innovative for that time. And then there was only one step left to post-impressionism - a trend of art that brought to the fore not emotion, but patterns. More precisely, the transfer by the artist of his inner, personal reality. This is an attempt to tell not about the outside world, but about the inner one, through the way the artist sees the world. perception.

Impressionism and post-impressionism in painting are very close. And the division itself is very conditional. Both currents are close in time, and the authors themselves, often the same, as a rule, moved from one style to another quite freely.

And yet. Look at the work of the Impressionists. Slightly unnatural colors. A world familiar to us, but at the same time a little fictional. This is how the artist saw it. He does not give us a nature contemporary to him. He just bares his soul a little for us. The soul of Bonnard and Toulouse-Lautrec. Van Gogh and Denis. Gauguin and Seurat.

Russian impressionism

The experience of impressionism, which captured the whole world, did not leave Russia aside either. Meanwhile, in our country, accustomed to a more measured life, not understanding the fuss and aspirations of Paris, impressionism could not get rid of academicism. He is like a bird that took off on takeoff, but froze halfway into the sky.

Impressionism in Russian painting did not receive the dynamism of the French brush. On the other hand, he acquired a dressed up semantic dominant, which made him a bright, somewhat isolated phenomenon in world art.

Impressionism is a feeling expressed in the form of a painting. He does not educate, does not demand. He claims.

Impressionism served as the starting point for Art Nouveau and expressionism, constructivism and avant-garde. All modern art, in fact, began its report on April 20, 1863. Impressionist painting is an art born in Paris.

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 great 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 japanese art in mid-nineteenth 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. The successive rejection of Impressionism from the an-tro-centric concept of European art (man-age is not the center of the world-building, but his hour -ti-tsa) pro-iso-went in a significant degree under the influence of Japanese art and appeared in equal-but-pra-vii of all the elements of com-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-wee-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- em with him chro-no-lo-gi-che-ski (time race-color-ta musical impressionism- 1890-1900s), usually connected-zy-va-yut pe-re-da-chu from-men-chi-out-to-structures, subtle psycho-ho-logical-gic nudes -an-owls, ty-go-te-nie to the ethical landscape program-no-sti (including the display in the sounds of the playing of waves, bl -kov light on the water, wind-ra, ob-la-kov and the like), the composer’s higher in-te-res to the bro-howl and harmonious colorful -no-sti. 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 musical schools XIX 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 XIX- the beginning of the 20th century. 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

Today, impressionism is perceived as a classic, but in the era of its formation, it was a real revolutionary breakthrough in art. The innovation and ideas of this direction have completely changed artistic perception art of the 19th and 20th centuries. BUT modern impressionism in painting, he inherits principles that have already become canonical and continues his aesthetic search in the transfer of sensations, emotions and light.

Prerequisites

There are several reasons for the appearance of impressionism, this is a whole complex of prerequisites that led to a real revolution in art. In the 19th century, a crisis was brewing in French painting, it was due to the fact that "official" criticism did not want to notice and let various emerging new forms into galleries. Therefore, painting in impressionism became a kind of protest against the inertia and conservatism of generally accepted norms. Also, the origins of this trend should be sought in the trends inherent in the Renaissance and associated with attempts to convey living reality. Painters Venetian school are considered the first progenitors of impressionism, then the Spaniards took this path: El Greco, Goya, Velazquez, who directly influenced Manet and Renoir. Technological progress also played a role in the formation of this school. Thus, the advent of photography gave rise to new idea in art about capturing momentary emotions and sensations. It is this instant impression that the artists of the direction we are considering strive to “grab”. Also, this trend was influenced by the development of the plein-air school, which was founded by representatives of the Barbizon school.

History of Impressionism

In the second half of the 19th century during french art a critical situation is emerging. Representatives classical school they do not accept the innovations of young artists and do not allow them to the Salon - the only exhibition that opens the way to customers. A scandal erupted when the young Édouard Manet presented his work Luncheon on the Grass. The painting aroused the indignation of critics and the public, and the artist was forbidden to exhibit it. Therefore, Manet participates in the so-called "Salon of the Rejected" along with other painters who were not allowed to participate in the exhibition. The work received a huge response, and a circle of young artists began to form around Manet. They gathered in cafes, discussed the problems of contemporary art, argued about new forms. A society of painters appears, who will be called the Impressionists after one of the works of Claude Monet. This community included Pissarro, Renoir, Cezanne, Monet, Basil, Degas. The first exhibition of artists of this trend took place in 1874 in Paris and ended, like all subsequent ones, in failure. Actually, impressionism in music and painting covers a period of only 12 years, from the first exhibition to the last, held in 1886. Later, the direction begins to break up into new trends, some of the artists die. But this period made a real revolution in the minds of creators and the public.

Ideological principles

Unlike many other areas, painting in impressionism was not associated with deep philosophical views. The ideology of this school was momentary experience, impression. The artists did not set themselves social tasks, they sought to convey the fullness and joy of being in everyday life. Therefore, the genre system of impressionism was generally very traditional: landscapes, portraits, still lifes. This direction is not an association of people based on philosophical views, but a community of like-minded people, each of whom conducts his own search in the study of the form of being. Impressionism lies precisely in the uniqueness of the look at ordinary objects, it is focused on individual experience.

Technique

It is quite easy to recognize painting in impressionism by some characteristic features. First of all, it is worth remembering that the artists of this direction were fierce lovers of color. They almost completely abandon black and brown in favor of a rich, vibrant palette, often heavily highlighted. Impressionist technique is characterized by short strokes. They strive for the overall impression, rather than careful drawing of details. The canvases are dynamic, intermittent, which corresponds to human perception. Painters strive to arrange colors on the canvas in such a way as to obtain coloristic intensity or rapprochement in the picture, they do not mix colors on the palette. Artists often worked in the open air, and this was reflected in the technique, in which there was no time to dry the previous layers. Paints were applied side by side or one on top of the other, using a opaque material that made it possible to create an "inner glow" effect.

The main representatives in French painting

motherland this direction is France, it was here that impressionism first appeared in painting. The artists of this school lived in Paris in the second half of the 19th century. They presented their works at 8 impressionist exhibitions, and these canvases became classics of the direction. It is the French Monet, Renoir, Sisley, Pissarro, Morisot and others who are the progenitors of the trend we are considering. The most famous impressionist, of course, is Claude Monet, whose work fully embodied all the features of this trend. Also, the current is rightly associated with the name of Auguste Renoir, who considered his main artistic task to be the transmission of the play of the sun; in addition, he was a master of the sentimental portrait. Impressionism also includes such outstanding artists like Van Gogh, Edgar Degas, Paul Gauguin.

Impressionism in other countries

Gradually, the direction is spreading in many countries, the French experience has been successfully picked up in other national cultures, although they have to talk more about individual works and techniques than about the consistent implementation of ideas. German painting in Impressionism is represented primarily by the names of Lesser Uri, Max Liebermann, Lovis Corinth. In the USA, the ideas were implemented by J. Whistler, in Spain - by J. Sorolla, in England - by J. Sargent, in Sweden - by A. Zorn.

Impressionism in Russia

Russian art in the 19th century was significantly influenced by French culture, so Russian artists also could not avoid being carried away by the new trend. Russian impressionism in painting is most consistently and fruitfully represented in the work of Konstantin Korovin, as well as in the works of Igor Grabar, Isaac Levitan, Valentin Serov. The peculiarities of the Russian school consisted in the etude nature of the works.

What was impressionism in painting? The founding artists sought to capture the momentary impressions of contact with nature, and the Russian creators also tried to convey a deeper, philosophical meaning of the work.

Impressionism today

Despite the fact that almost 150 years have passed since the appearance of the direction, modern impressionism in painting has not lost its relevance today. Due to the emotionality and ease of perception, paintings in this style are very popular and even commercially successful. Therefore, many artists around the world are working in this direction. Thus, Russian impressionism in painting is presented in the new Moscow museum of the same name. There are regular exhibitions contemporary authors, for example, V. Koshlyakova, N. Bondarenko, B. Gladchenko and others.

Masterpieces

Modern lovers of fine art often call impressionism in painting their favorite direction. Paintings by artists of this school are sold at auctions at fabulous prices, and collections in museums enjoy great public attention. The main masterpieces of impressionism are considered to be the paintings of C. Monet "Waters" and "Rising Sun", O. Renoir "Ball at the Moulin de la Galette", C. Pissarro "Boulevard Montmartre at night" and "Bouldieu Bridge in Rouen on a rainy day", Degas "Absinthe", although this list can be continued almost endlessly.

The word "Impressionism" is derived from the French "impression" - impression. This is a direction of painting that originated in France in the 1860s. and largely determined the development of art in the 19th century. The central figures of this trend were Cezanne, Degas, Manet, Monet, Pissarro, Renoir and Sisley, and the contribution of each of them to its development is unique. The Impressionists opposed the conventions of classicism, romanticism and academism, asserted the beauty of everyday reality, simple, democratic motives, achieved a lively authenticity of the image, tried to capture the “impression” of what the eye sees at a particular moment, without focusing on drawing specific details.

In the spring of 1874, a group of young painters, including Monet, Renoir, Pissarro, Sisley, Degas, Cezanne and Berthe Morisot, neglected the official Salon and staged their own exhibition. 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. The reaction to this innovation from visitors and critics was far from friendly. They accused the artists of writing simply to attract the attention of the public, and not in the way that recognized masters do. The most condescending considered their work as a mockery, as an attempt to play a trick on honest people. It took years fiercest struggle before these, later recognized, classics of painting were able to convince the public not only of their sincerity, but also of their talent.

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. In his favorite genres (landscape, portrait, multi-figured composition) they sought to convey their fleeting impressions of the world around them (scenes on the street, in cafes, sketches of Sunday walks, etc.). The Impressionists portrayed a life full of natural poetry, where a person is in unity with environment, ever-changing, striking with richness and sparkling of the pure, bright colors.

After the first exhibition in Paris, these artists began to be called impressionists, from the French word "impression" - "impression". This word was suitable for their works, because in them the artists conveyed their direct impression of what they saw. Artists approached the image of the world in a new way. main theme for them became a quivering light, air, in which people and objects are, as it were, 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 was the last major art movement in France XIX century.

This is not to say that the path of the Impressionist artists was easy. At first they were not recognized, their painting was too bold and unusual, they were laughed at. Nobody wanted to buy their paintings. But they stubbornly went their own way. Neither poverty nor hunger could force them to abandon their beliefs. Many years passed, many of the Impressionist painters were no longer alive when their art was finally recognized.

All of these are very different artists united by a common struggle against conservatism and academicism in art. The Impressionists held eight exhibitions, the last in 1886. This actually ends the history of impressionism as a trend in painting, after which each of the artists went his own way.

One of the paintings presented at the first exhibition of the "independents", as the artists preferred to call themselves, belonged to Claude Monet and was called "Impression. Sunrise". In appeared the next day newspaper review At the exhibition, critic L. Leroy scoffed in every possible way at the lack of “made-up form” in the paintings, ironically inclining the word “impression” in every way, as if replacing true art in the works of young artists. Against expectations, the new word, uttered in mockery, took root and served as the name of the whole movement, since it perfectly expressed the common thing that united all participants in the exhibition - the subjective experience of color, light, space. Trying to express their immediate impressions of things as accurately as possible, artists freed themselves from traditional rules and created a new method of painting.

The Impressionists put forward their own principles of perception and display of the surrounding world. They erased the line between the main subjects worthy high art, and secondary objects, established between them a straight line and feedback. The impressionistic method thus became the maximum expression of the very principle of painting. The pictorial approach to the image just involves the identification of the relationship of the subject with the world around it. The new method forced the viewer to decipher not so much the vicissitudes of the plot as the secrets of the painting itself.

The essence of the impressionistic vision of nature and its image lies in the weakening of the active, analytical perception of three-dimensional space and reducing it to the original two-dimensionality of the canvas, determined by a planar visual setting, in the words of A. Hildebrand, “distant looking at nature”, which leads to the distraction of the depicted object from its material qualities, merging with the environment, almost completely turning it into “appearance”, an appearance that dissolves in light and air. It is no coincidence that P. Cezanne later called the leader of the French Impressionists Claude Monet "only an eye." This "detachment" of visual perception also led to the suppression of the "color of memory", that is, the connection of color with the usual subject representations and associations, according to which the sky is always blue and the grass is green. The Impressionists could, depending on their vision, paint the sky green and the grass blue. "Objective plausibility" was sacrificed to the laws of visual perception. For example, J. Seurat enthusiastically told everyone how he discovered that the orange coastal sand in the shade is bright blue. Thus, the principle of contrasting perception of complementary colors was put at the basis of the pictorial method.

For an impressionist artist, for the most part, it is not what he depicts that matters, but the “how” is important. The object becomes only an occasion for solving purely pictorial, “visual” tasks. Therefore, impressionism originally had another, later forgotten name - “chromantism” (from the Greek Chroma - color). The Impressionists updated coloring, they abandoned dark, earthy colors and applied pure, spectral colors to the canvas, almost without mixing them first on the palette. The naturalism of impressionism consisted in the fact that the most uninteresting, ordinary, prosaic turned into beautiful, as soon as the artist saw the subtle nuances of gray and blue there.

Characterized by brevity, etude creative method impressionism. After all, only a short study made it possible to accurately record individual states of nature. The Impressionists were the first to break with the traditional principles of spatial painting dating back to the Renaissance and Baroque. They used asymmetrical compositions to better highlight those they were interested in. actors and items. But the paradox was that, having abandoned the naturalism of academic art, destroying its canons and declaring aesthetic value fixing everything fleeting, random, the Impressionists remained captive to naturalistic thinking, and even, moreover, in many ways it was a step backwards. One can recall the words of O. Spengler that "Rembrandt's landscape lies somewhere in the endless spaces of the world, while Claude Monet's landscape is close to the railway station"