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The concept of impressionism and the history of its origin. School Encyclopedia The Impressionist movement first manifested itself

Impressionism(Impressionism, French impression - impression) is a direction in 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.

The most typical theme for the Impressionists is the landscape, but they also touched on many other topics in their work. Degas, for example, depicted races, ballerinas and laundresses, while Renoir depicted charming women and children. In impressionistic landscapes created in the open air, a simple, everyday motif is often transformed by an all-pervading moving light, which brings a sense of festivity to the picture. In some methods of impressionist construction of composition and space, the influence of Japanese engraving and partly photography is noticeable. The Impressionists created the first multi-faceted painting Everyday life modern city, captured the originality of its landscape and the appearance of the people inhabiting it, their way of life, work and entertainment.

The Impressionists did not seek to touch upon acute social problems, philosophy or shocking in creativity, focusing only on various ways of expressing the impression of the surrounding everyday life. In an effort to "see the moment" and reflect the mood.

Name " Impressionism" arose after the 1874 exhibition in Paris, which exhibited Monet's painting "Impression. Rising Sun"(1872; the painting was stolen from the Marmottan Museum in Paris in 1985 and is now on the Interpol list).

More than seven Impressionist exhibitions were held between 1876 and 1886; at the end of the latter, only Monet continued to strictly follow the ideals of Impressionism. "Impressionists" are also called artists outside of France who painted under the influence of French Impressionism (for example, the Englishman F. W. Steer).

Impressionist artists

Famous Impressionist Paintings:

Edgar Degas

Claude Monet

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 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 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. Deha). 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 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. Fore 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-bow-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- 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 late ro-man-tiz-ma and national music 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. Especially-buyu freshness mu-zy-ke french impressionists attached-yes-wa-whether ob-ra-sche-nie to the song-sen-no-tan-tse-val-ny genres, to the elements of the musical language of the na-ro-dov Vos-something -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

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. Currently, 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. It is interesting that emotions and impressions, and not plot and morality, played leading 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 capture the most naturally and impartially 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" originated with light hand critic of the magazine "Le Charivari" Louis Leroy, who titled his feuilleton about the Salon of the Les Misérables "Exhibition of the Impressionists", taking as a basis the name of this painting by Claude Monet.

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

origins

During the Renaissance painters Venetian school tried to convey a 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.

Eugène 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, arrangement of an image on a sheet of paper - a displaced composition or 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 his teacher paint sketches in pastels and watercolors, while 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 Monet 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 little-known journalist Louis Leroy, in his article in the magazine "Le Charivari", called the group "Impressionists" to express his disdain. 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. IN currently 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 art movement in France XIX century, paving the line between the art of modern and modern times.

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 subjects worthy high art, and secondary items.

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 impressionist 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 transfer of instantaneous movement, the fluidity of form - in varying degrees appeared in the sculpture of the 1910s, by E Degas, Fr. Rodin, M. Golubkina. Artistic impressionism to a large extent enriched the means of expression in literature (P. Verlaine), music (C. Debussy), and 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. She 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 mockery of one of the journalists, that marked the beginning of 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 etudes has now become main feature 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 started using asymmetrical compositions to better highlight those they were interested in. actors and items. In some methods of impressionist 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 hand-made paints 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 write mainly in the open air and raised the importance of a sketch from nature, which almost replaced traditional type paintings, 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 they discovered, occupied a very important place in the art of the Impressionists. The main theme for them was 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 introduced new themes into art - the daily life of the city, street scenery 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 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 a big scandal in the cultural community.

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 method 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 Chevrel and Helmholtz boils down to the following: a sunbeam is split into its constituent colors, and, accordingly, two paints placed on the canvas enhance the pictorial effect, and when the paints are mixed, they lose their intensity.

The aesthetics of impressionism took shape, in part, as an attempt to decisively free oneself 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.

Work on open space made it possible to 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 was the change in light and colors in the image of the same object painted 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 cannot be said about positive feedback from 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. Impressionism, primarily pictorial, traces the legacy of realism, 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 impressionist 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 which the 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, his creative formation was greatly influenced by the old masters, especially the Spanish ones.

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 mild form gave 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. Whole line his work is connected with 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 Basil (1841-1870)

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

His works are distinguished by 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 major representatives 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 of the upper floors or from the balconies, without introducing them into the 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 work 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 joyful, open outlook on life and things inherent in Impressionism. The artist is closer to the critical tradition of art: compassion for fate 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), " Female portrait"(1868)," The Morbilly Couple "(1867) and others.

The principle of portraiture in the works of Degas can be traced throughout his creative way. 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 "Star" (1878), "Miss Lola at Fernando's Circus", "Epsom Races" and others were created.

A new round of Degas' creativity is his interest in ballet. He 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. The most famous paintings are "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 consider it from different angles.

Impressionism (impressionnisme) is a style of painting that appeared at the end of the 19th century in France and then spread throughout the world. The very idea of impressionism lies in its name: impression - impression. Artists who are tired of traditional techniques academic painting, which, in their opinion, did not convey all the beauty and liveliness of the world, began to use completely new techniques and methods of depiction, which were supposed to express in the most accessible form not a “photographic” view, but precisely the impression of what they saw. In his painting, the impressionist artist, with the help of the character of strokes and color palette trying to convey the atmosphere, heat or cold, strong wind or peaceful silence, a foggy rainy morning or a bright sunny afternoon, as well as their personal experiences from what they saw.

Impressionism is a world of feelings, emotions and fleeting impressions. It is not external realism or naturalness that is valued here, but the realism of the expressed sensations, the internal state of the picture, its atmosphere, depth. Initially given style was heavily criticized. The first Impressionist paintings were exhibited at the Salon des Les Misérables in Paris, where works by artists rejected by the official Paris Art Salon were exhibited. For the first time the term "Impressionism" was used by the critic Louis Leroy, who wrote a disparaging review in the magazine "Le Charivari" about the exhibition of artists. As the basis for the term, he took the painting by Claude Monet “Impression. Rising Sun". He called all artists impressionists, which can be roughly translated as "impressionists." At first, the paintings were indeed criticized, but soon more and more fans of the new direction in art began to come to the salon, and the genre itself turned from an outcast into a recognized one.

It should be noted that the artists late XIX centuries in France, they came up with a new style not from scratch. They took as a basis the techniques of the painters of the past, including the artists of the Renaissance. Such painters as El Greco, Velazquez, Goya, Rubens, Turner and others, long before the emergence of impressionism, tried to convey the mood of the picture, the liveliness of nature, the special expressiveness of the weather with the help of various intermediate tones, bright or vice versa dull strokes that looked like abstract things. In their paintings, they used it quite sparingly, so the unusual technique was not evident to the viewer. The Impressionists, on the other hand, decided to take these depiction methods as the basis for their works.

Another specific feature of the works of the Impressionists is a kind of superficial everydayness, which, however, contains incredible depth. They do not try to express any deep philosophical themes, mythological or religious tasks, historical and important events. The paintings of artists of this direction are inherently simple and everyday - landscapes, still lifes, people walking down the street or doing their usual things, and so on. It is precisely such moments where there is no excessive thematicity that distracts a person, feelings and emotions from what they see come to the fore. Also, the Impressionists, at least at the beginning of their existence, did not depict "heavy" topics - poverty, wars, tragedies, suffering, and so on. Impressionist paintings are most often the most positive and joyful works, where there is a lot of light, bright colors, smoothed chiaroscuro, smooth contrasts. Impressionism is a pleasant impression, the joy of life, the beauty of every moment, pleasure, purity, sincerity.

The most famous impressionists were such great artists as Claude Monet, Edgar Degas, Alfred Sisley, Camille Pissarro and many others.

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Alfred Sisley - Lawns in Spring