Hood impressionists. Impressionism in French painting

Impressionism (impressionnisme) is a style of painting that appeared in late XIX 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 paintings, 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” appearance, but rather the impression of what was seen. In his painting, the impressionist artist uses the character of strokes and color palette tries to convey atmosphere, heat or cold, strong wind or peaceful silence, a foggy rainy morning or a bright sunny afternoon, as well as your personal experiences from what you saw.

Impressionism is a world of feelings, emotions and fleeting impressions. What is valued here is not external realism or naturalness, but rather the realism of the expressed sensations, the internal state of the picture, its atmosphere, and depth. Initially this style came under strong criticism. The first Impressionist paintings were exhibited at the Parisian “Salon of Les Misérables,” where works by artists rejected by the official Paris Salon of Arts were exhibited. The term “impressionism” was first used by critic Louis Leroy, who wrote a disparaging review in the magazine “Le Charivari” about an exhibition of artists. As the basis for the term, he took Claude Monet’s painting “Impression. Rising Sun". He called all the 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 art direction began to come to the salon, and the genre itself turned from a rejected one to a recognized one.

It is worth noting that artists of the late 19th century in France did not come up with a new style out of nowhere. They took as a basis the techniques of painters of the past, including artists of the Renaissance. Painters such as El Greco, Velazquez, Goya, Rubens, Turner and others, long before the emergence of impressionism, tried to convey the mood of a picture, the liveliness of nature, the special expressiveness of the weather with the help of various intermediate tones, bright or, on the contrary, dull strokes that looked like abstract things. They used it quite sparingly in their paintings, so unusual technique did not catch the viewer's eye. The Impressionists decided to take these image methods as the basis for their works.

One more specific feature The works of the impressionists are a kind of superficial everydayness, which, however, contains incredible depth. They do not try to express any deep philosophical themes, mythological or religious problems, historical and important events. The paintings of artists of this movement are inherently simple and everyday - landscapes, still lifes, people walking down the street or going about their normal business, and so on. It is precisely such moments, where there is no excessive thematic content that distracts a person, that 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” themes - 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, joy from 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

Camille Pissarro - Boulevard Montmartre. Afternoon, sunny.

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 movement completely changed the artistic perception of art in the 19th and 20th centuries. A modern impressionism in painting he inherits principles that have already become canonical and continues aesthetic searches in the transmission of sensations, emotions and light.

Prerequisites

There are several reasons for the emergence of impressionism; it is a whole complex of prerequisites that led to a real revolution in art. In the 19th century French painting a crisis was brewing; it was due to the fact that “official” criticism did not want to notice and allow various emerging new forms into the galleries. Therefore, painting in impressionism became a kind of protest against the inertia and conservatism of generally accepted norms. Also, the origins of this movement should be sought in the trends inherent in the Renaissance and associated with attempts to convey living reality. Artists 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. He also played a role in the formation of this school. technical progress. Thus, the advent of photography gave rise to a new idea in art about capturing momentary emotions and sensations. It is this instantaneous impression that the artists of the movement we are considering strive to “capture.” The development of the plein air school, which was founded by representatives of the Barbizon school, also had an influence on this trend.

History of impressionism

In the second half of the 19th century in French art folds up critical situation. Representatives of the classical school do not accept the innovation of young artists and do not allow them to attend the Salon - the only exhibition that opens the way to customers. A scandal broke out when the young Edouard 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 a cafe and discussed problems contemporary art, argued about new forms. A society of painters appears who will be called impressionists after one of Claude Monet’s works. This community included Pissarro, Renoir, Cezanne, Monet, Basil, Degas. The first exhibition of artists of this movement 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 movement begins to disintegrate into new movements, and some artists die. But this period brought about a real revolution in the minds of creators and the public.

Ideological principles

Unlike many other movements, 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 goals; they sought to convey the fullness and joy of life in everyday life. That's why genre system Impressionism was generally very traditional: landscapes, portraits, still lifes. This direction is not a unification of people based on philosophical views, but a community of like-minded people, each of whom conducts his own quest to study the form of being. Impressionism lies precisely in the uniqueness of the view of 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 movement were ardent lovers of color. They almost completely abandon black and brown in favor of a rich, bright palette, often heavily bleached. The Impressionist technique is characterized by short strokes. They strive for a general impression rather than careful drawing of details. The canvases are dynamic and intermittent, which corresponds to human perception. Painters strive to place colors on the canvas in such a way as to achieve coloristic intensity or proximity in the picture; they do not mix colors on the palette. Artists often worked plein air, and this was reflected in the technique, which did not have time to dry the previous layers. The paints were applied side by side or one on top of the other, and an opaque material was used, which made it possible to create the effect of an “inner glow.”

Main representatives in French painting

Homeland this direction France is where impressionism first appeared in painting. 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 paintings became classics of the movement. It is the Frenchmen Monet, Renoir, Sisley, Pissarro, Morisot and others who are the progenitors of the movement we are considering. The most famous impressionist, of course, is Claude Monet, whose works fully embodied all the features of this movement. Also, the movement is rightly associated with the name of Auguste Renoir, who, with his main artistic task considered the transmission of the game of the sun; in addition, he was a master of sentimental portraiture. 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 others 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 Ury, Max Liebermann, Lovis Corinth. In the USA, ideas were implemented by J. Whistler, in Spain - by H. 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 domestic artists also could not avoid being carried away by the new movement. Russian impressionism in painting is most consistently and fruitfully represented in the works of Konstantin Korovin, as well as in the works of Igor Grabar, Isaac Levitan, Valentin Serov. The peculiarities of the Russian school were the etude nature of the works.

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

Impressionism today

Despite the fact that almost 150 years have passed since the emergence of the movement, modern impressionism in painting has not lost its relevance today. Thanks to their 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. Exhibitions are held there regularly modern authors, for example V. Koshlyakov, N. Bondarenko, B. Gladchenko and others.

Masterpieces

Modern lovers visual arts Impressionism in painting is often called their favorite direction. Paintings by artists of this school are sold at auctions at incredible prices, and collections in museums enjoy great public attention. The main masterpieces of impressionism are considered to be the paintings by C. Monet “Water Lilies” and “The Rising Sun”, O. Renoir “Ball at the Moulin de la Galette”, C. Pissarro “Boulevard Montmartre at Night” and “Boildier Bridge in Rouen on a Rainy Day”, E. . Degas "Absinthe", although this list can be continued almost endlessly.

Explanatory dictionary of the Russian language. D.N. Ushakov

impressionism

impressionism, many no, m. (French impressionisme) (art.). A movement in art that aims to convey and reproduce immediate, subjective impressions of reality.

Explanatory dictionary of the Russian language. S.I.Ozhegov, N.Yu.Shvedova.

impressionism

A, m. Art direction of the late 19th - early 20th centuries. seeking to directly reproduce the artist’s experiences, moods and impressions.

adj. impressionistic, -aya, -oe and impressionistic, -aya, -oe.

New explanatory dictionary of the Russian language, T. F. Efremova.

impressionism

m. Art direction of the latest thirds of the XIX century - beginning of the 20th century, based on the desire to reflect the real world in its mobility, variability and to capture the own feelings of the artist, composer, etc.

Encyclopedic Dictionary, 1998

impressionism

IMPRESSIONISM (from the French impression - impression) movement in art last third 19 - beginning 20 centuries, whose representatives sought to most naturally and impartially capture the real world in its mobility and variability, to convey their fleeting impressions. Impressionism originated in the 1860s in French painting: E. Manet, O. Renoir, E. Degas introduced into art freshness and spontaneity of perception of life, depiction of instantaneous, seemingly random movements and situations, apparent imbalance, fragmentation of composition, unexpected points of view, angles, cuts of figures. In the 1870-80s. impressionism was formed in the French landscape: C. Monet, C. Pissarro, A. Sisley developed a consistent system of plein air; working for outdoors, they created a feeling of sparkling sunlight, the richness of the colors of nature, the dissolution of volumetric forms in the vibration of light and air. The decomposition of complex tones into pure colors (applied to the canvas in separate strokes and designed to optically mix them in the viewer’s eye), colored shadows and reflections gave rise to unprecedentedly light, vibrant painting. In addition to painters (American - J. Whistler, German - M. Lieberman, L. Corinth, Russians - K. A. Korovin, I. E. Grabar), impressionism’s interest in instantaneous movement, fluid form was embraced by sculptors (French - O. Rodin , Italian - M. Rosso, Russian - P. P. Trubetskoy). For musical impressionism con. 19 - beginning 20th centuries (in France - C. Debussy, partly M. Ravel, P. Dukas, etc.), which developed under the influence of impressionism in painting, is characterized by the transmission of subtle moods, psychological nuances, a tendency towards landscape programming, and an interest in timbre and harmonic colors. In the literature, the features of the impressionistic style are spoken of in relation to European literature the last third of the 19th century, Russian poetry of the beginning. 20th century (K. Hamsun in Norway, I. F. Annensky in Russia, etc.).

Impressionism

(French impressionnisme, from impression ≈ impression), a movement in art of the last third of the 19th - early 20th centuries. I. developed in French painting in the late 1860s and early 1870s. At the time of its maturity (1870s ≈ first half of the 1880s), I. was represented by a group of artists (C. Monet, O. Renoir, E. Degas, C. Pissarro, A. Sisley, B. Morisot, etc. .), who united to fight for the renewal of art and to overcome official salon academism and organized 8 exhibitions for this purpose from 1874 to 1886; E. Manet, who back in the 1860s. predetermined the direction of I. and who also in the 1870–80s. was connected with him in many ways, but was not part of this group. Title "I." arose after the exhibition of 1874, at which C. Monet’s painting “Impression. Rising Sun" ("Impression, Soleil levant", 1872, now in the Marmottan Museum, Paris).

I. continues what he started realistic art 1840≈60s liberation from the conventions of classicism, romanticism and academicism and affirms the beauty of everyday reality, simple, democratic motives, and achieves living authenticity of the image. I. makes the authentic aesthetically significant, modern life in its naturalness, in all the richness and sparkle of its colors, capturing visible world in its inherent constant variability, recreating the unity of man and his environment. By emphasizing the transient moment of the continuous flow of life, as if accidentally caught by the eye, the impressionists abandon the narrative, the plot. In my landscapes, portraits, multi-figure compositions artists strive to preserve the impartiality, strength and freshness of the “first impression”, which allows them to capture the unique characteristic of what they see, without going into individual details. Depicting the world as an ever-changing optical phenomenon, I. does not strive to emphasize its constant, deep qualities. Knowledge of the world in art is based mainly on sophisticated observation and the visual experience of the artist, who uses the laws of natural optical perception to achieve artistic persuasiveness of the work. The process of this perception, its dynamics are reflected in the structure of the work, which, in turn, actively directs the course of the viewer’s perception of the picture. However, the emphatic empiricism of the artistic method, which related it to naturalism, sometimes led representatives of artistic expression to self-sufficient visual-picturesque experiments that limited the possibilities of artistic cognition of the essential moments of reality. In general, the works of the Impressionists are distinguished by their cheerfulness and passion for the sensual beauty of the world; and only some works by Degas and Manet contain bitter, sarcastic notes.

The Impressionists created for the first time multifaceted picture Everyday life modern city, conveying the originality of its landscape and the appearance of the people inhabiting it, their way of life and, less often, their work; in I. the theme of specifically urban entertainment also appears. At the same time, in the art of I. the moment of social criticism is weakening. Striving for a true portrayal close to a person everyday nature, impressionist landscape painters (especially Pissarro and Sisley) developed the traditions of the Barbizon school. Continuing the plein air (see Plein air) searches of J. Constable, the Barbizons, as well as C. Corot, E. Boudin and J. B. Jongkind, the impressionists developed a complete plein air system. In their landscapes, an everyday motif is often transformed by pervasive, moving sunlight, introducing a sense of festivity into the picture. Working on a painting directly in the open air made it possible to reproduce nature in all its real liveliness, subtly analyze and instantly capture its transitional states, capture the slightest changes in color that appear under the influence of a vibrating and fluid light-air environment (organically uniting man and nature), which sometimes it becomes an independent object of image in I. (mainly in the works of Monet). To preserve the freshness and variety of colors of nature in the picture, the Impressionists (with the exception of Degas) created a painting 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 viewer’s eye, light and bright color scheme, a wealth of values ​​and reflexes, colored shadows. Volumetric forms as if they dissolve in the light-air shell enveloping them, dematerialize, acquire unsteady outlines: the play of various brushstrokes, impasto and liquid, gives the paint layer tremulousness and relief; thereby creating a peculiar impression of incompleteness, the formation of an image before the eyes of a person contemplating the canvas. All this is connected with the artist’s desire to preserve in the painting the effect of improvisation, which in the previous era was allowed only in sketches and which usually disappeared when they were processed into finished works; Thus, in I. there is a convergence of the sketch and the painting, and often the merging of several stages of work into one continuous process. An impressionistic painting is a separate frame, a fragment of a moving world. This explains, on the one hand, the equivalence of all parts of the picture, simultaneously born under the artist’s brush and equally participating in the figurative construction of the work; on the other hand, there are apparent randomness and imbalance, asymmetry of composition, bold cuts of figures, unexpected points of view and complex angles that activate spatial construction; Losing depth, space sometimes “turns out” onto a plane or goes to infinity. In certain techniques of constructing composition and space, the influence of Japanese prints and partly photographs.

By the mid-1880s. Art, having exhausted its capabilities as an integral system and a single direction, disintegrates, giving impulses for the subsequent evolution of art. I. introduced new themes into art, comprehending the aesthetic significance of many aspects of reality. The works of mature I. are distinguished by their bright and immediate vitality. At the same time, I. is also characterized by the identification of aesthetic self-worth and new expressive possibilities colors, emphasized aestheticization of the method of execution, exposure of the formal structure of the work; It is precisely these traits, just emerging in I., that receive further development in neo-impressionism, post-impressionism. In the 1880≈1910s. I. had a significant influence on many painters from other countries (M. Lieberman, L. Corinth in Germany; K. A. Korovin, V. A. Serov, I. E. Grabar, early M. V. Larionov in Russia, etc. ), which manifested itself in the development of new aspects of reality, in mastering the effects of plein air, brightening the palette, sketchy manner, and mastering certain technical techniques. Some of the principles of sculpture—transmission of instantaneous movement and fluidity of form—were reflected to varying degrees in the sculpture of the 1880s–1910s. (with E. Degas and O. Rodin in France, M. Rosso in Italy, P. P. Trubetskoy and A. S. Golubkina in Russia); at the same time, the increased picturesqueness of impressionistic sculpture sometimes came into conflict with the tactility and physicality inherent in the very nature of the sculptural image. The traditions of I. are palpable in many realistic movements in the art of the 20th century. I. in the fine arts had a certain influence on the formation of some principles of I. and on the development expressive means in literature, music and theater; however, in these types of art I. did not become holistic artistic system milestone value.

In relation to literature, style is widely considered as a stylistic phenomenon that arose in the last third of the 19th century. and captured writers of various beliefs and methods, and narrowly ≈ as a movement with a certain method and a worldview that gravitated toward decadence, which developed at the turn of the 19th and 20th centuries. The signs of the “impressionistic style” are the absence of a clearly defined form and the desire to convey the subject in fragmentary strokes that instantly capture each impression, which, however, when reviewing the whole, revealed their hidden unity and connection. As a special style, I., with his principle of the value of the first impression, made it possible to conduct the narrative through details that were, as it were, grabbed at random, which apparently violated the strict consistency of the narrative plan and the principle of selecting the essential, but with their “lateral” truth imparted extraordinary brightness to the story and freshness and artistic idea≈ unexpected branching and diversity. While remaining a stylistic phenomenon, I. did not mean, especially among great writers(for example, A.P. Chekhov, I.A. Bunin, etc.), breaking the artistic principles of realism, but was reflected in the enrichment of these principles and the steadily increasing art of descriptions (for example, Chekhov’s description of a thunderstorm in the story “Steppe”; features of I. in the Chekhov style was also noted by L. N. Tolstoy). By the beginning of the 20th century. Several stylistic varieties of painting arose on a common realistic basis. The brothers J. and E. Goncourt (“poets of nerves,” “connoisseurs of imperceptible sensations”) were the founders of “psychological psychology,” the sophisticated technique of which can be observed in K. Hamsun’s novel “Hunger” and in the early T. Mann (in short stories) , S. Zweig, in the lyrics of I. F. Annensky. “Plein air”, reverent picturesqueness is felt in the same Goncourt brothers, in E. Zola in the style of descriptions of Paris (“Page of Love”), in the Danish writer E. P. Jacobsen (in the short story “Mogens”); The German poet D. von Lilienkron vividly expresses lyrical situations using impressionistic technique (including syntax and rhythm). The English neo-romantic writers R. L. Stevenson and J. Conrad developed the exotic colorful properties of I.; their style was continued in later literature on “southern” themes, right up to the stories of S. Maugham. In “Romances without Words” by P. Verlaine, the trembling of the soul and the picturesque flicker (“the shades alone captivate us”) are accompanied by a musical mood, and his poem “ Poetic art"(1874, published 1882) sounds both like a manifesto of poetic I., and as a harbinger of the poetics of symbolism.

Subsequently, Hamsun and some other writers of the early 20th century. I. to a lesser or to a greater extent is isolated from realistic principles and turns into a special vision and attitude (or method) ≈ vague, indefinite subjectivism, partially anticipating the literature of the “stream of consciousness” (the work of M. Proust). Such I., with his “philosophy of the moment,” questioned the semantic and moral foundations of life. The cult of “impression” locked man into himself; Only that which is fleeting, elusive, inexpressible by anything except sensations became valuable and the only real. The fluid moods revolved predominantly around the theme of "love and death"; artistic image was built on unsteady understatements and vague hints that lifted the “veil” over the fatal play of unconscious elements in human life. Decadent motifs are characteristic of Viennese school I. (G. Bar; A. Schnitzler, especially his one-act plays “The Green Parrot”, 1899, “Marionettes”, 1906, etc.), in Poland ≈ for J. Kasprowicz, K. Tetmaier. The influence of I. was experienced, for example, by O. Wilde, G. von Hofmannsthal (lyrics, including “The Ballad of External Life”; drama-libretto), in Russian literature by B.K. Zaitsev (psychological sketches), K.D. Balmont (with his lyrics of “fleetingness”). By the middle of the 20th century. I. as an independent method has exhausted itself.

Application of the term "I." to music is largely conditional - musical art is not a direct analogy to art in painting and does not coincide with it chronologically (its heyday was ≈ the 90s of the 19th century and the first decade of the 20th century). The main thing in musical painting is the transmission of moods that acquire the meaning of symbols, subtle psychological nuances, and a tendency toward poetic landscape programming. He is also characterized by refined fantasy, poeticization of antiquity, exoticism, and an interest in timbre and harmonic beauty. What he has in common with I.’s main line in painting is his enthusiastic attitude towards life; moments of acute conflicts and social contradictions are avoided in it. Musical music found its classical expression in the works of C. Debussy; its features also appeared in the music of M. Ravel, P. Dukas, F. Schmitt, J. J. Roger-Ducas and other French composers.

Musical I. inherited many features of the art of late romanticism and national music schools 19th century (" Mighty bunch", F. List, E. Grieg, etc.). At the same time, the impressionists contrasted the clear relief of contours, extreme materiality and oversaturation of the musical palette of the late romantics with the art of restrained emotions and transparent, meager texture, and the fluent changeability of images.

The work of impressionist composers greatly enriched the expressive means of music, especially the sphere of harmony, which reached great beauty and sophistication; the complication of chord complexes is combined in it with the simplification and archaization of modal thinking; The orchestration is dominated by pure colors, capricious highlights, and the rhythms are unsteady and elusive. The colorfulness of modal harmonic and timbre means comes to the fore: the expressive meaning of each sound and chord is enhanced, and previously unknown possibilities for expanding the modal sphere are revealed. The music of the Impressionists was given a special freshness by their frequent use of song and dance genres and elements musical language peoples of the East, Spain, early forms black jazz.

At the beginning of the 20th century. musical history spread beyond France. It was originally developed by M. de Falla in Spain, A. Casella and O. Respighi in Italy. Original features are inherent in English musical history with its “northern” landscape (F. Delius) or spicy exoticism (S. Scott). In Poland, the exotic line of musical art was represented by K. Szymanowski (until 1920), who gravitated towards ultra-refined images of antiquity and Ancient East. The influence of Indian aesthetics at the turn of the 20th century. was also experienced by some Russian composers, in particular A. N. Scriabin, who was simultaneously influenced by symbolism; In line with Russian music, which was intricately combined with the influence of the school of N. A. Rimsky-Korsakov, I. F. Stravinsky began his career, and in subsequent years he led the anti-impressionist trend in Western European music.

O. V. Mamontova (I. in fine arts), I. V. Nestyev (I. in music).

In the theater of the late 19th ≈ early 20th centuries. The attention of directors and performers to conveying the atmosphere of the action, the mood of a particular scene, and revealing its subtext has increased. At the same time, the authenticity and meaningfulness of life were conveyed with the help of deliberately cursory characteristics in combination with individual clearly expressive details that revealed the hero’s obscured experiences, his thoughts, and the impulses of his actions. Sudden changes in rhythms, the use of sounds, picturesque and color spots were used by the director to create a certain emotional intensity in the performance, thereby revealing the internal increase in drama hidden behind the course of everyday life. I.'s expressive means were used in productions by A. Antoine (France), M. Reinhardt (Germany), V. E. Meyerhold (Russia), and in performances of the Moscow Art Theater(for example, in productions of plays by A.P. Chekhov). Contemporaries noted the traits of I. in the performances of G. Réjean (France), E. Duse (Italy), V. F. Komissarzhevskaya and other actors.

T. M. Rodina.

Lit.: Mockler K., Impressionism. His history, his aesthetics, his masters, trans. from French, M., ; Meyer-Graefe Yu., Impressionists, trans. from German, M., 1913; Venturi L., From Manet to Lautrec, trans. from Italian, M., 1958; Rewald J., History of Impressionism, trans. from English, L.≈M., 1959; Impressionism, trans. from French, L., 1969; Chegodaev A.D., Impressionists, M., 1971; Bazin G., L'époque impressionniste, 2 ed., P., 1953; Leymarie J., L'impressionisme, v. 1≈2, Gen., 1959; Danckert W., Das Wesen des musikalischen Impressionismus, “Deutsche Vierteljiahrsschrift für Literaturwissenschaft und Geistesgeschichte”, 1929, Bd 7, N. 1; Koelsch N. F., Der Impressionismus bei Debussy, Düsseldorf, 1937 (Diss.); Schulz H.≈G., Musikalischer Impressionismus und impressionistischer Klavierstil, Würzburg, 1938; Kroher E., Impressionismus in der Musik, Lpz., 1957.

Wikipedia

Impressionism

Impressionism(, from impression- impression) - a movement in the art of the last third of the 19th - early 20th centuries, which originated in France and then spread throughout the world, whose representatives sought to develop methods and techniques that made it possible to most naturally and vividly capture the real world in its mobility and variability, to convey their fleeting impressions. Usually the term “impressionism” refers to a direction in painting, although its ideas also found their embodiment in literature and music, where impressionism also appeared in a certain set of methods and techniques for creating literary and musical works, in which the authors sought to convey life in a sensual, direct form, as a reflection of their impressions.

The term “impressionism” arose from the light hand of the critic of the magazine “Le Charivari” Louis Leroy, who entitled his feuilleton about the Salon of Rejects “Exhibition of the Impressionists”, taking as a basis the title of the painting “Impression. The Rising Sun by Claude Monet. Initially, this term was somewhat disparaging and indicated a corresponding attitude towards artists who painted in this manner.

Impressionism (disambiguation)

Impressionism

• Impressionism- direction in art.
• Impressionism is a musical movement.
• Impressionism is a movement in cinema.
• Impressionism is a literary style.

Impressionism (music)

Musical impressionism- a musical movement similar to impressionism in painting and parallel to symbolism in literature, which developed in France in the last quarter of the 19th century - the beginning of the 20th century, primarily in the works of Erik Satie, Claude Debussy and Maurice Ravel.

The starting point of “impressionism” in music can be considered 1886-1887, when the first impressionistic works of Erik Satie were published in Paris - and as a result, five years later, the first works of Claude Debussy in the new style received resonance in the professional environment (first of all, " Afternoon rest faun").

Impressionism (literature)

Impressionism in literature- one of the literary styles that spread throughout the world at the end of the 19th and beginning of the 20th centuries, based on associations.

Appeared under the influence of the European artistic style of the same name. It developed in many European countries, including Russia.

In literature, this style did not develop as a separate direction, and its features were reflected in naturalism and symbolism. The main features of the impressionist style were formulated by the Goncourt brothers in their work “Diary”, where the phrase: “Seeing, feeling, expressing - this is all art”, has become a central position for many writers.

Impressionism is expressed in the novels of Emile Zola. Also representatives of impressionism in literature are Thomas Mann, Oscar Wilde, Stefan Zweig. An example of poetic impressionism is Paul Verlaine's collection “Romances without Words” (1874). In Russia, Konstantin Balmont and Innokenty Annensky experienced the influence of impressionism.

The mood of impressionism also affected dramaturgy (impressionist drama), where passive perception of the world, analysis of moods, states of mind, scattered impressions are concentrated in dialogues. These features are reflected in the works of Arthur Schnitzler, Maurice Maeterlinck, and Hugo von Hofmannstl.

Impressionism in literature in particular, and in art in general, lost its importance in the mid-1920s.

Impressionism (cinema)

Impressionism in cinema- current in cinema.

Cinema being visual art, like painting, became a continuator of traditions French artists-Impressionists at the beginning of the 20th century. It appeared under the influence of the painting style of the same name and also developed mainly in France.

The term "film impressionism" was coined by Henri Langlois, a French film enthusiast, and was actively used by film theorist Georges Sadoul. The French director and actor Abel Gance is considered a representative of film impressionism. A photogenic vision of reality and a visual reflection of psychological emotions became the programmatic concept of the new movement, formulated by Louis Delluc. Actress Eva Francis, Delluc's wife, played in many Impressionist films, including "Fever" (1921) and "The Woman from Nowhere" (1922) by Delluc and "Eldorado" (1921) by L'Herbier.

Film impressionists believed that cinema should speak to the viewer in its own language, using only its own set of expressive means. They made significant contributions to the theory and aesthetics of cinema. In the early 1920s, articles appeared in periodicals and books about the specifics of film impressionism, the composition of the film image in it, and rhythm in cinema.

Examples of the use of the word impressionism in literature.

The passion for photography was, of course, inherent in the Japanese long before the invention of Daguerre - spiritual impressionism, the desire to capture the moment.

This music - younger sister poetic symbolism of Verlaine and Laforgue and impressionism in painting.

On the steps they exchanged opinions, bad words flashed: impressionism, post impressionism and even symbolism.

This is a contrast between a camera obscura operating according to Cartesian laws linear perspective, impressionism with its spreading of the color layer over the surface, it is extremely significant.

Germany, which gave the world Dürer and Cranach, was unable to produce a single outstanding master in the field of modern fine art, although German expressionism in painting and the Munich urban school in architecture were interesting and original trends, and German artists reflected in their work all the evolutions and ups , which were typical for impressionism, Cubism and Dadaism.

This political impressionism, naturally, does not do honor to opposition analytical minds.

Scenic style impressionism consists in denying the external form of real things and reproducing their internal form - a polychrome mass.

Although Ravel is rightly called an impressionist composer, however character traits impressionism appeared in him only in some of his works, in the rest it predominates classic clarity and proportionality of structures, purity of style, clarity of lines and jewelry in the finishing of details.

Subsequently, the composer attacked the epigones impressionism, contrasting its vagueness and sophistication with the clarity, simplicity, and rigor of linear writing.

But this was not the only thing that connected the Polish composer with the French impressionism: the years of the First World War date back to the formation of Szymanowski’s new style, a more modern harmonic language that no longer fits into the framework of classical-romantic harmony.

Debussy has many things in common with the picturesque impressionism: self-sufficient beauty of elusive, fluidly moving moments, love of landscape, airy trepidation of space.

It is no coincidence that Debussy is considered the main representative impressionism in music.

Impressionism is a movement in art of the late 19th and early 20th centuries. The birthplace of the new direction of painting is France. Naturalness, new methods of conveying reality, and ideas of style attracted artists from Europe and America.

Impressionism developed in painting, music, literature, thanks to famous masters - for example, Claude Monet and Camille Pissarro. Artistic techniques, used for painting, make the canvases recognizable and original.

Impression

The term "impressionism" initially had a disparaging connotation. Critics used this concept to refer to the creativity of representatives of the style. The concept first appeared in the magazine “Le Charivari” - in a feuilleton about the “Salon of the Rejected” “Exhibition of the Impressionists”. The basis was the work of Claude Monet “Impression. Rising Sun". Gradually, the term took root among painters and acquired a different connotation. The essence of the concept in itself has no specific meaning or content. Researchers note that the methods used by Claude Monet and other impressionists took place in the work of Velazquez and Titian.

Realism as a style in painting

To accurately define the style, they suggest using the wording “Barbizon School” - we're talking about about geographical location, but not about stylistic nuances.

History of development

The first representative works appeared in the 1860s as a protest against academicism. The artists decided to independently look for a path in creativity. One of the founders of the movement is considered to be Edouard Manet and Claude Monet. In the mid-60s of the 19th century, a recognizable technique of impressionist painting took shape - the use of intermittent strokes.

The work of Claude Monet and Camille Pissarro was improved under the influence of many artistic styles and movements in France. At the same time, W. Turner, the forerunner of impressionism, worked in Great Britain.

The year 1874 became a turning point for the development of painting - the first major exhibition of works in the style of impressionism took place. 165 paintings by 30 artists are presented.

Symbolism as a style in painting

After the exhibition, the artists received many critical comments - they were accused of immorality, propaganda of false values, insolvency, and a tendency to rebellion. They stopped judging the Impressionists only after several decades.

Russian impressionism developed on the basis of the French movement and adopted characteristic features. Unlike academicism, the birthplace of which was St. Petersburg, the style was formed in Moscow. Famous Russian masters: V. Serov, N. Meshcherin, A. Murashko, K. Korovin, I. Grabar.

Style Features

The central idea of ​​the direction of painting is to convey the changeability of life, the fleetingness of every moment. Artists were often accused of lacking deep meaning in their paintings. Impressionism did not set out to raise philosophical problems. The artists' sphere of interest included everyday problems, everyday life, the fluidity of time and changeability of mood. Modern critics note the special skill and emotionality of the works.

Art Deco painting style

Origins of the Renaissance

The origins of the development of the style should be sought in the Renaissance - the impressionists borrowed from them the technique of working with color. The work of E. Manet was influenced by the painting of the era of classicism: contrary to the standards of style, he used dark colors, black color in contrast bright colors. Researchers note the influence of romantic and ethnic Japanese painting.

The work of Western European and Russian impressionists was most fully revealed in the genres of urban and rural landscape. In the center of the composition is a moment of life: a couple walking in the rain, a peasant harvesting crops, a family boating, dancers warming up before a rehearsal.

Simple stories

The main themes of the works of Russian and European masters were: the activities of ordinary people in the lap of nature, everyday scenes. The heroes of the paintings were not famous heroes, rulers of states or literary characters, but ordinary people.

History and development of romanticism in painting

Western European and Russian artists experimented with new methods and materials - these became defining features for the entire style. First, they deliberately left their paintings unfinished based on artistic standards. At first glance, there is a feeling of understatement in the works.

The beauty of the moment

Instead of displaying real paintings life, painters sought to convey a moment or the impression of a moment, so the artists’ works are very emotional and filled with deep meaning. Facts and realism in conveying the world around us fade into the background, giving way to feelings, the brightness of the moment, and the subjectivity of perception of the world.

Impressionist paintings seem a little fuzzy and vague. This effect is achieved using specific methods of applying paint to canvas. The artists used short, quick strokes that created a mosaic of brush strokes on the canvas. different color. Sometimes painters did not use a brush at all, applying paint directly from the tube. For the above reasons, paintings are not recommended to be viewed with close range– it is not the details that are important in it, but the entire image, perceived as a whole.

Surrealism as a style in painting

The power of color

The main weapon of representatives of impressionism is color. It served as the basis for conveying a moment from life. Bright shades were used, pure, intense color that fully conveys emotion. There is no place for boring neutral tones in painting - yellow, red, blue, green, blue are used. Color in the works of the Impressionists more important than image, transmitted on the canvas.

The main field of creativity is nature. Claude Monet and other European and Russian artists created their paintings directly in nature - this helped to fully convey colors, the play of light and shadow, fog, clouds, the glare of the sun on the water and other effects that had not previously been given attention.

History of Impressionism:

Impressionism (French impressionisme, from impression – impression) – artistic direction in art, which arose in France in the second half of the 19th century.

The new movement arose as a reaction to the stagnation of the prevailing academicism in those years, but its appearance was prepared by several factors: the invention of photography in 1839 by L. Daguerre, which introduced a new vision into art; scientific discoveries E. Chevrel and O. Rud in the field of color separation; the appearance in 1941 of tin tubes for perishable paints, which gave artists the opportunity to work in the open air. The artists of the Barbizon school prepared fertile ground for the development of impressionism: they were the first to paint sketches from life.

The Impressionists presented their art at exhibitions held at irregular intervals from 1874 to 1886. The history of the origin of the term “impressionism” is connected with the first exhibition of the then anonymous group of artists. Critic Louis Leroy, speaking ironically about the presented works, especially noted the painting by C. Monet “Impression. Sunrise" (1872), noting that "the wallpaper in its initial stage of processing is more finished than this seascape ...". The new name was liked by supporters of the movement (though not all), since it answered creative method which they professed: conveying impressions, capturing fleeting moments of life.

In 1886, the last exhibition of the Impressionists took place. However, as a painting method, impressionism did not cease to exist: similar searches were carried out by masters from other countries - England (J. Winstler), Germany (M. Lieberman and L. Corinth), Russia (I. Grabar and K. Korovin).

Features of Impressionism:

The artistic concept of impressionism was built on the desire to naturally and effortlessly capture the world in its variability, conveying its fleeting impressions. The principle of “painting what you see in the light and air” formed the basis of the plein air painting of the Impressionists.

Masters of Impressionism:

Edouard Manet, Auguste Renoir, Edgar Degas, Claude Monet, Camille Pissarro, Alfred Sisley, Berthe Morisot, Gustave Caillebotte, James Whistler, Konstantin Korovin, Lovis Corinth and others.

Examples of works by impressionist artists: