Traditional Culture Encyclopedia - Weather forecast - Briefly describe the representative painters of Impressionism and the artistic characteristics of their representative works
Briefly describe the representative painters of Impressionism and the artistic characteristics of their representative works
Monet
From the perspective of the emergence and development of Impressionism, the initiator is none other than Manet, but the one who truly fully realized the ideas and techniques of Impressionism and consistently implemented them must be Monet. It was he who devoted his whole life to Impressionism, which had an important impact on the Western painting world. It was the unremitting efforts of a group of artists led by him that broke through the conservative ideas of the previous academic school and greatly impacted the second half of the 19th century. The official art that occupies the dominant position in the Western painting world has thus opened a new page in the history of modern Western painting and made an important contribution. He left behind precious artistic wealth for future generations. It should be said that Monet was the first to achieve success among the Impressionist painters. Although later art schools such as Fauvism, Cubism, and Surrealism did not follow some of the principles founded by Impressionism, the artists who founded these schools all learned from Impressionism. Nutrients were drawn there.
It should also be mentioned that the concepts and techniques of Impressionism were originally proposed based on realistic observations. However, due to their enthusiasm for describing light and color, and even mystifying them, there was a disregard for and the tendency of real objects. Monet once said: When painting, forget what kind of object is in front of you. What comes to mind is only a small square of blue, a small rectangular piece of pink, and a hint of yellow. Therefore, the painter's attention in creation is not focused on the scene to be expressed, but on the effects produced by the spatial environment, light, smoke, and airflow around the scene, or it is limited to expressing within a certain range. Under the conditions, the lighting of the scene leaves an instant impression on the painter. Therefore, it is possible to only capture subtle changes and lose the overall grasp of the overall situation; only reflect subtle color levels and ignore the consequences of the shape of the scenery.
"Sunrise·Impression"
This famous painting is a sketch painted by Monet in the port of Havre in 1872. He also painted "Sunset" at the same location. When it was sent to the first Impressionist exhibition, neither painting had a title. A journalist satirized Monet's paintings as "a denial of beauty and reality, which can only give people an impression." Monet then gave this painting a title - "Sunrise Impression". As a seascape sketch, the entire picture is shrouded in thin gray tones, and the brushstrokes are very random and messy, showing a scene of mist blending. At sunrise, the sea is foggy, and the water reflects the colors of the sky and the sun. The scenery on the shore is vague and blurry, giving people a momentary feeling.
When Monet and a group of young painters held an exhibition in 1884, this "Sunrise Impression" was slandered and ridiculed. Some critics said sarcastically: "The rough wallpaper is more complete than this seascape!" Some even used the title of this painting to refer to the young artists led by Monet as "Impressionists", so "Impressionism" became won the laurels of this painting school.
The painting was robbed before 1985. According to the French Stolen Art Detective Agency, it was seized in a villa in Corsica on December 6, 1990.
"Haystack"
In the 1990s, Monet created several groups of works, namely "group paintings". The so-called "group painting" refers to multiple paintings made by the artist in the same position, facing the same object, at different times and under different lighting. This is probably a feature of Monet's later works. For example, between 1890 and 1891, the artist painted the same haystack as many as 15 times in different colors under the morning, afternoon, and evening sunlight in different seasons.
The painting is a landscape full of sunshine. Various warm and cold color points and scattered small brushstrokes are combined into the picture after careful consideration, making the picture bright and sunny, full of wind and sunshine. Melody of color. Intense light is dispersed onto the trees, the river, and the bridge. Everything is wrapped in light, making the Argenteuil Bridge a masterpiece of light. This is also the expression of the painter's artistic personality.
"Gare Saint Lacar"
Painted in 1877, "Gare Saint Lacar" is a painting showing a Paris train station, which is a daily life The actual "impression" of the scene. Monet was fascinated by the effect of light shining through the glass ceiling onto the steam clouds, and by the shapes of the locomotives and carriages that emerged from the chaos. Monet believed that the magical effects of light and air were most important. He skillfully balanced the tone and color of the picture. This painting brilliantly expresses power, space, contrast and movement.
"Rouen Cathedral"
"Rouen Cathedral, door seen from the front, brown harmony" 1892 Claude Monet oil painting 107×73 cm Austria The Serbian Museum acquired it from the painter in 1907
The painting "Brown Harmony" was obviously painted one afternoon; the weather was cold, the atmosphere was melancholy, the light was dim and dull, and the cathedral stood tall. Under a gray sky, ocher is used in the painting. The big gray clock is thinly painted with a bit of blue and dark gray paint around it, but the central part is made of yellowish brown. The three central doors are like three dark caves; the dark color of the wooden doors can still be seen in the picture today. In this mixture of deep and dark tones, mainly gray, we can still see the symbols of light lingering on various sculptures, because these sculptures are painted with a small amount of active color.
The rosettes on the stained glass windows are clearly visible because they are made of dull blue behind the small spire of the central gate. It was this that Monet focused on; in short, not the building itself, but the "tragicomedy" performed by the light. After appreciating more than twenty of Monet's paintings about churches, the writer and art critic Gustave Geoffroy praised these paintings for "painting the eternal beauty of life in the changing light of every moment." ".
In 1892, after Claude Monet settled down in Giverny, his last residence, he set off for Rouen to deal with a family matter. This ancient city has achieved industrialization, and the port is showing a thriving vitality. Here the artist captured one of the most beautiful images he had ever seen in his painting career - Rouen Cathedral. This cathedral is dedicated to Our Lady, the mother of Christ, and is the most majestic Gothic building in France. Construction of the church began in the 12th century, and it was rebuilt due to fire in the 13th century. It was not completed until the 16th century as it is today.
Gothic architecture has been ignored for a long time and was considered too vulgar. It was rediscovered at the end of the 18th century and restored after analysis and demonstration. Finally, it was founded in 1791. Official confirmation from the French Museum of Ancient Architecture in Paris. By the 1830s, poets and novelists of the Romantic period found the shadow of the golden age in it; they advocated the rediscovery of pure and fresh medieval art. The Commission for Ancient Buildings, established in 1837, thus took on the important task of repairing and restoring ancient buildings. This craze began with the rescue operation launched by the famous 19th century architect Eugène-Emmanuel Duke Violet. Reach the top. His action was supported and encouraged by the writer Prosper Mérimée, who was the general inspector of ancient buildings at the time.
Prior to this, Romantic painters such as Bonington and Turner from England, as well as Paul Huet and Corot, used Rouen Cathedral as the theme of their paintings. Painters before the Impressionists, such as Boudin and Jungkind, and later Camille Pissarro, the impression they drew from this picture was still in the traditional category, that is, the towering and unique figure of the church, clearly visible in the surrounding scenery The ground appears.
From February 1892 to mid-April and 1893, Monet painted more than 30 oil paintings for this church during two major operations. He painted it from three different positions. The first location was chosen almost directly opposite the church, in a shirt shop. The workers in the store came and went, making it impossible for him to work; so he settled in a fitting room on the second floor of a fashion store; because of the constant complaints from customers, the painter had to use a screen to separate himself from the outside world. By 1893, he chose a third place; this time, he often painted from two different angles at the same time. At most, he painted 14 paintings at the same time, constantly rushing between frames as the light and time changed. Between the frames, we strive to capture the changes in tones and light and dark, and establish the color structure. The exploration, doubts, troubles and disappointments that Monet experienced during these two major operations are fully revealed in the letters he wrote to his wife Alice. The letter wrote: "Every day I make some new discoveries that I haven't seen the day before; so I quickly make up for them, but at the same time I also lose something. In this way, I am doing things that are difficult for ordinary people to do... I I was exhausted and almost collapsed. One night, I had nightmares one after another. I dreamed that the church fell down on me for some reason. Its color seemed to change to blue, but it soon turned to blue again. Rose color, and finally turned into yellow. "The artist has previously painted a large number of paintings on the same theme at different times of the day and under different light, and from different visual angles: "Graystack" created in 1891 and "Poplar Tree" is a work from this period. Monet, who had a special liking for colorful and open views, now faced directly for the first time this huge stone building that at first glance seemed almost monochromatic. The painter looked from his window less than 50 meters away from the Gothic church. All he saw was the central door of the church. On the left side of the door is the Saint Roman Tower and on the right is the Bol Tower. The two are completely different in style and style. . The tower, central door, pediment, arched curves, small arcades, pointed arch ribs, door pediment and finely carved corridors are sometimes submerged in bright light, sometimes shrouded in shadow; sometimes Indescribable subtle changes in tone caused by the ever-changing atmosphere of the Normandy sky. It was this that Monet focused on; in short, not the building itself, but the "tragicomedy" performed by the light.
The painting "Brown Harmony" was obviously painted one afternoon; the weather was cold, the atmosphere was melancholy, the light was dim and dull, and the cathedral towered under a gray sky. The color used is ocher. The big gray clock is lightly painted with a bit of blue and dark gray paint around it, but the central part is made of yellowish brown. The three central doors are like three dark caves; the dark color of the wooden doors can still be seen in the picture today. In this mixture of dark and dark tones, mainly gray, we can still see the symbols of light lingering on various sculptures, because these sculptures are painted with a small amount of active color. The rosettes on the stained glass windows are clearly visible because they are made of dull blue behind the small spire of the central gate.
On the contrary, the painting "Rouen Cathedral" was painted by Monet when the sun was setting one evening and it was stored in the Marmodan Museum.
Viewed slightly from the side, the yellow and light rose colors of the painting, which still remains as a sketch, are lost in the huge blue shadow that invades its base. At the top of the triangular lintel in the center, sunlight and shadow are extremely clear; the coral red brushstrokes are zigzag at the door frame, and the bright red and orange used to highlight each gap make the entire building shine. The sculptures everywhere are basically difficult to see because they are in light blue. The pointed arch ribs, small spiers on the tower and the corridor that is higher than the large lavender rosette are all made of this color... Sunlight and various This flicker of refracted light seems to be both forming and resolving the building... Except for the top of the main entrance, the paint is very light. To rejuvenate light, Monet developed a very specific "rough and sticky" brushwork. His paintings of the cathedral were completed in his studio in Giverny.
"The huge figure of Rouen Cathedral towers above the earth, and at the same time seems to disappear and 'steam' in the light blue mist of the morning; the details of each sculpture, the twists and turns of each The decoration, as well as the various gaps and protrusions, become very clear during the day; the dark doorways are like 'troughs' in the ocean, and the stones on the walls clearly bear the imprint of the passage of time, now reflected in the sunlight, moss and lichen It turned into golden yellow and turquoise against the background; the bottom of the building was surrounded by dark shadows, and the top was dyed rose color by the disappearing sunset; this is a swan song to express the space occupied by the ancient church. The teaching itself is the product of a chance encounter and interaction between the forces of nature and human creation." Writer and art critic Gustave Geoffroy admired more than 20 paintings about the church. Later he published an article about the lonely and anxious Monet. These paintings were shown to the painter at the home of his friend, the art dealer Paul Durand-Ruel, who was the most powerful supporter of Impressionism. He praised these paintings for "painting the eternal beauty of life in the changing light every moment." Camille Pissarro was impressed by his friend's innovative masterpiece, while the younger painters showed little enthusiasm for it.
The person who has the most pertinent evaluation and profound understanding of Monet’s works is his long-time friend, the politician Georges Clemenceau. The latter wrote in an article titled "Church Revolution": "The gray objects themselves gain life due to the irradiation of sunlight, and gain the ability to impress people's senses. But this kind of light that surrounds the surface of the object, The light waves that penetrate deep into its interior and are reflected to the external space are always in a chaotic state: sometimes it is like a towering 'wave', sometimes it is like a calm 'splash', and sometimes it is like a 'storm'. The object relies on this. The wildness of these 'living' particles can be revealed, and it is precisely because of this wildness that we can see objects, and it is precisely because of this that objects can show their real existence; then a thing under the illumination of light What it looks like is what we must figure out now. It is what the painter wants to clarify, that is, through the changes of the artist's hands, he paints the same scene repeatedly, such as his painting "Graystack." ", "Church" series. During the Franco-Prussian War, he took refuge in the Netherlands and studied Japanese ukiyo-e prints, which led to changes in his painting style. In his later period, he painted the huge scroll "Water Lilies", which became the greatest Impressionist landscape masterpiece.
Monet's series of paintings of Rouen Cathedral were an immediate success. The collector Fran?ois Debord, who had greatly encouraged him, bought one from him and donated it to the Rouen Museum along with the rest of his collection. In Paris, although the state ignored Clemenceau's strong suggestion that the state buy all these paintings, Count Isaac de Camondo, as the patron of art, directly purchased the paintings from the painting in 1894. The painter purchased 4 of them and generously gave these paintings to the national collection, so that we are fortunate to have a look at them in the Musée d'Orsay in Paris today. Caroline Mathieu (text)
"Water Lilies"
This is the artist's 1908 work. It is one of his famous water lily series works. Sotheby's estimates it at $10 million to $15 million. Sotheby's successfully auctioned another "Water Lilies" by Monet a year ago.
"Japanese Bridge"
This is a landscape full of external light. Various cold and warm color points and scattered small brushstrokes are combined into the picture with careful consideration. The picture is bright and sunny, the wind is beautiful, and it is filled with the melody of color. Intense light is dispersed onto the trees, rivers, and bridges. Everything is wrapped in light, making the Argenteuil Bridge a masterpiece of light, which is also a manifestation of the painter's artistic personality.
In the summer of 1899, Monet began to create again. By 1900, he had painted eighteen oil paintings with the Japanese Bridge in Giverny Gardens as the landscape. Most of the compositions were in In the upper third of the square painting, a Japanese bridge arching from left to right stretches out from the grass on the left side of the pond. Across a pond that fills half of the frame, the water lily-covered water reflects the willows and bushes behind the bridge. Green and brown are the main tones in the painting. This series of "Japanese Bridges" reflects an important turning point in Monet's creative career, both in terms of technique and subject matter.
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