Impressionismen
opstod i Frankrig i 1860-erne på grundlag af
nogle tendenser inden for realismen. Kunstnerne
begyndte nu at forlade den virkelighedstro gengivelse og søgte i stedet at
gengive indtryk (impression) af lys og farveeffekter.
Teorierne blev udviklet
gennem 1860-erne og drejede sig om, i modsætning til det accepterede
salonmaleri, at undgå mørke farver og i stedet bruge lyse farver anbragt i
tydelige penselstrøg ved siden af hinanden. Man søgte at fange landskabers stadigt
skiftende karakter, brugte luftperspektiv, undgik konturer og malede farver i
skyggepartierne, hvis fx genstanden er rød, bruges grøn som
skyggefarve, dvs. komplementærfarverne anvendes, sort er således ikke
skyggefarve.
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Impressionisterne ville i deres kunst genskabe optiske indtryk, vise
tingene sådan som de så dem. Resultatet skulle blive en naturalisme byggende på
personlige synsindtryk og oplevelser, ikke en fotografisk naturalisme, som i så
meget af den samtidige kunst. Ofte malede impressionisterne de samme motiver på
forskellige tider af døgnet.
Impressionisterne gjorde sig stærkest gældende i Frankrig, især Monet
og Cézanne fik væsentligt betydning for kunstnerne i
1900-tallet.
Edouard Manet inspirerede den impressionistiske
gruppe, men
deltog aldrig i dens udstillinger, men stod som talsmand for et nyt og friere
syn på malerkunstens mission. |
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Claude Monet
"Impression Soleil Levant"
(indtryk-solopgang), 1873, Musée Marmottan, Paris. |
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Dette
billede gav impressionismen navn.
Det var
udstillet på den første såkaldte
impressionistudstilling
i 1874, og tidens kritikere latterliggjorde
impressionismen,
og de
dannede ordet efter Monet's maleri.
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Claude Monet "Impression
Soleil Levant"
(Sunrise), 1873, Musée
Marmottan, Paris.
This
painting gave the impressionists their
name.
Monet's
painting was exhibited at the
first so-called impressionist
exhibition in 1874, where the new
style was ridiculed by the critics,
and they created the word
Impressionism after Monet's painting.
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I begyndelsen af 1860'erne var en gruppe
af unge kunstnere, Monet, Renoir,
Pisarro og Sisly,
især fælles om at være imod den officielle akademiske uddannelse
og begejstrede for realismen, Courbet og Barbizonskolen, der var
en fransk landskabsskole ca. 1830-1870, kaldes også
Fontainebleau-skolen, den stod for en naturalisme, der var i
modsætning til samtiden. Rousseau, Daubigny, Millet, betød
meget for impressionismens tidlige udvikling
. Realisterne var af
den opfattelse, at man skulle vise "La vie moderne", nutidens liv, og
de havde især taget sig af livets skyggesider, men det sociale aspekt
interesserede ikke impressionisterne, de malede det moderne liv i fx Paris og mennesker i naturen eller
landskaber. Fra Barbizonmalerne lærte de
naturstudiet i fri luft, plein air maleriet. De ældre kunstnere havde malet
studier udendørs, men fuldført de egentlig malerier i atelieret, impressionisterne malede
ofte deres billeder helt i fri luft. Kunstnere som Degas
og Cézanne knyttede sig
til Monet, Renoir, Pisarro og Sisly og
udstillede sammen med dem, men de havde nogle andre idealer og brugte kun i
perioder den impressionistiske teknik.
En ældre maler som Manet blev påvirket
af de nye teorier.
Kunstnerne sluttede sig i 1874 sammen for selv at udstille
uden om Salonen i Paris. Der kom i alt syv impressionistudstillinger med skiftende deltagere i
årene til 1886, hvorefter retningen mistede sin største betydning, men den videreførtes
dog ind i 1900-tallet af Monet og Renoir.
Impressionismen fik stor betydning for den moderne malerkunsts udvikling frem
til fauvismen.
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The
style arose in France in the late 1860s based on some
tendencies in Realism. The artists had begun to leave the
realistic representation for describing their impressions of
the effects of light and colour.
Impressionism's theories, developed during the 1860s, were
contrary to the accepted Salon painting. The impressionists
avoided dark colours, they used light colours placed side by
side in clear brush strokes. The artists sought to intercept
the constantly changing character of the landscapes, they
preferred the birds-eye-view, and used colours to emphasize
shadows - e.g. the shadow of a green hat was painted red -
that is complementary colours/contrasts: red/green,
yellow/violet, blue/orange, (Ittens
color circle).
The Impressionists wanted to re-create the optical
impression, to show the objects as they saw them, a
Naturalism built on personal visual impressions and
experiences, not a photographic Naturalism. (Realism
contained a social aspect, Naturalism experimented with an
objective imitation of nature). The Impressionist often
painted their subjects more than once at different times of
the day. In the early 1860s a group of young artists, Monet,
Renoir, Pissaro and Sisley, filled with
enthusiasm about the Realism, Courbet and the
Barbizon School, made common cause against the official
academic education (Barbizon School: French landscape
artists who worked near Barbizon, France between 1835-1870).
The Realist were of the opinion that the art should
represent "la
Vie Moderne" (the Modern Life), and they had first and
foremost been intensely concerned about the shady side of life,
the social aspect did not interest the Impressionist, they
painted the unproblematic life in Paris and people in nature. From the Barbizon School the artists learned
the plain air painting (painting in the open air). The
elder painters had painted outdoor sketches and completed
the real paintings in the studios. Artists as Degas
and Cézanne were attached to Monet, Renoir, Pissaro
and
Sisley and exhibited with them. The First Impressionist
Exhibition in 1874 was held outside the Salon. Seven
Impressionist exhibitions were held until 1886, afterwards
the style had lost its meaning, it was continued by Monet
and Renoir.
The French painters Claude Monet and Paul Cézanne
were the most important influence on the artist in the 20th
century - the Impressionism became great influence for the
development of modern art until Fauvism.
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Kunstnere/Artists
(impressionisme/Impressionism) |
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Monet,
Claude
(1840-1926). Fransk kunstner født i Paris, død i
Giverny. Monet blev en af impressionismens væsentligste
kunstnere, lyset var hans egentlig motiv.
Han fik tidligt kontakt med Renoir
og Sisley.
Monet hørte til den kreds af kunstnere, der i 1860'erne
var samlet omkring Manet.
Han var optaget af friluftsmaleriet, og ønsket om at
gengive den atmosfæriske virkning
og de flygtige lysvirkninger blev afgørende for hans kunst.
I
begyndelsen af 1870'erne besøgte han London sammen med Pisssaro,
hvor han blev fascineret af Constables
og Turners
billeder. Han anvendte små korte penselstrøg i sine
"lysbilleder", der præges af diffuse konturer
og en nuanceret farveholdning. Han malede det samme
motiv flere gange (fx katedralen i Rouen) med det formål at skildre forskellige
belysningers betydning for motivet, billede for billede
fastholdt han de skiftende lysforhold og farvevirkninger. |
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| Monet,
Claude (1840-1926).
French painter. He was born in Paris and died in
Giverny. Monet was one of the most important
Impressionists, the light was his real motif.
Early he came in contact with Renoir and Sisley.
Monet belonged to the circle of artists, who in
the 1860s were gathered around Manet. He was
absorbed in plain air painting (painting out of
doors) and his wish of depicting atmospheric
effects and the passing light-effects was of
vital importance to his art. In the early 1870s he visited
London together with Pissaro, where he became fascinated and
influenced by the paintings of Constable and Turner. Monet
used small short brushstrokes in his
"light-paintings", which were characterized by
diffuse contours and a varied colour scheme. He painted the
same motif several times to portray different lightings
influence of the motif, e.g. "The Rouen
Cathedral", 1894. |
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Kunstnerens
hus i Argenteuil, 1873, The Art
Institute of Chicago. |
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The
Artist's house at Argenteuil, 1873,
The Art Institute of Chicago. |
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His painting from 1873 "Impression-Soleil
Levant" (Sunrise) gave name to the style, it was
exhibited at the first so-called impressionist exhibition in
1874, where the new style was ridiculed by the critics, and
they created the word Impressionism after Monet's painting.
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| 1 |
| "Frokosten"
(Le déjeuner sur l'herbe), 1865-1866,
The Pushkin Museum of Fine Arts,
Moskva. |
| "The
Picnic"
(Le déjeuner sur l'herbe), 1865-1866,
The Pushkin Museum of Fine Arts,
Moscow. |
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| 2 |
| "Haven
i Sainte-Adresse", 1867,
Metropolitan Museum of Art, New York. |
| "Garden
at Sainte-Adresse",
1867, Metropolitan Museum of Art, New
York. |
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| 3 |
| "Kvinderne
i haven", 1866, Musée d'Orsay, Paris/"Women
in the Garden",
1866, Musée d'Orsay, Paris. |
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| 4 |
| "Kvinde
i haven",
1867, Erimitagemuseet, Skt.
Petersborg/"Woman
in the Garden",
1867, The Hermitage, St.
Petersburg. |
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| 5 |
| "Camille
Doncieux (Kvinde i grønt)",
1866, Kunsthalle, Bremen/"Camille
Doncieux (Lady in Green)",
1866, Kunsthalle, Bremen. |
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| 6 |
| "Jean
Monet (1867–1913) på sin cykelhest",
1872, Metropolitan
Museum of Art, New York. |
| "Jean
Monet (1867–1913) on His Hobby Horse",
1872, Metropolitan
Museum of Art, New York. |
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| 1 |
| "Have
i blomstringstid i Sainte-Addresse", 1866,
Musée
d'Orsay, Paris. |
| "Garden
in Bloom at Sainte-Addresse", 1866,
Musée
d'Orsay, Paris. |
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| 2 |
| "Valmuer", 1873,
Musée
d'Orsay, Paris. |
| "Poppies", 1873,
Musée
d'Orsay, Paris. |
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| 3 |
| "Bro
over en sø med åkander", 1899,
Metropolitan
Museum of Art. |
| "Bridge over a Pond of
Water Lilies", 1899, Metropolitan
Museum of Art. |
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| "Biflod
til Seinen nær Giverny", 1897,
Museum of Fine Arts, Boston. |
| "Branch of the Seine
near Giverny", 1897,
Museum of Fine Arts, Boston. |
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| 5 |
| "Åkander",
1906, Art
Institute of Chicago. |
| "Water
Lilies", 1906, Art
Institute of Chicago. |
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| 1 |
| "Skaden",
1869, Musée d'Orsay, Paris/"The
Magpie", 1869, Musée
d'Orsay, Paris. |
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| 2 |
| "Gade
i Vétheuil ved vintertide", 1879. |
| "Street
in Vétheuil in Winter", 1879. |
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| 3 |
| "Charing Cross
broen", 1899, Thyssen-Bornemisza
Museum, Madrid. |
| "Charing Cross
Bridge",
1899, Thyssen-Bornemisza
Museum, Madrid. |
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| 4 |
| "Da
Mula familiens palads, Venedig",
National
Gallery of Art, Washington,
DC. |
| "Palazzo
da Mula, Venice", 1908,
National
Gallery of Art, Washington,
DC. |
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| 5 |
| "Ankomsten
af toget fra Normandiet til Saint-Lazare
banegården", The
Art Institute of Chicago. |
| "Arrival
of the Normandy Train, Gare
Saint-Lazare",
1877, The
Art Institute of Chicago. |
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"Impression Soleil Levant" (indtryk-solopgang),
1873, Musée Marmottan, Paris. |
| "Impression-Soleil
Levant" (Sunrise), 1873, Musée
Marmottan, Paris. |
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| 7 |
| "Rouen
katedralen. Facade (solnedgang)",
1892-1894, Musée Marmottan, Paris. |
| "Rouen
Cathedral. Facade (Sunset)",
1892-1894, Musée Marmottan, Paris. |
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Renoir,
Pierre-Auguste
(1841-1919). Fransk
kunstner. Født
i Limoges, død i Cagnes. Hans far Léonard var skrædder, moderen
Marguerite passede hjemmet og familiens seks
børn. I 1845 flyttede familien til Paris.
Tidligt havde Renoir vist talent for at tegne
og i 1854 kom han i lære som porcelænsmaler
hos Paris-firmaet Lévy frères (Brødrene Lévy),
firmaet gik fallit i 1858 - efterfølgende
besluttede Renoir sig for at blive kunstmaler.
Fra 1860-64 levede han af at kopiere billeder
på Louvre, og her fik han interesse for
1700-tals malerne fx Fragonard, Watteau
og først og fremmest rokoko-maleren Francois
Boucher og hans billede "Diana
efter badet", 1742, som han hele
sit liv nærede en særlig beundring for. I 1861
tog Renoir undervisning hos den schweiziske maler Charles
Gleyre,
og samtidig meldte han sig ind på Ecole des
Beaux-Arts, hvor han studerede fra 1862-63. I
Gleyre's private atelier arbejdede Renoir sammen
med andre unge kunstnere, de senere
grundlæggere af impressionismen Monet, Sisley
og Bazille. I 1864 blev hans første billede
godkendt på den officielle Salon, og han
begyndte at udføre bestillingsportrætter. I
1865 besøgte han Bourron-Marlotte nær
Fontainebleau syd for Paris, det blev den
første af mange somre, han tilbragte der -
dette år mødte han Gustave
Courbet. |
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I
1867 blev hans billede
"Lise"
godkendt til optagelse på Salonen - modellen
Lise Tréhot var Renoirs kæreste, billedet
tilhører Folkwang Museum i Essen i Tyskland.
Med mellemrum blev hans arbejder godkendt af
Salonen frem til begyndelsen af 1870'erne. I
1871, efter militærtjeneste under den
Fransk-Preussiske krig, vendte han tilbage til
Paris.
I 1872 mødte han den visionære
parisiske kunsthandler Paul Durand-Ruel, der
tidligt opdagede betydningen af
impressionisterne.
I 1873 deltog han i Salon des
Refusés og i 1874 i den første
impressionistudstilling, som han også deltog i
igen i 1876, |
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1877 og 1882, men han afslog at
deltage i de øvrige impressionistudstillinger. I 1875 tvang økonomiske problemer Renoir
og andre impressioister til at holde auktion over deres
arbejder. I slutningen af 1870'erne var Renoir tilknyttet
kunsthandleren Père Tanguy. I perioden 1878-83 udstillede
han årligt på Salonen. I 1881-82 besøgte han Algeriet
og Italien. I 1883 arrangerede Paul Durand-Ruel en soloudstilling af Renoir's værker - samme år rejste Renoir
til de engelske kanaløer Jersey og Guernsey samt til
L’Estaque i Sydfrankrig for at besøge |
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"To
søstre (på terrassen)", 1881,
Art Institute of Chicago. |
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"Two
Sisters (On the Terrace)", 1881,
Art Institute of Chicago. |
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Cézanne.
Han udstillede med gruppen Les Vingt i Bruxelles i 1885,
1886 og 1889. I 1887 indledte han et venskab med den
franske symbolistiske digter Stéphane Mallarmé. I 1890
deltog han i Salonen for sidste gang og blev udnævnt til
fransk æreslegionær.
Renoir var inspireret af Courbet
og Corot
i hans første arbejder, men mødet med impressionisterne førte til en ændring
i malestil. Impressionisternes naturstudium og deres lyse farver
fascinerede Renoir, men ligesom Cézanne
stræbte han mod et maleri hvor den faste komposition og gengivelsen af
den plastiske form spillede en afgørende rolle - for dem begge var det
klassiske skønhedsideal væsentligere end skildringen af flygtige lys- og
farvevirkninger. Selv om Renoir blev nært knyttet til impressionisternes
kom han imidlertid til at indtage en særstilling. Han var først og
fremmest figurmaler, og en væsentlig del af hans billeder skildrer
kvinder og børn, gadeliv og cafeer, blandt hans arbejder findes også en
række landskabsbilleder. En
dyb begejstring for livets frodighed præger Renoirs billeder.
De sidste årtier at sit liv led Renoir af reumatisk
arthritis, og fik en facial parese, og i de sidste år at
sit liv havde han hyppige tilfælde med ansigtslammelser
og synsproblemer, han fik pensler fastspændt på sin arm,
og på den måde kunne han fortsætte med at male. I 1913
begyndte han at arbejde med skulpturer - til trods for
helbredsproblemer fortsatte Renoir med at arbejde til sin
død.
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Renoir,
Pierre-Auguste (1841-1919).
French painter. He was born in Limoges, and he died in
Cagnes. His father Léonard was a tailor, his mother
Marguerite cared for their six children and run the
household. In 1845 the family moved to Paris. Early Renoir
had shown talent for drawing, and in 1854 he was apprenticed
as a china painter at the Paris Firm Lévy frères (Lévy
brothers), in 1858 the firm went bankrupt - subsequently
Renoir decided to become a painter.
From 1860-64 he made a living by copying paintings in the
Louvre Museum, and he took much interest in the painters of
the 18th century e.g. Fragonard, Watteau and first and
foremost the Rococo painter Francois Boucher and his
painting "The
bath of Diana/Diana Leaving the bath",
1742, which was very special to him his whole life through.
In 1861 Renoir took painting classes with the Swiss artist
Charles Gleyre, and he joined Ecole des Beaux-Arts. In
Gleyre's private studio Renoir worked together with other
young artists, Monet, Sisley and Bazille - the founders of
Impressionism. In 1864, for the first time, the official
Salon accepted one of his paintings - after that he was
commissioned to paint portraits. I 1865 he visited
Bourron-Marlotte near Fontainebleau south of Paris, the
first of many summers he spent there - that year he met
Gustave Courbet. In 1867 his
painting "Lise"
was accepted by the Salon (the model was his mistress Lise
Tréhot, the painting belongs to Folkwang Museum in Essen,
Germany). Until the early 1870s his paintings at regular
intervals were accepted by the Salon. In 1871, after
military service during the French-Prussian war, Renoir
returned to Paris. In 1872 he met the visionary French art
dealer Paul Durand-Ruel, who early discovered the importance
of the Impressionists. In 1873 he participated in the Salon
des Refusés, and in 1874 in the first Impressionist
exhibition - he also exhibited with the Impressionists in
1876, 1877 and 1882. In 1875 financial problems forced
Renoir and other Impressionist painters to hold an auction
of their works. From 1878-83 his paintings were exhibited at
the Salon. In 1881-82 he visited Italy and Algeria. In 1883
Paul Durand-Ruel organized a solo exhibition of his works -
the same year he traveled to the British Channel Islands of
Jersey and Guernsey and to L’Estaque in Southern France to
visit Cézanne. In 1885, 1886 and 1889 he exhibited with Les
Vingt in Brussels. In 1887 he formed an acquaintance with
the French Symbolist poet Stéphane Mallarmé. In 1890 he
participated in the Salon for the last time, and he was
awarded the medal of the Légion d’Honneur.
Renoir earliest works were influenced by Courbet and Corot,
however his meeting with the Impressionists changed his way
of painting. Renoir was fascinated by the Impressionists
studies from nature and their use of bright colours, like Cézanne
he aimed at a painting where the firm composition and the
representation of the plastic form played the decisive role
- for both of them the classic ideal of beauty was more
important than the description of the passing light and the
colour effects. Though Renoir was closely knitted to the
Impressionist, he occupied a special position in history of
art. Renoir was first and foremost figure painter, a large
part of his paintings described women and children, the life
of the streets and café's - he also painted a few
landscapes. A great enthusiasm for life's luxuriance
characterized Renoir's paintings.
The last decades of his life Renoir suffered from rheumatic
arthritis and got a facial paresis, in his last years he had
frequent attacks of facial pareses and sight problems - he
painted with brushes fastened to his arm - in spite of
failing health he continued to paint until his dead.
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| 1 |
| "Selvportræt",
1897, Grand Palais, Paris/"Self-portrait",
1897,
Grand Palais, Paris. |
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| 2 |
| "Portræt
af Claude Monet", 1875, Musée
d'Orsay, Paris/"Portrait
of Claude Monet", 1875, Musée
d'Orsay, Paris. |
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| 3 |
| "Portræt
af Alfred Sisley", 1968/"Portrait
of Alfred Sisley", 1868. |
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| 4 |
| "Moulin
de la Galette", 1876, Musée
d'Orsay, Paris. |
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| 5 |
| "Bådselskabets
frokost", 1880-81, The
Phillips Collection, Washington, DC. |
| "Luncheon
of the Boating Party",
1880-81, The Phillips Collection,
Washington, DC. |
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| "De
badende", 1887, Philadelphia
Museum of Art, Philadelphia. |
| "The
Large Bathers",
1887, Philadelphia Museum of Art,
Philadelphia. |
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| 1 |
| "Piger
ved klaveret", 1892, Musée
d'Orsay, Paris/"Girls
at the Piano", 1892, Musée
d'Orsay, Paris. |
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| "Dans
i byen", 1883, Musée
d'Orsay, Paris/"City
Dance", 1883, Musée
d'Orsay, Paris. |
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| "Gyngen",
1876, Musée d'Orsay, Paris/"The
Swing", 1876, Musée d'Orsay,
Paris. |
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| "Teaterbalkonen"
eller "Logen", 1874,
Courtauld Institute Galleries, London. |
| "The
Theater box" aka
"La Loge" 1874,
Courtauld Institute Galleries, London. |
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Sisley,
Alfred (1839-1899). Fransk maler. Født i Paris, død i
Moret-sur-Loing. Sluttede sig i midten af 1860'erne til
kredsen omkring Manet
og blev en af impressionismens foregangsmænd. Hans
lysfyldte mark- og flodlandskaber er malet med samme
følsomhed, som kendes fra Monets
billeder. En blid og rigt nuanceret farveholdning præger
hans poetiske billeder - de fleste skildrer lyse
landskaber fra Ile de France. |
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Sisley,
Alfred (1839-1899). French painter. He was
born in Paris, and he died in
Moret-sur-Loing. In the mid-1860s he joined the circle around Manet and
became one of the pioneers of Impressionism. His
field- and riverlandscapes are painted with the
same sensitivity as known from Monet's
paintings. A soft and varied colour scheme mark
his poetic paintings - most of them portray
landscapes from Ile de France. |
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| 1 |
| "De
små forårsenge", ca. 1881,
Tate Gallery, London. |
| "Small
Meadows in Spring",
c. 1881, Tate Gallery, London. |
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| 2 |
| "Regatta
i Molesey", 1874, Musée
d'Orsay, Paris. |
| "Regatta
at Molesey",
1874, Musée d'Orsay, Paris. |
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| 3 |
| "Oversvømmelse
ved Port-Marly", 1876, Musée
des Beaux-Arts, Rouen. |
| "Flood
at Port-Marly",
1876, Musée des Beaux-Arts, Rouen. |
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"Sne
på landevejen i Louveciennes",
1874. |
|
"Snow
on the Road Louveciennes", 1874. |
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 |
|
"Bellelli
familien", 1858-67, Musée
d'Orsay, Paris. |
|
"The
Bellelli Family", 1858-67, Musée
d'Orsay, Paris. |
|
|
|
Degas,
Hilaire-Germain-Edgar
(1834-1917). Fransk maler, tegner og billedhugger.
Han blev født i Paris ind i en velstående
bankierfamilie, og han døde i Paris. Degas studerede på Ècole des Beaux-arts i Paris under en
tidligere elev af Ingres,
derefter tog han på en studierejse til Italien. Degas'
store fascination af Ingres'
kunst blev bestemmende for ham, men han lod sig også
inspirere af Manet
og de japanske farvetræsnit. Han var en af malerne i
den impressionistiske gruppe, hvor Manet var den
centrale figur, men han blev aldrig impressionist i
egentlig forstand. Impressionisternes strukturløse
lysmaleri tilfredsstillede ham ikke, han var en
iagttager, der hele sig liv følte sig draget mod Ingres' kølige
klassicisme, hvor den klart tegnede
linje spillede en afgørende rolle, og han malede
indendørs modsat impressionisterne - de fleste af
Degas' billeder skildrer jockeys, væddeløbsheste,
badende kvinder, teatre, cafeer og dansesteder - i
begyndelsen af 1870'erne blev kvindelige balletdansere
hans foretrukne motiv. Hans evne til at fastholde det
karakteristiske ved selv den flygtigste bevægelse var
usædvanlig. Et absolut krav om sand og usminket
gengivelse af modellen kendetegnede Degas' kunst, der
på samme tid var yndefuld og ubarmhjertigt
afslørende,
den forenede den realistiske øjebliksskildring med
klassisk alvor og fornemmelse for stil. I
1880'erne begyndte hans syn
at svigte, og han koncentrerede sig om skulpturer og
pasteller, som ikke krævede total synsskarphed. I 1881
udstillede han skulpturen Den
lille 14 årige danser, og
hans syn svigtede yderligere, og han vendte sig mere og mere
til skulpturen, han modellerede figurer og heste i voks,
nogle efterlod han ufærdige, de blev senere støbt i
bronze. Som billedhugger udførte Degas en række betydelige
statuetter af kvinder og heste, og hvad enten han betragtes
som maler eller skulptør, hører han hjemme blandt Europas
store kunstnere.
På Glyptoteket i København er Degas repræsenteret med
balletbilleder og bronzestatuetter. |
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Degas, Hilaire-Germain-Edgar
(1834-1917). French
painter, draughtsman and sculptor. He was born
in Paris into a banking family, and he died in
Paris. Degas studied at Ècole des Beaux-arts in
Paris, under a former apprentice to Ingres,
afterwards he went to Italy to study. His great
fascination with Ingres' became a determining
factor in his work, he was also influenced by Manet
and Japanese woodcuts. Degas was one of the
artists in the Impressionist group, where Manet
was the central figure, he never became an
Impressionist in
the proper sense of the word - unlike the
impressionists, he preferred to work in the
studio, and the Impressionists structureless
light painting did not satisfy him, he was an
observer, his whole life he was attracted to
Ingres' cool Classicism - most of Degas' works
depicted jockeys, race horses, scenes of women
bathing, theaters, cafés or music halls - in
the early 1870s the female ballet dancer became
his favorite theme. His ability to maintain the
distinctive in even the passing motion was
unusual - he absolutely wanted to depict his
models unpainted - at the same his art was
graceful and merciless, uniting the realistic
moment description with classical seriousness
and feeling of style. In the 1880s, when his
eyesight began to fail, he began increasingly to
work in new mediums, sculpture and pastel, that
did no require intense visual acuity. In 1881 he
exhibited a sculpture, "The little
Fourteen-Year-Old Dancer", and as his eyesight
filed thereafter, he turned increasingly to
sculpture, modelling figures and horses in wax
over metal armatures.
As
sculptor Degas executed several important
statuettes of women and horses - whether he is
looked at as painter or sculptor, he is among
Europe's greatest artists. |
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 |
 |
|
"Den lille 14-årige danser",
1879-1881, Metropolitan Museum of Art, New
York. "Selvportræt
med høj hat", 1863, Museu Calouste Gulbenkian, Lissabon. |
|
"Little
Fourteen-Year-Old Dancer",
1879-1881, The Metropolitan Museum of Art,
New York.
"Self Portrait With Top Hat",
1863, Museu Calouste Gulbenkian, Lisbon. |
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|
| 1 |
| "Portræt
af Mary Cassat", ca. 1880-84,
National Portrait Gallery, The
Smithsonian Institution, Washington,
DC. |
| "Portrait
of Mary Cassat", c. 1880-84,
National Portrait Gallery, The
Smithsonian Institution, Washington,
DC. |
|
| 2 |
| "Absintdrikkeren",
1875-76, Musée d'Orsay, Paris/"The
Absinthe Drinker", 1875-76,
Musée d'Orsay, Paris. |
|
| 3 |
| "Karbadet",
1886, Musée d'Orsay, Paris/"The
Tub", 1886, Musée d'Orsay,
Paris. |
|
| 4 |
| "Hestevæddeløbet",
1877-1880, Musée d'Orsay, Paris/"At
the Races", 1877-1880, Musée
d'Orsay, Paris. |
|
| 5 |
| "Concordepladsen",
1876, Eremitagemuseet, Sankt
Petersborg/"Place
de la Concorde", 1876, The
State Hermitage Museum, St.
Petersburg. |
|
| 6 |
| "Kvinde
der stryger", ca. 1869, Neue
Pinakothek, München/"Woman
Ironing", c. 1869, Neue
Pinakothek, Munich. |
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|
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|
|
| 1 |
| "Dansetime",
1873–1876, Musée d'Orsay, Paris/"The
Dance Class", 1873–1876,
Musée d'Orsay, Paris. |
|
| 2 |
| "De
blå danserinder", 1898-99,
Pushkinmuseet, Moskva/"The
Blue Dancers", 1898-99, The
Pushkin Museum of Fine Art, Moscow. |
|
| 3 |
| Selvportræt
og "Den lille 14-årige danser"/Self-portrait
and "The
Little Fourteen-Year-Old Dancer". |
|
| 4 |
| Udsnit
af "Danser på scene med blomsterbuket",
Musée d'Orsay, Paris/Detail
"Dancer on Stage with
Bouquet", Musée d'Orsay,
Paris. |
|
|
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|
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| 1-2 |
| Balletdansere/Ballet
Dancers. |
|
| 3 |
| "Danser",
ca. 1900, Ny Carlsberg Glyptotek,
København/"Dancer",
c. 1900, Ny Carlsberg Glyptotek,
Copenhagen. |
|
| 4 |
| "Mlle
La La at the Circus Fernando",
1879, The National Gallery, London. |
|
| 5 |
| "Cafe
Concert Singer", 1878, The
Fogg Art Museum, Harvard University,
Cambridge, USA. |
|
| 6 |
| "Kvinde
og porcelænsvase", 1872, Musée d'Orsay,
Paris/"Woman
with Porcelain Vase", 1872,
Musée d'Orsay, Paris. |
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Cassatt, Mary (1845-1926). Amerikansk maler og grafiker
født i Pennsylvania i USA. Da hun var 17 år gammel rejste
familien til Paris og vendte tilbage til USA nogle år senere,
og Cassatt, der var imponeret af den europæiske kunst, overraskede
sine forældre med at ville være kunstner - usædvanligt for en
kvinde i 1800-tallet. Hun
studerede på kunstakademiet i Pennsylvania, og i 1866
rejste hun til Paris, hvor hun kopierede de gamle mestre på
Louvre. Hun lærte Degas
at kende, han tilhørte den gruppe af impressionister, der var
nægtet adgang til Salonen og havde etableret deres egen
udstilling på "Salon des Refusés" (Salonen
for de afviste). Degas introducerede hende til Monet,
Renoir, Pissaro
og andre oprørere fra den impressionistiske bevægelse.
Cassatts yndlingsemne blev børn (hun fik aldrig nogen selv),
kvinder med børn i dagligdagse scener. Hendes kunstneriske
gennembrud kom i 1892, hvor hun modtog bestilling på et
vægmaleri i Chicago, maleriet er senere gået tabt. |
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|
 |
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"Eftermiddagste",
1880, Museum of
Fine Arts, Boston. |
|
"Five
O'Clock Tea", 1880, Museum of
Fine Arts, Boston. |
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|
Cassatt,
Mary
(1844-1926) was born in Pennsylvania in the US. At the age
of seven her family left for Paris. After a few years the
family returned to the US, and Mary, impressed by all the
art she had seen in Europe, surprised her parents by the
wish to become an artist. Becoming an artist in the
19th century was difficult for a woman. Mary visited the
"Pennsylvania Academy of the Fine Arts" and in
1866 she went back to Paris and copied the old masters in
the Louvre. She got to know Edgar Degas,
an artist from the group of Impressionists, they were
refused by the "Salon" and had established their
own show, the "Salon des Refuses". Edgar Degas
introduced her to Claude Monet,
Auguste Renoir, Camille
Pissaro and
other rebels of the Impressionist movement. Mary Cassatt's
favorite subjects became children (she never had children of
her own) and women with children in ordinary scenes. Her breakthrough came in 1892, when she
received a commission for a mural for the Woman's Building
at the Chicago World's Fair. The mural painting got lost
after the fair and has not shown up until today. Mary
Cassatt was also a printmaker. Between 1889 and 1890 she
created a set of twelve wonderful dry-points. From 1890 to
1891 she made a serios of ten color prints, know as
"The Ten".
|
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| 1 |
| "Selvportræt",
ca. 1878, Metropolitan Museum of Art,
New York/"Self-portrait",
c. 1878, Metropolitan Museum of Art,
New York. |
|
| 2 |
| "Pige
der ordner hår", 1886/"Girl
Arranging Her Hair",1886. |
|
| 3 |
| "Kvinde
ved tebordet", ca. 1884, Metropolitan
Museum of Art, New York/"Lady at the Tea
Table", c. 1884, Metropolitan
Museum of Art, New York. |
|
| 4 |
| "Ved
vinduet", 1889, Louvre,
Paris/"At the
Window", 1889, Musée
du Louvre, Paris. |
|
| 5 |
| "Barnet
vaskes", 1893, Art Institute of
Chicago/"The Child's
Bath", 1893, Art Institute of
Chicago. |
|
| 6 |
| "Barnepigen
læser højt for en lille pige", 1895, The
National Gallery of Art, Washington,
DC. |
| "Nurse Reading to
a Little Girl", 1895, The
National Gallery of Art, Washington,
DC. |
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|
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|
|
| 1 |
| "Elsie
sidder i en blå stol", 1880.
Private Collection/"Elsie
in a Blue Chair", 1880.
Private Collection. |
|
| 2 |
| "En
lille pige sidder i en blå
lænestol", 1878, The
National Gallery of Art, Washington,
DC. |
| "Little
Girl in a Blue Armchair",
1878, The
National Gallery of Art, Washington,
DC. |
|
| 3 |
| "Bådturen",
1893–94, The
National Gallery of Art, Washington,
DC/"The
Boating Party",
1893–94, The
National Gallery of Art, Washington,
DC. |
|
| 4 |
| "Teaterlogen",
1882, The
National Gallery of Art, Washington,
DC/"The
Loge", 1882, The
National Gallery of Art, Washington,
DC. |
|
| 5 |
| "Ved
sommertide", ca. 1894, The
Armand Hammer Museum of Art and
Cultural Center, Los Angeles. |
| "Summertime",
c. 1894, The Armand Hammer Museum of
Art and Cultural Center, Los Angeles. |
|
| 6 |
| "Syrener
i vindueskarmen", 1880, The
National Gallery of Art, Washington,
DC/ |
| "Lilacs
in a Window",
1880, The
National Gallery of Art, Washington,
DC. |
|
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|
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|
|
| 1 |
| "Børn
ved stranden", 1884, The
National Gallery of Art, Washington,
DC/"Children
on the Beach",
1884, The National Gallery of Art,
Washington, DC. |
|
| 2 |
| "Mor
og barn"/"Mother
and Child". |
|
| 3 |
| "Ung
mor",
1888, Art Institute of Chicago/"Young
Mother",
1888, Art Institute of Chicago. |
|
| 4 |
| "På
en altan", ca. 1878,
Art Institute of Chicago/"On
a Balcony", c. 1878,
Art Institute of Chicago. |
|
| 5 |
| "Morgenmad
på sengen", 1897, Huntington
Library and Art Collection/"Breakfast
in Bed", 1897, Huntington
Library and Art Collection. |
|
| 6 |
| "Barn
med stråhat", ca. 1886, The
National Gallery of Art, Washington,
DC. |
| "Child
in a Straw Hat", c. 1886, The
National Gallery of Art, Washington,
DC. |
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Whistler,
James Abbott McNeill
(1834-1903).
Amerikansk maler og grafiker, levede og arbejdede hovedsageligt i England og Frankrig.
Han blev især kendt for sit næsten sort-hvide portræt
"Arrangement i gråt og sort, Nr. 1", også kendt som "Whistler's mor".
Whistler blev født i Lowell, Massachusetts, han døde i London og blev begravet på
St. Nicholas's kirkegård i Chiswick. Han var søn af
militæringeniør George Washington Whistler, som arbejdede i Rusland
fra 1842 med anlæggelse af en jernbane. I Rusland lærte Whistler
fransk og modtog undervisning på akademiet i St. Petersborg. I 1851
blev han sendt på militærakademiet West Point, USMA, (The United States
Military Academy) i New York. Han var fascineret af den parisiske
journalist og forfatter Henry Murgers roman "La Vie de Bohême" og tog til Paris på
studierejse, hvor han fik maleundervisning hos den schweiziske kunstner
Marc-Charles-Gabriel Gleyre (1806-1874) og blev
optaget af Courbets, Manets
og Velazques'
kunst.
I 1859 bosatte han sig i London, han blev inspireret
af præraffaelitterne (engelske kunstnere, hvis rollemodeller var kunstnere før højrenæssancekunstneren
Raffael,
hvis teatralske kunst de gjorde oprør mod, de
beundrede enkeltheden og oprigtigheden i den
tidligere renæssancekunst) og malede
portrætter, hvor hans interesse for japanske træsnit kom
til udtryk i hans dekorative forsøg, arrangementer, symfonier og nocturner, der
forargede et publikum, som var vant til fortællende anekdotisk kunst,
som dominerede det Victorianske maleri. Whistler var den ledende skikkelse i Aesthetic
Movement (Æstetisk Bevægelse) - engelsk kunsterbevægelse i slutningen
af 1800-tallet, som gik ind for "kunst for kunsten skyld" (L'art
pour l'art), kunsten som en selvtilstrækkelig realitet kun
befattende sig med skønhed og uden moralske eller sociale pointer, tilknyttet bevægelsen var foruden
Whistler, Aubrey Beardsley
og forfatterne Walter Pater og Oscar Wilde.
"Symphony
in White, No. 1: The White Girl", 1862, National Gallery of Art, Washington, skabte
strid, da det var udstillet i London, og senere på Salon des Refusés i
Paris - samtidig med sensationen omkring Manets "Frokosten
i det grønne", billedet viste Whistler's teori om at kunst skulle koncentrere sig
om det skønne, de harmoniske farver - Whistlers kunst var musisk
æstetisk og ikke den præcise
skildring af naturen, som svarede til den britiske kritiker John Ruskin
opfattelse af, hvad kunst burde være. De æstetiske kvaliteter ses bedst i hans
ætsninger, litografier, pasteller og akvareller.
I 1877
publiserede Ruskin en artikel om Whistlers "Nocturne in Black and Gold: The Falling Rocket",
1874-77, The Detroit Institute of Arts, Ruskin beskyldte Whistler for at
smide en spand maling i hovedet på publikum og kaldte kunstneren for en
narrehat, Whistler sagsøgte Ruskin for æreskrænkelse, og han fik tilkendt
en |
|
|
 |
|
"Nattestemning
i sort og gylden: Den faldende raket",
1874, Detroit Institute of Arts. |
|
"Nocturne
in Black and Gold: The Falling
Rocket",
1874, Detroit Institute of Arts. |
|
|
|
|
symbolsk skadeserstatning, Whistler beskrev sagen i sin bog fra 1890
"The Gentle Art of Making Enemies" (Den lette kunst at skaffe
sig fjender).
Whistlers "Peacock Room"
(påfuglerum), 1876–77, til London-residensen for skibsreder
Frederick Leyland, var et original påfund i interiør dekoration, en
spisestue med påfugle i blå og guld - efter
Layland's død blev rummet genopført på Freer
Gallery of Art i Washington.
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|
|
I filmen "Mr. BEAN - Den
Ultimative Katastrofefilm" (Mr BEAN - Ultimate disaster
movie), kan man opleve, hvordan kustoden på det britiske
nationalgalleri alias Mr. Bean bliver forfremmet til doktor
i kunsthistorie og sendt til Los Angeles for at holde
foredrag når "Whistlers mor" udstilles der, og
hvordan det lykkes ham at molestrere det hjemvendte maleri.
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|
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|
Whistler,
James Abbott McNeill
(1834-1903). American painter and graphics artist, he
lived and worked mainly in England and France. He became
particularly well known for his nearly black white portrait
"Arrangement in Gray and Black, No. 1" aka
"Whistler's Mother".
Whistler was born in Lowell Massachusetts, he died in London
and was buried in St. Nicholas's churchyard in Chiswick. His
father George Washington Whistler was a military engineer,
he constructed railways in Russia from 1842. In Russia
Whistler learned French and enrolled in the Academy of Fine
Arts in St. Petersburg. In 1851 he was sent to West Point,
USMA, (The United States Military Academy) in New York. He
was fascinated by the Paris journalist and writer Henry
Murger's novel "La Vie de Bohême" and went for a
study tour to Paris, where he took art lessons from the
Swiss painter Marc-Charles-Gabriel Gleyre (1806-1874)
an became interested in the paintings of Courbet, Manet and
Velazques. In 1859 he settled in London, where he got
influenced by the Pre-Raphaelites (English painters, whose
role models were painters before the High Renaissance
painter Raphael, whose theatrical art they rebelled against,
they admired the simplicities and the sincerities of the
early Renaissance), and painted portraits, where his
interest for Japanese woodcuts found expression in his
decorative experiments - arrangements, symphonies and
nocturnes, that provoked the audience, who were used to a
narrative anecdotic paintings, which dominated the Victorian
Art in Britain. Whistler was the leading figure in Aesthetic
Movement - an English artist movement in the late 19th
Century, that advocated " Art for Art’s Sake"
("L'art pour l'art") - art was a self-sufficient
reality concentration on beauty and devoid of moral and
social messages - besides Whistler Aubrey Beardsley and the
writers Walter Pater and Oscar Wilde were connected to the
movement.
"Symphony in White, No. 1: The White Girl", 1862,
National Gallery of Art, Washington, caused a scandal, when
it was exhibited in London and later at Salon des Refusés
in Paris - contemporary with the sensation about Manet's
"Luncheon on the Grass", the painting reflected
Whistlers' ideas about art, he was artistic aesthetic,
prefer beauty and the harmonic colours - unlike the art
appreciation of the British critics John Ruskin, who
advocated of the accurate description of nature. The
aesthetic qualities were expressed through Whistler's
etchings, lithographs, pastels and watercolours.
In 1877 in an article about Whistler's "Nocturne in
Black and Gold: The Falling Rocket", 1874-77, The
Detroit Institute of Arts, Ruskin accused Whistler of
"flinging a pot of paint in the public's face" and
called the artist a coxcomb, Whistler sued Ruskin for libel
and was awarded a symbolic compensation - in his book from
1890 "The Gentle Art of Making Enemies", Whistler
wrote about the case "Whistler versus Ruskin".
Whistlers famous interior decoration the "Peacock
Room",
1876–77, a dining room with blue and gold peacocks, was
designed for the London residence of the ship owner
Frederick Leyland, after Layland's death the room was
brought to the USA and permanently installed in the Freer
Gallery of Art in Washington.
|
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|
|
|
| 1 |
| "Famous Americans"
James Abbott
McNeill Whistler (1834-1903). |
|
| 2 |
1
"Arrangement i hudfarve og sort:
Portræt af Théodore Duret", 1883-84,
The Metropolitan Museum of Art, New York.
2
"Arrangement i hvidt og sort",
Freer Gallery of Art, Washington DC.
|
1
"Arrangement in Flesh Color
and Black: Portrait of Théodore
Duret", 1883-84, The
Metropolitan Museum of Art, New York.
2
"Arrangement in White and
Black", Freer Gallery of Art,
Washington, DC. |
|
| 3 |
| "Arrangement
i gråt og sort Nr. 2: Portræt of Thomas Carlyle",
1872, Glasgow
Museums and Art Galleries, Glasgow. |
| "Arrangement
in Grey and Black No. 2: Portrait of
Thomas Carlyle", 1872,
Glasgow Museums and Art Galleries,
Glasgow. |
|
| 4 |
| "Arrangement i
gråt og sort, Nr. 1" eller "Whistler's
mor", 1871,
Musée d'Orsay, Paris. |
| "Arrangement
in Gray and Black No. 1:" or
"Portrait of the Artist's
Mother", 1871, Musée
d'Orsay, Paris. |
|
| 5-6 |
| Til minde om og til ære for Amerikas
mødre. Frimærket på kuverten er en gengivelse efter det
originale maleri "Kunstnerens moder", 1871,
Musée d'Orsay, Paris. Kuverten, der er stemplet i Washington D.C. i 1934 og
udgivet til ære for USA's mødre på Mors Dag, viser
et tryk af originalmaleriet af kunstneres mor med en
indskrift med titlen "Mother's Day", der
kort beskriver, hvordan denne mærkedag opstod på
initiativ af Anna Maria Jarvis. |
| In
Memory and in Honor of the Mothers of
America. First
Day Cover, "Mothers of
America", USA, 1934 |
|
|
|
|
|
|
|
| 1 |
| "Symfoni
i hvidt, Nr. 2, Pige i hvidt",
Tate Britain, London/"Symphony
in White, No. 2, Girl in White",
Tate Britain, London. |
|
| 2 |
| "Symfoni
i hvidt, Nr. 1: Pige i hvidt",
1862, National Gallery of Art,
Washington, D.C. |
| "Symphony
in White, No. 1: The White Girl",
1862, The National Gallery of Art,
Washington, D.C. |
|
| 3 |
| "Nattestemning:
Blå og gylden - den gamle Battersea
bro", 1975, Tate Britain,
London. |
| "Nocturne:
Blue and Gold - Old Battersea
Bridge",
1975, Tate Britain, London. |
|
| 4 |
| "Nattestemning
i grå og gylden: Sne i Chelsea",
1876, Fogg Art Museum Cambridge,
Massachusetts. |
| "Nocturne
in Grey and Gold: Chelsea Snow",
1876, Fogg Art Museum Cambridge,
Massachusetts. |
|
| 5 |
| Påfuglerummet,
Freer Gallery of Art, Washington, D.C/The
Peacock Room, Freer Gallery of
Art, Washington, D.C. |
|
| 6 |
| "Arrangement
i gråt: Portræt af kunstneren",
ca. 1872, Detroit Institute of Arts. |
| "Arrangement
in Gray: Portrait of the Painter",
c. 1872, Detroit Institute of Arts. |
|
|
|
|
|
| Pissarro,
Jacob Camille
(1830-1903). Fransk maler og grafiker, født på St. Thomas, død
i Paris. Kom 1853 til Frankrig, hvor han blev
inspireret af Corot,
som for en kort tid var hans lærer. Det var dog
bekendtskabet med Monet,
Sisley,
Cézanne
og Renoir,
der fik afgørende betydning for hans kunstneriske
udvikling. Fra første færd var han en
fremtrædende kunstner i den impressionistiske
kreds. Som de øvrige impressionister var Pissaro
tilhænger af friluftsmaleriet. Gadebilleder,
landskaber og skildringer af arbejdende bønder
indtager en dominerende plads i hans produktion.
Set i forhold til Monets æteriske lysmaleri kan
der være en næsten rustik tyngde over hans kunst.
Senere, under inspiration af Seurat, blev han
pointillist. |
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| Pissarro,
Jacob Camille
(1830-1903). French painter and graphics artist. He was born at St.
Thomas, and he died in Paris. In 1853 he came to
France, where he got influenced by Corot, who
for at short time became his teacher. The acquaintance
of Monet, Sisley, Cézanne and Renoir was of
decisive importance for his artistic
development. From the beginning Pissarro played a prominent part
in Impressionist circles. Like his Impressionist
colleagues Pissaro was an believer in plein air
painting. Street scenes, landscapes and pictures
of working peasant play a dominat role is his
production. Compared with Monet's ethereal
paintings there are an almost rustic heaviness
in Pissarro's works. Later, influenced by
Seurat, he became Pointillist. |
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"Boulevard
Montmartre i Paris",
Eremitagemuseet, Skt. Petersborg. |
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"Boulevard
Montmartre in Paris",
1897, Hermitage Museum, St. Petersburg. |
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| 1 |
| "Selvportræt",
1873, Musée d'Orsay, Paris/"Self-portrait",
Musée d'Orsay, Paris. |
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| 2 |
| "Bakkedragene
i Jallais, Pontoise",
Metropolitan Museum of Art, New York. |
| "Jallais
Hill, Pontoise",
1867, Metropolitan Museum of Art, New
York. |
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| 3 |
| "Landskab
i Pontoise", 1874, Oskar
Reinhart Samlingen "Am Römerholz",
Winterthur, Schweiz. |
| "Landscape
at Pontoise", 1874, Oskar
Reinhart Collection "Am Römerholz",
Winterthur, Switzerland. |
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| 4 |
| "Høst",
1882, Bridgestone Museum of Art, Tokyo/"The
Harvest", 1882, Bridgestone
Museum of Art, Tokyo. |
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| 5 |
| "Samtale",
ca. 1881, The National Museum of
Western Art, Tokyo/"Conversation",
c. 1881, The National Museum of
Western Art, Tokyo. |
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| 6 |
| "Den
gamle Chelsea bro, London",
Smith College Museum of Arts,
Northampton, Massachusetts. |
| "Old
Chelsea Bridge, London",
1871, Smith College Museum of Arts,
Northampton, Massachusetts. |
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| Philipsen,
Theodor
(1840-1920).
Dansk impressionismes
grundlægger, dyre- og landskabsbilleder, billedhugger og
keramiker.
Under sit Parisophold i 1874-76 kom han i forbindelse med de franske
impressionister, gik på Léon Bonnat skole. Gennembruddet som
impressionist fik han på den rejse, der gik til Spanien, Tunesien og
Italien. "Æselstand i Tunis", 1882, "Gæstgiveri i
Sora", 1883. Med "Græssende køer", 1882, manifesterede den
danske impressionisme sig for alvor. "En allé.
Kastrup", 1891. "Malkepladsen ved Meilgaard", 1884. Mange dyre-
og landskabsbilleder fra Saltholm og egnen omkring Kastrup på Amager viser hans
evne til at slå ned på det centrale i billedets helhed, og han havde en
særlig evne til at give en karakteristik af dyrenes tunge, langsomme
bevægelser. Blev kendt som dyremaler, men han var langt mere. Hans billeder af
køer skabte forargelse i tiden, man kunne ikke have en
kostald hængende i dagligstuen.
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Philipsen,
Theodor
(1840-1920).
Founder of Danish Impressionism, animal- and
landscape painter, sculptor and ceramic artist. |
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"En
allé. Kastrup", 1891, Statens
Museum for Kunst, København. |
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"An
Avenue. Kastrup", 1891, National
Gallery of Denmark, Copenhagen. |
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During his
stay in Paris 1874-76 he came into contact with the French
Impressionist, and he studied under Léon Bonnat. His
breakthrough to Impressionism came during journeys to Spain,
Tunisia and Italy.
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Postimpressionisterne
er de kunstnere, der maler i tiden efter impressionismen, og har hentet deres inspiration
derfra,
men samtidig reagerer de mod impressionismen. Hvor
impressionisterne interesserede sig for at give udtryk for deres rene
sanseindtryk, var postimpressionisterne optaget af følelsesmæssige
og symbolske værdier.
Pointillismen
eller divisionisme,
1885-1900, videreførte
visse af de impressionistiske teorier. Point betyder punkt, og det er punktteknikken, der benyttes. Punkter skulle optisk blande sig i beskuerens øje
i stedet for at blande farverne på paletten, der opstår et vibrerende
farveindtryk. En anden betegnelse for pointillisme er divisionisme,
der også er en kunstnerisk retning i Italien i årene 1890-1910. De italienske
divisionister havde stort set samme ideer som pointillisterne, men anvendte dem
også på motiver af symbolistisk eller litterært indhold fx G. Previati. Mange
af de senere tilhængere af futurismen startede deres kunstneriske virksomhed
inden for divisionismen fx G. Balla.
Synthetismen er
en
forenklet form, der er en syntese af, hvad
den skal beskrive (Paul Gauguin, Emile Bernard) og ikke så litterær betonet, især
koncentreret om maleriske problemer.
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Post-Impressionism
was a style that came after the Impressionism and were
influenced by Impressionism. The Impressionist were interested
in expressing their pure impressions, the Postimpressionist were
intensely concerned about emotional and symbolic values. It was
the English artist and critics Roger Fry, who in 1910 introduced
the concept of Postimpressionism as a term for different styles
originated from Impressionism - a style clearly contrasted with
the naturalistic tendencies in Impressionism, and was applied to
the group Les Nabis (a rebellious group of young artists, Nabi
was derived from the Hebrew word for prophet. The artists were
e.g. Bonnard
and Denis).
The most significant Postimpressionists were Cézanne, Gauguin, van
Gogh, Seurat,
Denis, Bonnard and Toulouse-Lautrec,
they had different ideas about their art, and in common a
non-academic view on art.
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Kunstnere/Artists
(postimpressionisme/Post-Impressionism) |
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Cézanne,
Paul
(1839-1906). Fransk maler, den
moderne kunsts far, født i Aix-en-Provence i Sydfrankrig, han døde 67
år gammel i sit hjem i Aix. I 1858 tog han eksamen fra Collège Bourbon,
hvor han lærte Émile Zola at kende, den senere kritiker og grundlægger
af naturalismen i litteraturen. I 1859 begyndte Cézanne på jurastudiet
på Universitet i Aix, han opgav sine studier for at følge Zola til
Paris, hvor han mødte Camille Pissaro og blev inspireret af hans
stil, og han indledte venskaber med Renoir og
Monet. I 1863 blev
Cézannes
billeder udstillet på Salon des
Refusés (en kunstudstilling der viste arbejder, der var blevet afvist
af den officielle Paris Salon). In 1874 deltog han i den første
impressionist ud- stilling. Fra 1879 boede han i Aix-en-Provence. I 1882
blev hans arbejder godkendt af Salonen for første og eneste gang. I 1890
udstillede han i Bruxelles med Les Vingt ("De Tyve", en gruppe
af kunstnere som udstillede sammen i Belgien fra 1891–93,
deres fælles interesse var det symbolistiske maleri). I 1894 rejste han
til Giverny for at besøge Monet. Cézannes første soloudstilling blev
holdt i 1895 på galerie
Ambroise-Vollard i Paris. I 1899 deltog han for første gang i en udstilling på Salon
des Indépendants i Paris.
Cézanne havde stor
indflydelse på fauvisterne (de franske ekspressionister) og kubisterne. I
Paris havde han sluttet sig til impressionisterne, og han var
impressionist i sin ungdom. I hans senere stilleben, figurkompositioner og
landskaber kunne ses en forenklet og stram
komposition, der nærmede sig den senere kubisme. Cézanne var den
første kubist. Arbejderne fra hans sidste år inspirerede de
nonfigurative kunstnere. |
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"Nature
morte", 1892-94, The Barnes
Foundation, Merion, Pennsylvania |
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Absolut centralt i hans kunst var gentagelsen af
udvalgte motiver fx bjerget Mont Sainte-Victoire nær
Aix-en-Provence, badende figurer og stilleben med
æbler og pærer. På Glyptoteket i København kan ses hans selvportræt fra 1888.
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Cézanne,
Paul
(1839-1906). French painter, the father of modern art, born
in Aix-en-Provence in Southern France, and he died in his
home in Aix-en-Provence. In 1858, he graduated from the Collège
Bourbon, where he got to know Emile Zola, the later critics
and founder of the Naturalist movement in literature. In
1859 Cézanne entered the law school of the University of
Aix, he abandoned his studies to join Zola in Paris, where
he met Camille Pissarro, and
became influenced by his style, and began friendships with Pierre-August
Renoir and Claude Monet.
In 1863 Cézanne's paintings were exhibited in Salon des
Refusés (an art exhibition held in 1863 for works that had
been rejected from the official Paris Salon). In 1874 he
participated in the first Impressionist exhibition. From
1879 Cézanne lived in Aix-en-Provence. In 1882, the
Salon accepted his work for the first and only time. In 1890
he exhibited in Brussels with Les Vingt ("The Society
of the Twenty", group of artists who exhibited together
in Belgium during the years 1891–93, having been brought
together by a common interest in Symbolist painting). In
1894 he traveled to Giverny to visit Monet. His first solo
exhibition was held in 1895 at galerie Ambroise-Vollard in
Paris. In 1899, he participated in the Salon des Indépendants
in Paris for the first time.
Cézanne had a great
influence on the Fauvist (the French Expressionist movement)
and the Cubist. In Paris he had joined the Impressionist,
and he became Impressionist in his youth. In his later still
lifes, figure compositions and landscapes were seen a
simplified and tight composition close to the later Cubism.
Cézanne was the first Cubist. The Nonfigurative artists
were influenced by his latest paintings.
Absolutely central in his
works were repetitions of selected motifs like the mountain
Mont Sainte-Victoire near Aix-en-Provence, bathing figures
and still lifes with apples and and pears.
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| 1 |
| "Selvportræt
med rosa baggrund", ca. 1875/"Self-portrait
with Pink Background", c.
1875. |
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| 2 |
| "Madame
Cézanne (født Hortense Fiquet,
1850–1922) in vinterhaven",
1891, Metropolitan Museum of Art, New
York. |
| "Madame
Cézanne (née Hortense Fiquet,
1850–1922) in the Conservatory",
1891, Metropolitan Museum of Art, New
York. |
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| 3 |
| "Kortspillerne",
1890-92, Louvre, Paris/"The
Card Players", 1890-92,
Musée du Louvre, Paris. |
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| 4 |
| "Mardi
Gras", (Hvidetirsdag,
karnevalsperiode mellem helligtrekongersdag
eller helligtrekongersaften og
askeonsdag), 1888, Pushkinmuseet,
Moskva. |
| "Mardi
Gras" (Shrove Tuesday,
carnival period between Epiphany or
Twelfth Night and Ash Wednesday),
1888, Pushkin Museum, Moscow. |
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| 5 |
| "De
store badende", 1906,
Philadelphia Museum of Art/"The
Large Bathers", 1906,
Philadelphia Museum of Art. |
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| 6 |
| "Stilleben
med kerub", 1895, Courtauld
Institute Galleries, London/"Still
Life with Cherub", 1895,
Courtauld Institute Galleries, London. |
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| 1 |
| "Kurven
med æbler", ca. 1893, Helen
Birch Bartlett Memorial Collection,
Art Institute of Chicago. |
| "The
Basket of Apples",
c. 1893, Helen Birch Bartlett Memorial
Collection, Art Institute of Chicago. |
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| 2 |
| "Den
hængte mands hus i Auvers",
1873, Musee d'Orsay, Paris. |
| "La
maison du pendu à Auvers"
(The
House of the Hanged Man in Auvers),
1873, Musee d'Orsay, Paris. |
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| 3 |
| "Sainte
Victoire-bjerget", 1885-1887
Courtauld Institute Galleries London/"Mount
St Victoire", 1885-1887
Courtauld Institute Galleries London. |
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| 4 |
| "Vej
foran bjergkæden Sainte
Victoire", 1898-1902,
Eremitagemuseet
Skt. Petersborg. |
| "Road
Before the Mountains, Sainte-Victoire",
1898-1902, Hermitage Museum, St
Petersburg. |
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| 5 |
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| 6 |
| "Mølle
ved floden", 1900-1906,
Marlborough Fine Art, London/"Mill
at the River", 1900-1906,
Marlborough Fine Art, London. |
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| Seurat,
Georges
(1859-91). Fransk kunstner,
Pointillist.
Født og død i Paris. Elev på Academie des Beaux-Arts i Paris. Seurat var inspireret
af impressionisterne, men hans interesse for moderne farvefysik og
intense studier af Delacroixs
kunst
førte ham ad nye veje, og han blev den
egentlige ophavsmand til neo-impressionismen. Med ganske små og tydeligt
adskilte penselstrøg satte han solspektrets rene farver på lærredet.
Ligesom impressionisterne ønskede han at give farven størst mulig lysstyrke, men samtidig reagerede ham mod impressionisternes spontane arbejdsform
og deres dyrkelse af det flygtige indtryk. Mange af hans billeder skildrer
landskabelige motiver, men nogle store figurkompositioner indtager en
fremtrædende plads i hans produktion, kendetegnende er monumentale
virkninger, mindst
mulig forkortning og modellering, forkerte forkortelser,
mørke konturer og
en harmonisøgen. |
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| Seurat,
Georges (1859-1891).
French artist. He was born in Paris, and he died
in Paris. From 1878-79 he studied art at
Academie des Beaux-Arts in Paris. Seurat was
influenced by the Impressionists, however his
interest into the physics of colour and
intensive studies of Delacroix's art opened up
new ways, and he became the real originator of
Neoimpressionism. With quite small and clearly
separated brushstrokes, he put the pure colours
of the solar spectrum on the canvas. Just like
the Impressionists, he wished to give colours
the greatest possible brightness, at the same
time he reacted against the spontaneous working
method used
by the |
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"En
søndag eftermiddag på øen La Grand
Jatte", 1884-1886, The Art
Institute of Chicago. |
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"Sunday
Afternoon on the Island of La Grande Jatte",
1884-1886, The Art Institute of Chicago. |
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Impressionist,
and their interest in the passing impression. Several of
Seurat's paintings showed scenic motifs, some great figure
compositions took up a prominent place in his production -
characteristic were monumental effects, least possible
foreshortening and modelling, dark contours and the search
for harmony.
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| 1 |
| "Badende
ved Asnières", ca. 1883,
National Gallery, London/"Bathers
at Asnières", c.1883,
National Gallery, London. |
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| 2 |
| "Stenhuggere,
Le Raincy", ca. 1882, Norton
Simon Art Foundation, Pasadena,
Californien. |
| "Rock-Breakers,
Le Raincy", c.1882, Norton
Simon Art Foundation, Pasadena,
Californien. |
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| 3 |
| "Forstæderne",
1882-1883, Museum of Modern Art, Troyes,
syd-øst for Paris. |
| "The
Suburbs", 1882-1883, Museum
of Modern Art, Troyes,
south-east of Paris. |
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| 4 |
| "Eiffeltårnet",
1889, San Francisco Museum of Modern
Art/"The
Eiffel Tower", 1889, San
Francisco Museum of Modern Art. |
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| 5 |
| "Det
sorte bånd" (Le Noeud noir), ca.
1882, Louvre, Paris/"The
Black Ribbon" (Le Noeud
noir), c.1882, Louvre, Paris. |
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| 6 |
| "Cirkus",
ca. 1890, Musée d'Orsay, Paris/"The
Circus", c.1890, Musée
d'Orsay, Paris. |
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Øvrige
kunstnere
Vincent
van Gogh
(1853-1890). Nederlandsk maler.
Førimpressionistisk periode med "Kartoffelspiserne.
Realisme, inspireret ca. 1886 af impressionisterne. Arles 1888-90,
ekspressiv stil, besjæler alle former for liv.
Paul
Gauguin
(1848-1903). Fransk
maler postimpressionist og symbolist. Gift med den danske Mette Gad (1850-1920).
Sømand, senere bankmand. Inspireret af impressionisterne og elev af
Pissarro. 1888 sammen med van Gogh i Arles. Rejste til Tahiti i 1891.
Romanen "Noa-Noa", 1893, om tiden på Tahiti. Han forenklede
sin malemåde inspireret af orientalsk og primitiv kunst. "Selvportræt med rundpuldet hat", 1885.
Henri de
Toulouse-Lautrec (1864-1901).
Fransk maler og grafiker, inspireret af Degas
og japanske træsnit.
Paul Signac
(1863-1935). Fransk maler, pointillist. Grundlagde sammen med Seurat
pointillismen. Les Vingt.
Pointillister. kunstnersammenslutning
i Belgien og Holland. G. de
Nittis. Italiensk Pointillist.
Max Liebermann.
Tysk Pointillist.
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Perioden
i øvrigt
Den
Glücksborgske linje begynder med Christian d. 9., 1863-1906.
Napoleon
d. 3. fransk kejser 1848-70. Tyskland samles under Bismarck 1871. "Das
Kapital", 1867.
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