From 65438 to 2009, a school of realism appeared in France. They advocate that art should be based on real life and take nature as a model, and painters should go out of the studio to express the lives of ordinary people.
Courbet, a woman sifting wheat.
They praise labor and nature and regard laborers as the object of artistic creation; They despise the old themes in ancient books, don't use those magical fantasies, and don't want to be locked in the studio. They regard the beauty of simplicity as the highest goal of creation, and set off a realistic trend of thought after neoclassicism and romanticism in the history of art.
Courbet is a representative figure of French realistic artistic trend of thought. 1855, during the World Expo, a challenging realism solo exhibition was held outside the official art salon. In this exhibition, Courbet published a famous realism manifesto in art history, which advocated originality, becoming a living art, being loyal to the expression of objective objects, and advocating that artists must express contemporary life. This declaration established Courbet's important position in realistic art.
The painter shows the image of working women in his works, and his superb realistic skills make this image have a desirable artistic charm and give people a beautiful enjoyment. The painter focused on the image of a woman kneeling to sift wheat. From her round arms and plump back, you can imagine that this is a healthy and beautiful rural girl. Her graceful posture gives people a feeling of bodybuilding. She almost occupies the center position and becomes the focus of the picture. It is a simple inspiration to screen out Maifu, and it is even more intriguing to describe her with her back.
Remarkably, the expression of the characters does not occupy any position. Only one of the three characters can see facial expressions, and she seems to be not concentrating on her work, but dreaming. From the anatomical point of view, the girl who is sifting wheat seems to be not exerting herself, but more like posing and dancing. The role of the boy in the background shadow is only to balance the whole picture structure. Although the painting is a labor scene, the whole picture is static. There is no information to express the mood and life of the characters in the whole painting. What the painter sees in his eyes is not labor, but posture. Art is not to embody life, but to sublimate ordinary daily scenes through spiritual strength. This spiritual strength comes from the artist's mind and heart.
Third-class car Du Miai.
Du Miai has never received a formal art education. He is a real student of Life Church. Du Miai's father is a glass worker in Marseille. Although he loves literature and art, he has no chance to practice it. As a teenager, Du Miai was full of pride. He has the talent and keen expression of a poet praised by his family. But life and hobbies are two different things. He worked in his father's factory and market to support his family and hardly went to school. The experience of doing odd jobs in the judge's house made him really understand this absurd and sad world from outside the story.
Third-class carriage Du Miai
These experiences have exercised his ability to observe life, and with his amazing memory, he usually writes down the characteristics and outlines in his mind immediately after seeing things, and then draws them on paper or shows them in the form of clay figurines when he comes back. Long-term hard practice has enabled him to practice a pair of agile hands and eyes, and he can remember them in an instant and describe the characters in a few strokes.
This painting seems to represent a short life journey and a long life road. Different people have different expressions and different experiences on the road of life.
At that time, the train had just run, and people were still very fresh and strange to take the train. In this work, the painter vividly describes the situation of people facing new things. Artists have observed their subtle inner world from these ordinary people, and at the same time revealed a very special feature of the times. This is a group of lower-class citizens who have suffered a lot in their hard life. They come from different regions, but they are all pursuing their own ways of making a living. Sitting in the front row of the third-class car, he looks like a poor farmer. An old woman carrying a basket still seems to feel a little uncomfortable and embarrassed about the fast-moving train. The young woman on the left, holding a sleeping baby in her arms, is immersed in maternal love. The sleeping teenager near the old woman on the right was too excited when he got on the bus, which obviously made him feel very tired. At the moment, he is sleeping soundly in the shaking of the train. From this work, we can see that the painter is very different from the contemporary painters in both the expressive ability of the characters and the feeling of the picture.
His oil paintings are still like satirical paintings, and the shapes are not the same, but only the beauty of color blocks and shapes. He often takes brown and pink as the keynote, chooses the theme from literary masterpieces and life, and examines his image with a critical artistic eye. He said, "Be a person of your own time." Du Miai's artistic career is always associated with French realism. He used the artistic language combining realism and romanticism to create his own unique artistic image. For the sake of truth and justice, his life was bumpy, he was jailed, fined, his works were destroyed, and it was difficult to make a living.
Volga Tracker in Russian Lie Bin
The picture shows the lives of these trackers with long and narrow banners. The sunshine on the Volga River is fierce, and the beach is deserted. The close-up view is only dotted with a few broken baskets buried in the sand, and the scenery is very lonely. A group of ragged trackers dragged the cargo ship with heavy steps, as if they could hear the echo of the depressed Volga boatman's song.
There are 1 1 person, which are roughly divided into 3 groups. Every image was carefully examined by Lie Bin, who also drew sketches of the characters. Their age, experience, personality, physical strength and their spiritual temperament are all different. The painter highly typifies these characters and unifies them in the theme. Now, according to the painter's own narrative, I will introduce each character here separately.
The first group of ***4 people, headed by Gunning, has a gentle expression, but a tough personality and an innate willpower. This man is about forty or fifty years old. His sunken eyes made his forehead stand out, showing his wisdom. Lie Bin drew a rag on his head, as if to mold him into an ancient Greek philosopher. He used to be a priest, but later he was dismissed by the church and once served as the conductor of the church choir. He is strong and his hands are drooping. The belt on my chest is tight, but my linen shirt is covered with patches. This is a typical Russian farmer, elder or wise man. He endured physical and mental pain, and he was the tragic protagonist in these trackers' images. On his right is a burly, simple-minded farmer, barefoot, with unkempt hair and a thick beard, who seems to be whispering something to Gunning. This image played a role in setting off Gunning's leaning forward. Behind him is a slender thin man, nearly 40 years old, and most of his body is blocked. He is wearing a straw hat and smoking an earthen pipe. His head looks smaller. He straightened up, which made the cable slack, as if to save some strength. On the thin man's left, there is a bow tracker. He used to be a sailor named Chical. His hands were clenched, his expression was serious, and his eyes were fixed on the front. Obviously, his temper must be stubborn and he is a tough guy in the countryside. Sweat corroded his coat and his strong shoulders emerged from the hole.
There are four people in the middle group. The teenager in a pink shirt and trousers is named Larikka. It seems that this teenager is joining the ranks for the first time. His unwashed skin and frowning brows tell the audience that this kind of work is too heavy for him. He is adjusting the fiber rope that is pressing on his shoulder and stinging his skin by hand.
The painter seems to find hope in this new oppressed, that is, he doesn't want to be exploited and wants to resist. Remarkably, the boy still has a cross hanging around his neck, which is a token given to his child by his parents, praying that God can bless him on the way. In order to draw this young stalker, Lie Bin once chose a familiar child image as a model. The phenomenon of young people pulling fibers is as cruel as that of capitalists squeezing labor by child labor. It is the evil of Russian serfdom under the czar and the main object of painter's criticism.
Larikka was followed by a bald old man who suffered from wind and frost. He has dark skin and a gloomy face. He leaned against the string and opened his pipe, trying to take some time to relieve his depression. He is in sharp contrast with the teenager in front of him in color. Two generations, different fates, tied to a rope.
On the right side of the teenager is a weak and morbid tracker. He walked with difficulty and was weak, and wiped his sweat with his cuffs. Hair is exposed outside the hat, cheekbones are raised and lacrimal sac is swollen. His future journey means more bad luck, and we seem to hear his rapid breathing. Between Larikka and the old man, another tracker's head was exposed. This man has a dark face, his nostrils are outward and his lips are thick. It seems that he is a slut.
The last group of three people, walking in front is a retired soldier, with a vest outside his white shirt and a low hat. Behind him is a dark-skinned man. Stasov, a critic of the Wandering School, said that he was a wandering Greek. The last man only saw his drooping head. He seems to be walking harder. He is climbing a small slope. The whole painting depicts the blank in the upper part with light green, light purple and dark brown tones, which makes the Volga River more bleak. This is to enhance the tragic color of the characters and set off the dry and hot weather (Lie Bin made some changes to Gunning and Hicar, especially Hicar's head was wrapped in white cloth).
1873, critic Stasov commented on this painting and its author in a magazine: "Lie Bin is a realist like Nikolai Nikolai Gogol, and also has a profound national character like him. With his own courage and unparalleled courage, he plunged into the deepest part of people's lives, people's interests and people's sad reality ... Lie Bin is an excellent and powerful artist and thinker in terms of the layout and performance of the picture. " Indeed, this oil painting is the pinnacle of critical realism art in the 1970s, both ideologically and technically. This painting was created between 1870 and 1873, and is now in the Russian Museum in Leningrad, the Soviet Union.
Impression sunrise Monet France
Impression sunrise shows the painter's feeling and impression of the fleeting scene of sunrise water. What is shown in the painting is that in the hazy morning fog of Tianshui, a red sun Ran Ran rises, and the boats in the water and the scenery on the shore are easily outlined in blue-green, and all the objects in the whole picture are integrated. Monet is the leader of impressionism. 1874, he initiated and organized the first Impressionist Art Exhibition, and his oil painting Impression Sunrise caused repercussions in the exhibition, thus making the name "Impressionism" formally appear.
Monet's works pay great attention to the exploration of color field, ignoring the realism of object and form. He pays attention to expressing instant impression with light and color, and pursues the independent beauty of color relationship in painting. He was the first painter who really emphasized external light sketching. Almost all his works are done by outdoor sketching, and his attitude is very serious. In order to maintain the authenticity of the impression, it is often painted in the morning. If you don't finish painting, you will wait until the same time the next day to continue painting until you finish painting. He also often draws the color changes of objects at different times and under different light in front of a scene. For example, the oil paintings Haystack and Lyon Cathedral are the works often mentioned by artists in this color experiment. His works, after careful consideration, pursue the subtle change effect of instantaneous light color, which is unprecedented. This artistic pursuit is particularly prominent in Monet's oil painting Water Lily in his later years. Among impressionist painters, Monet lived the longest. In his later years, people realized the value of impressionist painting, which also made him live a happy life in his later years.