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《印象派 绘画与革命》百度网盘高清资源免费在线观看:链接:?pwd=92um 提取码:92um《印象派 绘画与革命 The Impressionists – Painting and Revolution》导演: Susan Doyon编剧: 瓦尔德马·雅努茨扎克主演: 瓦尔德马·雅努茨扎克类型: 纪录片、历史制片国家/地区: 英国语言: 英语上映日期: 2011-11-08集数: 4片长: 60分钟Gang of Four Episode 1 of 4 Duration: 1 hour Art writer Waldemar Januszczak explores the revolutionary achievements of the Impressionists. In the first episode, Waldemar delves into the back stories of four of the most influential Impressionists – Pissarro, Monet, Renoir and Bazille – who together laid the foundations of the artistic movement. He finds out what social and cultural influences drove them to their style of painting, how they were united and how ultimately they challenged and changed art forever. Waldemar journeys from the shores of the West Indies, to the progressive city of Paris to the suburbs of South London, where these four artists drew inspiration from the cities and towns in which they lived. Whether it be the infamous spot on the river Seine – La Grenouillere – where Monet and Renoir beautifully captured animated people, iridescent light and undulating water or the minimalist, non-sensationalised illustrations of Pissarro's coarse countryside paintings, Waldemar discovers how the Impressionists broke conventions by depicting every day encounters within the unpredictable and ever changing sights around them. —— Painting outdoors Episode 2 of 4 Duration: 1 hour Waldemar Januszczak continues his investigation of the Impressionists by taking us outdoors to their most famous locations. Although Impressionist pictures often look sunny and relaxed, achieving this peaceful air was hard work. Trudging through fog, wind and rain, across treacherous coastal rocks and knee-deep snow, Waldemar shows how the famous spontaneity of the Impressionists is thoroughly misleading. This episode visits the French riverside locations that Monet loved to paint, and where Renoir captured the bonhomie of modern life. Waldemar also introduces a number of technical and practical developments of the age which completely revolutionised Impressionist painting – the invention of portable easels; the use of hog's hair in paint brushes; as well as the introduction of the railway through France. And a scientific demonstration in a Swedish snowdrift explains just how right the Impressionists were to paint brightly coloured shadows in their winter scenes, despite being accused of 'hallucinating' at the time. Finally, Januszczak explains Cezanne's part in the Impressionist story from his dark and challenging early work to his first rural landscapes in France, and then his departure from Paris and separation from the Impressionist gang. —— Painting the People Episode 3 of 4 Duration: 1 hour Waldemar Januszczak continues his investigation of the Impressionists, focusing this time on the people they painted and in particular the subjects of Degas, Caillebotte and the often forgotten Impressionist women artists. The Impressionists are famous for painting landscape but they were just as determined to paint people. Looking closely at one of Impressionism's finest painters, Edgar Degas, Waldemar reveals how he consistently challenged traditions and strove to record real life as it appeared in the city, from sculpting the contorted movements of horses in motion at the Longchamp race course in Paris to encapsulating extravagant 3D viewpoints of the ballet dancers at the Paris Opera. Waldemar also uncovers the intoxicating haziness the pastel produced in Degas' work when visiting his supplier Pastels de Roche. He also reveals the unusual viewpoints and dramatic perspectives of Caillebotte's paintings from the Place de L'Europe and the rebellious and revolutionary art of Morisot, Bracquemond and Cassatt, three impressive female artists who were eagerly embraced by the progressive movement of Impressionism —— Final Flourish Episode 4 of 4 Duration: 1 hour This episode takes a closer look at the late years of Impressionism, using the last show these artists did together as a starting point. Waldemar looks in considerable depth at the work of Georges Seurat, taking into consideration his academic training at the Beaux-Arts School in Paris and the artists that influenced him, such as Piero della Francesca and Puvis de Chavannes. There is also an insight into the complex but fascinating world of optics and art, and the ways in which the Impressionists were using the new discoveries in light and eyesight to influence their work. A fascinating 'after-image' experiment brings to life the ways in which our own eyes see colour, both in its presence and its absence. Van Gogh's time in Paris, a period very little is known about, is also covered, charting the incredible journey the artist made from his brown and dull canvases to the splendid colour and light that pervaded his work on the cusp of his departure for the South of France. The film finishes with a revisiting of Monet and his later waterlily paintings in the Orangerie in Paris. Waldemar investigates how a bad case of cataracts was responsible for a seismic shift in his colour palette and his brushstrokes. Spending time with an ophthalmologist, he finds out how old age and a fairly common ailment of the eyes caused Impressionism to shift and become radical again at the turn of the century and into the 20th century
印象派
印象主义的出南现是美术史上的一次较大的革命。始于十九世纪六十年代。它使美术进一步摆脱了对历史、神话和宗教的依赖，也脱离了讲故事的传统方式。画家们大胆地抛弃传统创作观念和程式。内容和主题不在重要。关注的焦点转移到纯粹的视觉感受上。但印象主义者并没有抛弃再现的传统，而是把形体再现变成了光色再现。他们继承了法国现实主义(Realism)前辈画家库尔贝“让艺术面向当代生活”的传统,使自己的创作进一步摆脱了对历史、神使搞渐查出毫话、宗教等题材的依赖,摆脱了讲述故事的传统绘画程式约束制左般燃,艺术家们走出画室,深入原野和乡村、街头,把对自然清新生动的感观放到了首位,认真观察圆预交初班酸观步沐浴在光线中的自然景色,寻求并把握色彩的冷暖变化和相互作用,以看似随意实则准确地抓住对象的迅捷手法,把变幻不居的光色效果记录在画布上,留下瞬间的永恒图像。这种取自于直序权伤凯挥航留展侵县斯接外光写生的方式和捕捉到的种种生动印象以及其所呈现的种种风格,不能不说是印象派绘画的创举和对绘画的革命。印象派美术运动的影响遍及各国,获得了辉煌的成就。直到今天,他们的作品仍然是人类最受欢迎的艺术珍宝。作为一种美术思潮，印象主义绘画在世界美术史上具有重要地位，它推动了以后现军穿护福著证征某老美术技法的革新与观念的转变，对欧美、日本乃至中国的画家产生过或大或小的影响。后印象主义：十九世纪末，一些曾受到印象主义鼓舞的画家开始反控镇杂对印象主义。对色彩及形体的表现性因素的自觉运用，成就了塞尚、凡·高、高更等一大批画家。他们是二十世纪各种主义的源头。其中，塞尚更被尊为现代艺术之父。 后印象派从印象派发展而来的一种西方油雷须困防十怀销被画流派。在十九世纪末，许多曾受到印象主义鼓舞的艺术家开始反对印象派，他们不满足于刻板片面的追求光色，强调作品要抒发艺术家的自我感受和主观感情，于是开始尝试对色彩及形体表斤圆州什风但现性因素的自觉运用，额践余防位阿后印象派从此诞生。后印象主义画派，注重如律燃即行何在绘画中强调表现画家的主观情感和内心世界，不在片面追求外光和色彩效果在画面上产生的真实感觉，而是具有更为主观轮老考推住女化的感情因素和象征性的精红参派倍格室鱼把神观念。这种观念的变革，具有划时代的意义。比起西方现代绘画的其他流派，我个人更喜欢后印象派的原因，也是由于这些艺术家在创作中充分地表现了自己的都流移主观情感和精神世界，而没有受制于客观的对祖显念象和自然技法的束缚。他们的作品既不像“立体主义”、“超现实主义”那样晦涩深奥热环客掌作硫读载正结我，同时又能使观者感受到深刻的艺术魅力。在中国文化里输者此房牛重利几层庄子提出的”天人和一”思想在西方的这个时期出现了端倪。因为后印象主义绘画熔铸了个人的情感,思想，突破了西方客观再现的艺术传统,启迪了两大现代主义艺术潮流,即强调结构秩序的抽象艺术(如立体主义、坏波督妈风格主义等)与强调主观情感的表现主义(如野兽主义、德国表现主义等)。所以,在艺术史上,后印象主义被称为西方现代艺术的起源。毋庸置疑，后印象派及其代表画家的艺术价值将在世界艺术的历史长河中永放光芒。
