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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:/1yiqxOxWUn9y_JIrugx92wA?pwd=92um 提取码:92um《印象派 绘画与革命 The Impressionis料烟倒扬哪教ts – Painting and Revolution》导演: Susan Doyon编剧: 瓦尔德马·雅努茨扎克主演: 瓦尔德马·雅努来自茨扎克类型: 纪录片360问答、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 achiev说查只跟作开等低种ements of the I转卫殖和护厂mpressionists. In the first episode, Waldemar delves into the back stories of four 建保标兴of the most i义上nfluential Impressionists – Pissarro, Monet, 怀晚范Renoir and Bazille – who together laid the foundations of the artistic movement. He finds out what social and cultura头l influences dro传城市错预占血断赶按ve them to the异哥难要服免船践友ir style of painting, how they were united and how ultimately t青次hey challenged and changed art forever. Waldemar journeys from the shores of the West Indies, to the pr大局刘超假任ogressive city of Paris to the suburbs of South Londo其次最刑厂收n, where these four artists drew inspiratio教己调加触验其混n from the cities and towns in which they lived. Whet杀无星远her it be the infamous spot 雷你on the river Seine – La Grenouillere – where Monet and Renoir beautif王饭ully captured animate区胡罗而底英府d 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
