why? Because other painters did not treat their paintings as unfinished works, the title of their works conveyed this. For example, the printmaker BracQuemond submitted a "Rain, STEAM, and Speed: The Great West Western Railway, 1845), the famous" Rain, Steam, and Speed Railway, Painting -the exhibition attached conditions are its printing version should be "unfinished". There are also some titles that are vocabulary such as ESQUISSE [sketch] (a casual described oil color sketch) or éTude (more commonly saying that it is an oil color practice). The reason for this may be that they want Show their entire creative field to customers with uneven economic conditions. But despite this, these painters have never been called "Esquissistes" or "Etudistes" (Esquissistes "or" Etudistes ", which is almost called" Impressionist Painter ", and this small group of small groups composed of 30 painters Directly dominate the world's understanding of early modern painting.

However, as the art historian Richard Bourter was investigated, in the 1874 exhibition, only a few of the 165 works could be called an impression painting. Most of the works were carefully depicting and careful production in addition to the thoughts of thoughts, there are occasionally a little bit of a little bit, even the works of Monet, Renoir, Picansaro, and Sisla. There are almost no works that look like it is done quickly. Bourter believes that only six paintings have the quality of performance -the creation gesture feels on the picture, which forces the audience to directly think about the painter's creative process. In 1874, this fast and obvious gesture painting was complicated and rare in aesthetic.

First of all, it is a French title created by Paul Cézanne in Paul Cézanne Collective, this is full of attractiveness. Although this painting shows a free and loose structure, this does not conform to our perception of Impressionist painting: because what we see in the painting is not a scene captured from life, but a kind of artist's mind in the mind The painting will be quickly passed to the canvas. Its subtitle "Sketch" shows that it is a draft prepared for a work and part of the work. The painter used the word "sketch" to get rid of its randomness. However, its completely free gesture, its bright and bright colors, and its shocking theme, combined into one, showing an extraordinary drama.

Through the title, Cezanne told us that this work is a modern annotation of Edouard Manet's work on the Salon of Edouard Manet in 1865. Compared with the calmness, calmness and restraint of Maena's painting, Cezanne's hand pushed straight on the canvas, and pink, red, yellow and green pigments were scratched. The painter did not try to adjust or cover up his gestures the power of. Olympia himself seemed to be curled up on a huge bed, and middle -aged gentleman customers seemed to be excited with the role of bystanders because his pants, hair and jackets trembled with the vitality of them. Cezanne seemed to be intentionally created a sketch for Mayana's early works. Therefore, Cezanne's oil color was written as "before", and Mayana's famous paintings were "later".

Cezanne wanted us to think he drew quickly. There are rarely overlapping colors -for example, unpleasant green formed by the transition from blue to yellow -and the whole painting is the tile oil painting is as vitality. In fact, it looks almost an impromptu, just like a natural joke or a good word at a dinner. This work was included in the 1874 exhibition, which clearly showed that the audience at the time knew that their seemingly new way of painting had a large number of precedents in old masters and college paintings. This "oil color sketch" is painted to pay tribute to the early painters in technical and image. Its relatively large size forced every audience to visit the exhibition to face it and deal with it.
Cezhang also has a painting named "Oil Poor Research: Etude: Paysage à Auvers). The word étude (éTude) has different meanings from Esquisses. Oil painting sketches tend to turn the scenes in the mind (usually derived from literature or other art works) into specific visual languages; they are inspiration and imagination. The tendency of research (practice) is closer to nature -whether it is a whole or part -such as a tent, a character, a person, a cloud, a tree or a building. Therefore, the word "research" in the painting problem means that it must be observed at another level of the oil color sketch of "Modern Olympia".

In the exhibition, there is also a Cezanne's "House of the Hanged Man aters-Sur-OISE" in the House of the Hanged Man at Hanged Man-Sur-OISE on the exhibition. There is no word Esquisses, and the word étude is not studied, so it is submitted as a complete completion of art. Although some contemporary critics believe that this painting is too rough, its dense oils, layered surfaces, reflect that it has gone through a long -term procedure from breeding, thinking, and re -processing. The difference between "Modern Olympia" and "The hanging man who was ticked on the Avos on the Vaze River" was that each step in this process was drawn with frank gestures and pigments. Essence "Oil Research: Aville's Scenery" reflects that in his research, Cezanne retained his enthusiasm of his sketch operation.

Cezanne's House of Père Lacroix can be regarded as an impression. Only in this painting can we seem to see such an artist who is improvised during painting. He has been stimulated from nature. He clearly conveys the result of stimulus in a direct and positive way. Therefore, the "impression" of the soul and emotion on the scene is the theme of Cezanne painting. This work is objective and subjective, as if it is not a visual impression, but the artist's mind. Cezanne shifted color and emotional impulses to the canvas. Through the study of this painting, he carefully adjusted the plane of the house in the middle of the picture and the form of the form in the background. However, in the process of completing this work, he seemed to scatter the thick and unpaid pigments on the surface of the work, creating a series of casual painting marks, most of which represent the leaves. These brings a sense of direct canvas that allows him to name it research.

From "The House of Father Lakuwa" to Monet's "Impression, Sunrise" is not a long aesthetic journey. Monet puts a large stroke on the full picture. The viewer can almost imagine painting with him, and lying in the light blue -gray water and orange -colored sky like him; each long gesture is clearly readable. When the initial layer of the first layer is dry or at least adhesive, Monet uses blue, blue, orange, and brown, gray to paint. Essence The pure blue gray on the left represents the smoke sprayed by the steam engine. The blue -gray, green gray and red purple lines on the right constitute the masts, hip shells and cargo cranes. On the entire water of the center of the painting, the dramatic orange that the boat and their rising sun emitted the dramatic orange, which caused almost everything in the painting to be affected by it. In most cases, the range of these colors is very narrow, and Monet can easily paint with wet painting without any unfortunate or unexpected color mixing risks. However, his iconic brown -gray, vague halo, and the most recent boats suggest a completely different third painting stage, which may be related to the orange that reflects the sun and its reflection.

However, the most fascinating thing is that this painting seems to be completed in a consecutive period of time, because Monet is equally wide and extensive in the process of completing the two (or three) independent processes to complete the painting painting. Work quickly. The atmosphere of improvisation is intentionally maintained by Monet, just as Cezanne showed in his oil color research and oil color sketch. If these three works are analyzed together, it will clearly illustrate the effectiveness, changes and fluency of acting painting in the impressionism stage. Philippe Burty (it: it depends on ... the lightness of the tactile, the significance of the group, and the rigid impression of naturalism in a word. " In terms of impression, it is crucial.
If you look at these three works more carefully, we will find that in three different ways, they use three completely different themes to reproduce the creative process. Cezanne's "Modern Olympia, Sketch", the oil painting sketch, humorously described a stage set and a large room in a Paris communication flower home, including some ridiculous comic elements -dogs, paint tables, huge bouquets of flower bouquets, A huge cricket, as well as African servants -it has many fantasy elements, just like the garden scene of Vlastonar. It is more modern than Maomana's "Olympia", because it shows the latest emotional evidence. This perceptual is modern.

These two landscape paintings -Monet's "Impression, Sunrise" and Cezanne's "Father Lakruva's House" -s reflected the actual view of the artist's theme in the pen. From the window of the hotel, Cezanne watched a short road from the room near Oville. They all want to seize the theme by capturing and. By making the attitude of rapid painting, and through the quality of painting. These themes have many precedents in French painting, but none of them are worth noting or important. In fact, in these two paintings, only Cezanne chose to tell us where he painted; the topic of Monet's painting told us time, not the place. Although they are significantly different in color and production, they all convey an urgency of execution or implementation. Monet's theme is obviously modern -steam power, dredging ports, and so on. This theme is also completely flowing: when the sun rises in Le Aver, water and air become color and paint.

Cezanne's painting time may be no longer than the time for Monet's creation, but the time period described by Cezani -the time for walking in Oville Village in 1873 -it must be longer than Monet. In the picture, the atmosphere of midsummer is filled, perhaps, there is still a trace of autumn in the yellow.
There are few people in the painting, and there are no clues about season or daytime time. This will allow us to immerse themselves in the observation of the painter's quality, color and value, and will not be interrupted. Specifically, Monet depicts dawn; Cezanne depicted is the "rural time" referred to by historians and anthologists who study French rural life, that is, the long time in the countryside. These three time -at the moment of modern ports, at the moment of dramatic urban fantasy, and the endless rhythm of rural life in the town -they are reproduced in almost the same way, large strokes, free painting gestures, and one and one of them. The innocent innocence is modern as it is. Attitude, not the object, is the modern component of these three works.
These three works, "Impression, Sunrise", "Modern Olympia" and "Father Lakruva's House" -let us realize that rapid painting is the power engine that promotes the impressionist and its achievements. This also illustrates that the reason why the exhibition in 1874 will become such a shocking incident in the history of modern art and the history of the mass taste. It is precisely because of these "impression paintings".

Article Source:艺术与设计

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