Impressionist Art Research Articles

Explore the Influence of Impressionism on Post-Impressionism: Taking Van Gogh's Works as an Example

Impressionism is a pivotal movement in the history of Western art. It revolutionizes the traditional approach to Western painting. This artistic movement emphasized the spontaneous, direct, and visual representation of natural light and its effect on colors, shapes, and textures. Impressionism is a special kind of non-traditional art without a doubt. Vincent van Gogh is one of the most famous impressionist artists. He has many special characteristics: swirl-like brushstrokes, painting themes that are full of compassion and suffering consciousness, and bold and exaggerated colors. Van Gogh's works often express different emotions through strong contrast and bright colors. His works are very distinctive and full of beauty. He is also one of the most representative impressionist artists. This article will use the survey method and document retrieval method to discover the specialties of impressionism works through Van Gogh's paintings. After the discovery, this article has found three main specialties of impressionism: colors, unrealistic descriptions, and nature elements. In conclusion, this article has discovered why impressionist artworks are so special and so ‘impressive’ through the research.

Dialogue on Artistic Expression: A Study of Oriental Elements in 19th-Century Impressionism

As one of the most significant art movements in the 19th century, Impressionism broke down conventional boundaries, laying the foundation for today’s artistic styles to flourish. This paper aims to explore the integration of Oriental elements of Impressionism and to reveal the influence of cultural exchange on art movements. The introduction section provides a comprehensive overview of Impressionism, focusing on the research goals that revolve around Oriental aspects. The paper utilises an exhaustive approach, including a literature review, artwork analysis, and examination of historical records, ensuring a thorough exploration of Oriental influences. The structure of this paper acts as a guide for readers, highlighting unique contributions such as exploring little-known Eastern elements and interpreting artworks from new perspectives. By deeply studying the historical background of Impressionism, this paper discusses the interests in Eastern art and its influences on the Western art movement in the 19th century, examines the channels of cultural exchange, and analyses the reception of Oriental elements through case studies. At the same time, the influences of oriental traditions and elements such as brushwork, composition, and calligraphy on the natural depiction, colour application, daily life, symbolism, and character representation of Impressionist paintings are also discussed. In conclusion, this paper summarises the key findings and contributions and emphasises the importance of Oriental elements in Impressionist art.

Urban Inspirations: The Influence of 19th Century Parisian Cityscapes on Impressionist Art

The development and planning of Parisian cities in the 19th century provided inspiration for the Impressionists, who responded to the changes of the times with their unique painting techniques and concepts. From their own special point of view, the painters chose the boundaries of their vision in their paintings. The change in the combination of figures and landscapes meant a new shift in the way painters looked at modern life in the city. More and more man-made landscapes were included in the Impressionists' landscapes, and the integration of the countryside and the city made the suburbs the subject of the painters' depictions, which not only reconstructed the visual culture of the city, but also presented a picture of modern life in Paris. The experience of life in the context of urban landscapes provided Impressionist painters with a constant source of creative materials, and they thought about the development of urbanised landscapes and industrialised civilisations, and formed their artistic thoughts and tried to integrate them into their own paintings, presenting a portrait of modern life in Paris. This study aims to explore how the urban landscape of 19th-century Paris influenced the creation of the Impressionists, especially how they expressed the experience of urban life and social changes at that time through their art. By reviewing the history of urban development in nineteenth-century Paris, combined with in-depth analyses of representative works of the Impressionists, this study reveals the influence of the urban landscape on the artists' perspectives and the content of their creations. At the same time, the artistic reflection of the impact of the urbanisation process and industrialisation in Impressionist paintings is examined. The study finds that Impressionist painters not only made technical and stylistic innovations, but also transformed the way they represented modern urban life. They gradually added urban elements to their works, such as streets, buildings and urban people, while also reflecting the fusion of the countryside and the city. In addition, the painters reflected their thoughts on the process of urbanisation and industrialisation through their works. Through their works, the Impressionist artists reflected the changes in the urban landscape of nineteenth-century Paris, which not only influenced their themes and styles, but also profoundly revealed the social and cultural transformations of the time. These findings are important for understanding the importance of Impressionism in art history and its close connection to the era in which it was created.

Theme of Flowers as a Sign of Impressionism on the Example of the Work of Ivan Trush (1869-1941)

The end of the 19th and the beginning of the 20th century in art are associated with light and color in Europe, which were characteristic of the artistic philosophy of Impressionism. Prominent representatives of this movement created artworks based on a new approach to color choices and subject matter, including the depiction of real landscapes and floral compositions. The relevance of this research is driven by the need to study the artistic representation of floral compositions by the Ukrainian artist I. Trush through the prism of Impressionist stylistic elements. The research aims to identify the features of Impressionist philosophy in the works of I. Trush through a comparison of the artist's body of work with that of Impressionist contemporaries in the field of visual arts. In this research, scientific methods such as description, systematization, analysis, comparison, cultural-historical analysis, and generalization were employed. As a result of this scientific investigation, the fundamental characteristic traits of Impressionism as an art style in visual arts were studied, as well as the particular features that distinguish this artistic movement from previous artistic philosophies. The research also analyzed the conceptual framework of the term "Impressionism" and its origins. Furthermore, it examined the characteristic traits and features of the works of the Ukrainian painter I. Trush and Impressionist artists, allowing for the integration of the distinctive traits and features of Impressionism in the artist's work through comparison. Through the comparative analysis conducted in this scientific work between Impressionists and the artistic output of I. Trush, the involvement of the Ukrainian artist in the broader Impressionist movement was highlighted. This research can be utilized by scholars and art historians for further exploration of Impressionism as an artistic movement and its influence on the development of Ukrainian art.

Cognitive and affective reflection increases appreciation for less preferred subcategories of experiential goods.

Attitudes, particularly negative attitudes toward experiential goods, are difficult to change. As a result, people tend to choose and consume experiential goods from their preferred subcategory (e.g., prefer impressionist art so primarily choose to view impressionist paintings) while disregarding options from less preferred subcategories (e.g., ignore cubist or surrealist paintings). This research investigates the consequences of reflection while consuming experiential goods from less preferred subcategories. Namely, an initial, negative reflexive response can be overridden by a reflective appraisal which increases appreciation for experiential goods from less preferred subcategories. Six studies show how a reflective appraisal differs from a reflexive response (i.e., a reflective appraisal has more cognitive and affective thoughts than evaluative thoughts, respectively), that reflective appraisals can supplant reflexive responses to experiential goods in less preferred subcategories, and that reflective appreciation training encourages reflective appraisal. A reflective appraisal improves the intent to consume, enhances appreciation of the consumption, and increases the consumption of novel experiential goods in less preferred subcategories.

Генезис «русского импрессионизма» и его первые интерпретации

The aim of this research is to identify the specific features of the artistic language of Russian Impressionism. The article presents the content of this stylistic direction, distinguishing it from the general concept of "impressionism." The characteristics of Russian Impressionist art are revealed in its "dialogue" with both Western and Eastern painting, within the chronological framework of the late 19th to the first half of the 20th century. It is determined that the combination of Impressionist language with other styles, including realism, remains significant in both the latter half of the 20th century and contemporary Russian culture.

The Effect of Vincent Van Gogh's Psychopathology on His Works

Vincent van Gogh, whose life was summed up in the phrase "Sorrow will last forever", opened the door to a new era and led his successors to question art in a process that evolved from the abstract to the concrete, from style to substance, from nationality to universality. The artist, who personally considered himself a failure, did not stop working, despite his increasing pathological disorders, and became a great beacon of hope for the painters who would be his successors. Many competing claims have been made about Vincent van Gogh's physical and mental health, but no consensus has yet been reached. After his death, in addition to the old diagnoses, discussions inspired by his writings and letters continued about depression, bipolar disorder, borderline personality disorder, paranoid schizophrenia, schizoaffective disorder, sunstroke, self-harm, anxiety disorder, etc. Vincent van Gogh's rejection of Impressionist art, his refusal to submit to the artistic authority of the time, his disregard for academic rules and his declaration of his own manifesto on art in France, the cradle of art, are either an expression of the artist's spirit or a reflection of his pathological condition. In the context of many conflicting claims about Vincent van Gogh's physical and mental health, this study proposes an alternative interpretation of his work. It concludes that an interdisciplinary study of Vincent van Gogh's work is important for understanding him and making sense of his work.

The impact of the impressionist art movement on Printmaking

The impact of the impressionist art movement on Printmaking

Did polluted skies influence Impressionist art?

Did polluted skies influence Impressionist art?

Львовские издания кириллической книги XVII века в собрании Новгородского музея-заповедника

The article examines Lviv Cyrillic books of the 17th century, which are stored in the library of the Novgorod State Museum-Reserve. In total, nine copies of six editions are presented there. They were printed in two printing houses. From the publications of the Lviv Dormition Brotherhood printing house, there are two copies of the Festal Menaions (1638), the Book of Hours (1642), the Octoechos of 1644 and 1686. The printing house of Mikhail Slyozka is represented by two copies of the Act and Epistles (1639) and two copies of the Pentecostarion, (1642). Some of the books come from the collection of the Iversky Monastery. They were brought there by the brethren from the Kuteinsky Epiphany Monastery along with printing equipment by order of Patriarch Nikon. The second part of the books was purchased from collector Denis Perestoronin in 2015. The article shows the history of book printing and studies the notes on the copies. Most of them are donation records. These include the record on the donation of the Festal Menaions (1638) by the Lviv Dormition Brotherhood to the Kuteinsky Monastery; the record from 1655 about the donation of the Octoechos (1644) on behalf of Constantine and his wife Evdokia to the Church of the Intercession of the Holy Virgin for the health and repose of family members; the record from 1668 about the donation of the Pentecostarion (1642) by the brethren of the village of Antonovka to the Church of the Nativity. Ownership records are of great scientific interest. Among them is the record from 1659 about the ownership of the Book of Hours (1642) by the Czech prince Lev Alexandrovich Shlyakhov, a foreigner who came to serve in Russia using fabricated documents and called himself like that. Hewas a servant of the Polish Count Kasper von Denhof. Also of great importance is the record made in 1914 by the hand of the impressionist artist Mikhail Nikolaevich Yakovlev.

Буддийская религиозно-художественная целостность: диалектика традиции

Using the example of Buddhist religious and artistic integrity, the article reveals the implicit dialectic of the tradition that asserts the meanings of the teachings of Buddhism and methods of conveying them in art. The tradition contributes to the consolidation of the corpus of Buddhist culture, preserving and clarifying the meanings of the teaching in the visual arts and the art of words. The significance of meanings and the high level of artistic skill are converted in the cultural forms of the countries of the Christian region, for example, in the works of French Impressionist artists and in Russian poetry. The dialectic of the tradition of Buddhist art is hidden in the skill of image detailing, laconism, decorativeness, symbolism and codification of elements — all this allowed us to reveal the complexity of the Buddhist worldview.

Istantanee della vita moderna: l’impressionismo tra realtà, fotografia e colore


 
 
 The essay aims to investigate the ways in which Impressionist art participates in socio- cultural modernity. Emancipation from the academic tradition, the choice of subjects from everyday reality, the influence of photography and the study of color are some of the elements through which the Impressionists investigated the reality of their time.
 
 

벨 에포크 시대의 문화와 드뷔시의 인상주의 음악

The period from about 1871 to the outbreak of the First World War in France in 1914 was a golden age called ‘Belle Époque’, which means beautiful era in French. Economically, through the Industrial Revolution, culture and art flourished centered on Paris, and democracy was developed through the establishment of democratic procedures through the civil revolution. The musical characteristics that emerged in the Belle Epoque era stemmed from cultural backgrounds. These extra-cultural influences and the spread of cultural capabilities led to the birth of new cultural trends such as impressionism, and the activities of impressionist musicians and artists contributed to making the Belle Epoque era more splendid. This study sheds light on the new trends and characteristics of the music field where the Belle Epoque can be most conscious of. And this study examines the music of Debussy, who represented Belle Epoque with impressionism, and analyzes the influence of contemporary cultural background on his music. This study is meaningful in suggesting a new hope for a beautiful period and cultural development by examining the splendid period brought about by the times and social changes in the development of international culture and emphasizing the influence that the era of peace and stability had on cultural formation. Debussy, who is indispensable in the French musical art of the Belle Epoque era, is regarded as a representative composer of impressionism, which influenced Satie and Lex Six by expressing a dreamlike feeling with impressionist characteristics, and using scales and instruments that express exotic emotions. Debussy created beautiful and musically expressive melodies without breaking with the musical conventions of his past. Furthermore, in order to express the beauty of all things in the Belle Epoque period, the feeling of light and water was expressed through sound, occupying a unique position in the generation in which the paradigm of modern music and art was changing.

Crafting Interiority, or the Evolutionary Objectivity of Vibrating Worlds: An Introduction to Adolf Behne’s “Biology and Cubism” (1915)

Sublimating the transgressive atrocities of modern warfare in an enigmatic text written within a year of the outbreak of WWI, art historian and architectural theorist Adolf Behne (1885-1948) takes recourse with humanity by tracing the uncanny thresholds between the human and non-human as proliferated by contemporary theories of biology. Disguised as a manifesto-like book review of biologist Jakob Johann von Uexküll’s Building Blocks of a Biological Worldview (1913), Behne’s “Biologie und Kubismus” (1915) engages Uexküll’s pluriversal worldview to complicate straightforward dualisms between artifice and nature, subtly imbricating the geopolitical and biopolitical spheres with the expressions of modern art. Dismantling impressionist art as lacking external-natural parallelism, Behne’s text champions expressionist art, whose forms and shapes evolve organically from a biologically-encoded creative interiority, as “true” art. A critical introduction to the author, text, and context prefaces the first English translation of “Biology and Cubism” more than a century after publication in the editorial outlet of artist-gallerist Herwarth Walden’s influential syndicate Der Sturm.

ОБРАЗ ГЕРОЯ-ХУДОЖНИКА НА МАТЕРІАЛІ ТВОРІВ ВОЛОДИМИРА ВИННИЧЕНКА

In modern science of literature there is a growing interest in the subject of the artist and his creative process as one of the ways of self-expression of extraordinary personality in the real world in general and in the art world in particular, and to study the nature of the artist. Fine art occupied a significant place in the aesthetics and poetics of Vladimir Vynnychenko. The themes and issues of some of his literary works were influenced by the creative environment of Paris, where the writer spent many years, as well as personal acquaintance with individual Impressionist artists. Vynnychenko’s characters are the protagonists, they always conflict with the world, although they do not always win in these confrontations. They are often lonely, lacking support and understanding, but strong. Innovative artists are not afraid to loudly declare a decisive break with tradition, call for the improvement of technology and depiction of exclusively human material, choose emotional and highly psychological subjects of paintings, observe and depict feelings. This approach in painting was quite obvious for Vynnychenko, an artist, and the literary work of the great Ukrainian is considered in the context of the world’s leading psychoanalytic currents of the twentieth century. So it is not surprising that psychologism in the work of the writer was decisive. In Vynnychenko’s analyzed works of art we meet various images of artists, observe their work, hear their thoughts on painting, imagine the era in which they lived and worked. We understand that for both them and Vynnychenko, the focus is on the direct fixation of impressions and observations, on deep psychologism and philosophical understanding of reality. The themes of Vynnychenko’s paintings are diverse. However, unifying for all is the focus on the so-called “humanity” of the paintings. Artists focus on facial expressions, conveying expectations, hopes, inner anxiety. Psychological interpretation of images and expressiveness in the transfer of human character are welcome. The degradation of classical art with its primitive and stereotypical paintings focused on the rich bourgeoisie becomes obvious to all. Aesthetic ideals are also changing. Ugliness often breaks through external beauty, or the ugly manifests internal beauty. The concepts of “aesthetics of the ugly” and “beauty of pain” become identical with “new art”.

Development of Colour Perception and Colour Combination Skills of Preschool Children through Studying Artworks of Impressionist Artists

This article studies the development of painting skills in preschool children by studying the works of Impressionist artists. Artistic perception is an important part of visual arts education that creates prerequisites for the formation of aesthetic personal qualities and creativity. The study offers methodological ideas for developing a sense of colour and colour combination by studying the artworks of the Impressionists.

ART AS A STUDY OF AESTHETICALLY INFORMATION IMAGE

It is proved that aesthetic information is not identical with semantic or scientific information. Semantic information should be understood as new knowledge (message, experience in the process of aesthetic perception) about the object. It can be expressed by objective methods in a certain system of knowledge. In contrast, aesthetic information is new about the artist who conveys certain semantic information. Aesthetic information expresses the artist's relationship to the object he is reproducing. It is considered that cognition is not only a description of an object and a process of transmission and processing of information. Cognition is also the application of methods of thinking and logical operations to identify, reflect an object and create an "image of reality" in the human mind. The study of their detection in science is the subject of the logic of scientific knowledge. However, human use of methods of thinking and logical operations in science and art are different. The logic of the aesthetic relation is still a great mystery, although in all the processes that take place in art, one can see a kind of discovery of the methods of logical thinking and mediation. Thus, art as a study takes place within its individual types and genres, as happened, for example, with abstractionism in painting and music, which for almost a century experimented with the influence of various mixtures and relationships of color and sound on human perception; moreover, the Impressionist artists themselves often stated that the purpose of their work was to influence people through art and that the world around them was nothing but a combination of sounds, colors, light lines and shadows. Art as research can be manifested clearly in any single process that takes place in art, but in a process that determines the work of an artist. Leonardo la Vinci had a holistic nature, but he often became a scientist only when he conducted his art studies with research accuracy and scrupulousness. In the latter case, art is especially clearly transformed into its opposite - into science. The artist becomes a research scientist. He seeks to reproduce and study the process in art in more detail, and on the way to this goal he slowly deviates from the methods of artistic research, replacing them with the means and methods of scientific research. The article investigates an attempt to apply information theory to the study of art as cognition. The division of information into semantic and aesthetic is applied. The research function of art as its special side is revealed, and aesthetic cognition in this case is a part of aesthetic relation, where art as cognition is only a separate side of art as a kind of human activity.

«Poppy Field» by Ermolai Lopakhin and «Poppy Fields» by European Impressionists (based on the Play of A. P. Chekhov «The Cherry Orchard»)

In the play AP Chekhov's “The Cherry Orchard” is implemented receiving of ekphrasis: the text is full of associative links, symbols, culture name formed the aesthetic code of Russian and European impressionism. Chekhov recreates the cultural context in which the Russian intelligentsia lived at the turn of XIX-XX centuries. Many fragments of the “Cherry orchard” find their Parallels in the paintings of European impressionist artists. In particular, the story Lopakhin about the field of poppies is clearly reminiscent of a series of paintings by Claude Monet “Poppy Field in Giverny”. Chekhov's ekphrasis is clearly also drawn to the paintings of Van Gogh (still life with poppies and landscapes with poppy fields). Many microcircuits and details of the “Cherry Orchard” can be compared with the works of Levitan, Van Gogh, Seurat and others. Chekhov's author's position is as follows: his heroes are under the charm of European culture, their mentality has changed, they lose their national identity, become “Westerners”, want to leave Russia. They are “Russian Europeans”, they are inherent in “lackey thought” (Dostoyevsky's expression). The genre of Comedy and farce becomes a form of expression of author's condemnation of the Russian intelligentsia.

Cy Twombly’s seasons, in the shadow of Renoir

The iconographical analysis of Four seasons (1993), by the contemporary artist Edwin Parker “Cy” Twombly (Cy Twombly, 1928 – 2011) must be understood considering the importance of one of the most famous impressionist painters: Pierre-Auguste Renoir (1841 - 1919). La vague (1879) and Paysage bords de Seine (1879) are two oil on canvas where Renoir prints the feeling of captivating the ephemeral through the colour and the movement of light. Four seasons has its roots in American lyrical abstraction. The need of making a portrait of lightness, through a creation where image and text are together, represents the evolution of Renoir’s work in contemporary art. As an impressionist artist, Renoir describes beauty as the reflection of the harmony of the world, as such as a bridge between aesthetic and emotional education. With this proposal, Cy Twombly sublimates the idea of beauty in contemporary art.

IMPRESSIONISTIC INTERTEXT IN O. WILDE’S NOVEL «THE PICTURE OF DORIAN GRAY»

The article explores artistic intertext in Oscar Wilde’s novel «The Picture of Dorian Gray», which is determined by the development of impressionism in European art and literature in the late 19th and early 20th century. «The Picture of Dorian Gray» is a transitional novel which combines traditional and contemporary poetic features, determined by active development of modernism in European art. Having first appeared in late 19th-century French painting, impressionism soon established itself firmly in literature, which is exemplified by O. Wilde’s novel «The Picture of Dorian Gray». Artistic intertext of the novel is defined by the author’s interest for J. Ruskin’s and W. Pater’s ideas, the art of Pre-Raphaelites, impressionist painters’ legacy, and the Japanese art of ukiyo-e which influenced European impressionism. Important role in the novel is played the mention of the iconic exhibition for the Impressionists – Grosvenor (London) and the exhibition of George Petty on Sez Street (Paris), in which, according to the characters, it would be appropriate to exhibit a portrait created by Bаsil Hallward. Being greatly interested in impressionist art, O. Wilde used impressionist poetics in his novel, which manifests itself in portraits, descriptions of nature and urban scenery, allusions and reminiscences to various works of art. This manifests a transition to modernism in the realm of the English novel. Impressionistic intertext in «The Picture of Dorian Gray» has expanded the limits of the structure of the novel, placing an emphasis on subjective impressions and feelings over depiction of external events. Such feelings and impressions, according to O. Wilde, should be captured by the new art.