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Парижа. Он мог запечатлеть и знойное марево летнего дня, и влажный снег французской
зимы. Все схвачено как бы случайно, но увидено зорким взглядом художника.
Моне прошел все этапы: он знал нищету, непризнание, насмешки, затем приобрел
известность, переросшую в триумф. Моне пережил свою славу. Он был свидетелем того, как
устаревали его идеи, которым он был верен до конца жизни.
VI. Summarize the text
VII. Topics for discussion.
1. Impressionism.
2. Monet's principles and methods of painting.
3. Monet's artistic heritage.
UNIT XII PISSARRO AND RENOIR
An extremely gifted member of the Impressionist group was Camille Pissarro (1830-1903). He
was the most careful and craftsmanly of them all. His companionship and advice provided a
technical foundation for Cezanne, who called him "humble and colossal". Pissarro is both in the
scrupulously painted Boulevard des Italien, Paris - Morning Sunlight, of 1897. With infinite care he
recorded the innumerable spots of colour constituted by people, carriages, omnibuses, trees,
windows, and kiosks in this view of one of the great metropolitan thoroughfares, whose activities
provided the subject for many Impressionist paintings. Impressionist artists often worked side by
side painting the same view of a street, a cafe, or a riverbank at the same moment of light and
atmosphere, and it is often only the special sensibility and personal touch of each painter that makes
it possible to tell their works apart.
The sparkling Les Grands Boulevards, of 1875, by Pierre Auguste Renoir (1841-1919) shows
how much latitude remained for individuality in treating a similar subject at the height of the
collective phase of the Impressionist movement. Renoir, the most exciting and active of the group,
has not bothered with details. He has captured a moment of high excitement as we look across a
roadway from the shadow of the trees to the trotting white horse pulling a carriage filled with
people in blazing sun. Warmth, physical delight, and intense joy of life are the perpetual themes of
Renoir. Trained at first as a painter on porcelain, he later studied with the academic painter Charles
Gleyre and soon made the acquaintance of the Impressionist group, with whom he exhibited until
1886.
The best painting of the Impressionist highest point is Renoir's Le Moulin de la Galette, of
1876, depicting a Sunday afternoon in a popular outdoor dancing cafe on Montmartre. Young
couples are gathered at tables under the trees, or dancing happily through the changing interplay of
sunlight and shadow Characteristically, there is no trace of black, even the coats and the shadows
turn to blue. One could scarcely imagine a more complete embodiment of the fundamental theme of
Impressionist painting, the enjoyment of the moment of light and air. Although he later turned
toward a Post-Impressionist style, Renoir never surpassed the beauty of this picture, which sums up
visually the goal he once expressed in words: "The earth as the paradise of the gods, that is what I
want to paint".
Make sure you know how to pronounce the following words:
Camille Pissarro [
]; paradise [
]; Auguste Renoir
[
]; perpetual [
]; Post-Impressionist [
];
thoroughfare [
]; companionship [
]; acquaintance [
];
Montmartre [
]; boulevard [
NOTES
Boulevard des Italien, Paris - Morning Sunlight -"Итальянский бульвар. Париж"
Les Grands Boulevards - "Большие Бульвары"
Le Moulin de la Galette [
] - "Мулен де ла Галетт"
Charles Gleyre ['gleia] - Чарльз Глейр, швейцарский художник, в студии которого
собирались импрессионисты
TASKS