Pierre-Auguste Renoir  werd geboren in Limoges op 25 februari 1841 en stierf in  Cagnes-sur-Mer op 3 december 1919. Hij was een Frans impressionistisch kunstschilder. Al op zijn dertiende werkte Renoir als leerling-schilder. Hij schilderde bloemen op keramiek. Toen dit proces werd geautomatiseerd moest hij overstappen op andere objecten. In 1862 sloot hij zich aan bij de Atelier Gleyre van Charles Gleyre en maakte kennis met Claude Monet, Alfred Sisley en Frederic Bazille, later ontmoette hij ook Camille Pissarro en Paul Cézanne. Hij heeft samen met Monet de principes van het impressionisme uitgewerkt. In de jaren '80 liet hij de impressionistische stijl achter zich en begon hij een zoektocht naar een vastere vorm en compositie. Hij werkte heel precies en nauwgezet, met een koeler en gladder kleurgebruik. Later keerde hij terug naar de warme kleuren en de vrijere penseelvoering. Hij maakte veel naakten in warm zonlicht (Les Baigneuses). In 1888 kreeg Pierre-Auguste Renoir een eerste aanval van reumatoide artritis, een vorm van reuma. Een jaar daarna raakte zijn rechterarm verlamd. Ondanks de pijn werkte hij door, met een penseel aan zijn pols gebonden.

Renoir

Impressionism has always been one of the public's favourite styles of art and Impressionist works continue to enchant beholders with their amazing play of colours and forms. This book offers a well-chosen selection of the most impressive works of artists such as Degas, Monet, Pissarro, Renoir and Sisley. Mega Square Impressionism pays tribute to the subject's popularity.

Impressionism 120 illustrations

Alfred Sisley (18391899) angol nemzetiség?, de Franciaországban él? és alkotó fest?m?vész, sokak szerint a legtisztább impresszionista. Összesen mintegy 900 olajfestményt alkotott. Tájképein, ahol embereket alig ábrázol, els?sorban a fények játéka dominál. Felt?n? a hó iránti lelkesedése. Egy barátjának küldtt levelében írta: Minden festmény olyan helyet ábrázol, amelybe a fest? beleszeretett.

Sisley

Die Naive Kunst, die von ungelernten Malern geschaffen wurde und sich durch ihre Spontaneität und Einfachheit definiert, war bis zu ihrer Entdeckung durch professionelle Künstler und Kritiker Ende des 19. Jahrhunderts wenig bekannt. Durch primitivere Kunstformen beeinflusst zeichnet sich Naive Malerei durch klare Linien, einfache Formen, Lebendigkeit und frhliche Farben aus.

Franzsiche Künstler wie Henri Rousseau, Séraphine de Senlis, André Bauchant und Camille Bombois gehren zu den Hauptrepräsentanten. Nichtdestotrotz gibt es auch in anderen Ländern bekannte Künstler wie Guido Vedovato, Niko Pirosmani und Ivan Generalic. Dieses Buch präsentiert die große Bandbreite der Naiven Kunst in praktischem Format und ist so das perfekte Geschenk für alle Kunstbegeisterten.

Naive Kunst

Born at the dawn of the 20th century, Fauvism burst onto the artistic scene at the 1905 Salon d'Automne with great controversy by throwing bright, vibrant colours in the face of artistic convention. Fuelled by change, artists like Matisse, Derain, and Vlaminck searched for a new chromatic language by using colour out of its habitual context. Freed from the strict technique advocated by the École des Beaux-Arts, they used blocky colours as their main resource, saturating their stunning paintings. The author invites us to experience this vivid artistic evolution that, although encompassing a short amount of time, left its mark on the path to modernity.

The Fauves

Since his death 100 years ago, Cézanne has become the most famous painter of the nineteenth century. He was born in Aix-en-Provence in 1839 and the happiest period of his life was his early youth in Provence, in company with Emile Zolá, another Italian. Following Zolá's example, Cézanne went to Paris in his twenty-first year. 

 During the Franco-Prussian war he deserted the military, dividing his time between open-air painting and the studio. He said to Vollard, an art dealer, "I'm only a painter. Parisian wit gives me a pain. Painting nudes on the banks of the Arc [a river near Aix] is all I could ask for." Encouraged by Renoir, one of the first to appreciate him, he exhibited with the impressionists in 1874 and in 1877. He was received with derision, which deeply hurt him.

 Cézanne's ambition, in his own words, was "to make out of Impressionism something as solid and durable as the paintings of the museums." His aim was to achieve the monumental in a modern language of glowing, vibrating tones. Cézanne wanted to retain the natural colour of an object and to harmonise it with the various influences of light and shade trying to destroy it; to work out a scale of tones expressing the mass and character of the form.

 Cézanne loved to paint fruit because it afforded him obedient models and he was a slow worker. He did not intend to simply copy an apple. He kept the dominant colour and the character of the fruit, but heightened the emotional appeal of the form by a scheme of rich and concordant tones. In his paintings of still-life he is a master. His fruit and vegetable compositions are truly dramatic; they have the weight, the nobility, the style of immortal forms. No other painter ever brought to a red apple a conviction so heated, sympathy so genuinely spiritual, or an observation so protracted. No other painter of equal ability ever reserved for still-life his strongest impulses. Cézanne restored to painting the pre-eminence of knowledge, the most essential quality to all creative effort.

 The death of his father in 1886 made him a rich man, but he made no change in his abstemious mode of living. Soon afterwards, Cézanne retired permanently to his estate in Provence. He was probably the loneliest of painters of his day. At times a curious melancholy attacked him, a black hopelessness. He grew more savage and exacting, destroying canvases, throwing them out of his studio into the trees, abandoning them in the fields, and giving them to his son to cut into puzzles, or to the people of Aix.

 At the beginning of the century, when Vollard arrived in Provence with intentions of buying on speculation all the Cézannes he could get hold of, the peasantry, hearing that a fool from Paris was actually handing out money for old linen, produced from barns a considerable number of still-lifes and landscapes. The old master of Aix was overcome with joy, but recognition came too late. In 1906 he died from a fever contracted while painting in a downpour of rain.

Cézanne

For Claude Monet the designation `impressionist' always remained a source of pride. In spite of all the things critics have written about his work, Monet continued to be a true impressionist to the end of his very long life. He was so by deep conviction, and for his Impressionism he may have sacrificed many other opportunities that his enormous talent held out to him. Monet did not paint classical compositions with figures, and he did not become a portraitist, although his professional training included those skills. He chose a single genre for himself, landscape painting, and in that he achieved a degree of perfection none of his contemporaries managed to attain. Yet the little boy began by drawing caricatures. Boudin advised Monet to stop doing caricatures and to take up landscapes instead. The sea, the sky, animals, people, and trees are beautiful in the exact state in which nature created them - surrounded by air and light. Indeed, it was Boudin who passed on to Monet his conviction of the importance of working in the open air, which Monet would in turn transmit to his impressionist friends. Monet did not want to enrol at the Ecole des Beaux-Arts. He chose to attend a private school, L'Académie Suisse, established by an ex-model on the Quai d'Orfèvres near the Pont Saint-Michel. One could draw and paint from a live model there for a modest fee. This was where Monet met the future impressionist Camille Pissarro. Later in Gleyre's studio, Monet met Auguste Renoir Alfred Sisley, and Frédéric Bazille. Monet considered it very important that Boudin be introduced to his new friends. He also told his friends of another painter he had found in Normandy. This was the remarkable Dutchman Jongkind. His landscapes were saturated with colour, and their sincerity, at times even their naïveté, was combined with subtle observation of the Normandy shore's variable nature. At this time Monet's landscapes were not yet characterized by great richness of colour. Rather, they recalled the tonalities of paintings by the Barbizon artists, and Boudin's seascapes. He composed a range of colour based on yellow-brown or blue-grey. At the Third Impressionist Exhibition in 1877 Monet presented a series of paintings for the first time: seven views of the Saint-Lazare train station. He selected them from among twelve he had painted at the station. This motif in Monet's work is in line not only with Manet's Chemin de fer (The Railway) and with his own landscapes featuring trains and stations at Argenteuil, but also with a trend that surfaced after the railways first began to appear. In 1883, Monet had bought a house in the village of Giverny, near the little town of Vernon. At Giverny, series painting became one of his chief working procedures. Meadows became his permanent workplace. When a journalist, who had come from Vétheuil to interview Monet, asked him where his studio was, the painter answered, "My studio! I've never had a studio, and I can't see why one would lock oneself up in a room. To draw, yes - to paint, no". Then, broadly gesturing towards the Seine, the hills, and the silhouette of the little town, he declared, "There's my real studio."Monet began to go to London in the last decade of the nineteenth century. He began all his London paintings working directly from nature, but completed many of them afterwards, at Giverny. The series formed an indivisible whole, and the painter had to work on all his canvases at one time. A friend of Monet's, the writer Octave Mirbeau, wrote that he had accomplished a miracle. With the help of colours he had succeeded in recreating on the canvas something almost impossible to capture: he was reproducing sunlight, enriching it with an infinite number of reflections. Alone among the impressionists, Claude Monet took an almost scientific study of the possibilities of colour to its limits; it is unlikely that one could have gone any further in that direction.

Claude Monet

Die naive Kunst erlangte erstmals gegen Ende des 19. Jahrhunderts Popularität. Bis zu jener Zeit hatte sich diese von Autodidakten ohne formale Ausbildung praktizierte und durch Spontaneität und Einfachheit charakterisierte Ausdrucksform nur geringer Wertschätzung bei "professionellen" Künstlern und Kunstkritikern erfreut. Die von der primitiven Kunst beeinflusste naive Malerei ist durch die Präzision ihrer Linienführung, ihre Lebendigkeit und fröhlichen Farben sowie durch klare und einfache Formen charakterisiert.

Die naive Kunst wird in Frankreich durch Künstler wie Henri Rousseau, Séraphine de Senlis, André Bauchant und Camille Bombois vertreten. Sie hat aber auch in anderen Ländern namhafte Vertreter, etwa Joan Miró, Guido Vedovato, Niko Pirosmani und Ivan Generalic gefunden.

Renoir

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