Az e-knyv a Kossuth Kiadó által nyomtatásban megjelentetett nagysiker? Világhíres fest?k cím? sorozat azonos cím? ktetének szveganyagát tartalmazza, az illusztrációk nélkül. A fld az istenek paradicsoma: ezt akarom megfesteni.  Pierre Auguste Renoir a francia impresszionista fest? ars poeticája sokmindent elárul err?l a fantasztikus tehetség? m?vészr?l, aki soha nem lett h?tlen nmagához, veleszületett életrme, der?je, kiegyensúlyozottsága sohasem hagyta el. Talán ezért kedvelik m?veit a világ minden táján. Renoir festészete szüntelen ünnep, elébünk varázsolja korának kis paradicsomait, amelyekben ma is rmünket leljük. Életrajzi knyvünk a teljes alkotói életm? legfontosabb eseményeit villantja fel.

Renoir

Em cada período histórico revela-se uma nova definição da beleza feminina. As imagens da beleza feminina não só expressam o desejo íntimo dos pintores, mas revelam também os padrões de beleza contemporâneos. Um dos pintores que amou as mulheres, Renoir, reviu o corpo feminino do século XIX, conferindo-lhe um novo charme, principalmente através da utilização da côr. Nesta viagem pelas obras do artista, as mulheres de Renoir são apresentadas como criaturas de carne e osso, que sugerem ser capazes de dar e receber amor.

Toulouse-Lautrec begann noch während seines Studiums das Pariser Nachtleben zu erkunden; es sollte ihm zur wichtigsten Quelle der Inspiration werden und schließlich auch zur Beeinträchtigung seiner Gesundheit führen. Das Paris der 1890er Jahre mit seinen schillernden Charakteren kann man nur durch die Augen Lautrecs wahrnehmen. Die erste bedeutende Persönlichkeit des Pariser Nachtlebens, der Lautrec begegnete, war der berühmte Cabaretsänger Aristide Bruant (1851 bis 1925), ein Mann, der Lautrec ganz wesentlich darin unterstützte, seine eigene künstlerische Vision zu entwickeln. In den 1890er Jahren inspirierten Lautrec zahlreiche Bühnenkünstler: die auf dem berühmten Plakat des Moulin Rouge zu sehenden Tänzerinnen La Goulue und Jane Avril oder Loïe Fuller, die Sängerinnen May Belfort, Yvette Guilbert und Marcelle Lender sowie die Schauspielerin Réjane. Lautrecs Aufrichtigkeit, mit der er viele Aspekte des Lebens abbildete, die die meisten seiner höher geachteten Zeitgenossen lieber unter den Teppich kehrten, erregte erwartungsgemäß Anstoß. Der deutsche Kunstkritiker Gensel schrieb: "Von Verehrung kann natürlich bei diesem Meister in der Darstellung alles Gemeinen und Perversen von vornherein nicht die Rede sein. Dass man Schweinereien - es gibt keinen milderen Ausdruck dafür - wie Elles öffentlich ausstellen darf, ohne einen Schrei der Entrüstung zu hören, erklärt sich nur daraus, dass ein Teil des großen Publikums den Sinn dieses Zyklus gar nicht versteht und ein anderer sich schämt, sein Verständnis einzugestehen!"

Toulouse-Lautrec

"Vater Pissaro", wie seine Freunde ihn gern nannten, war wohl der nüchternste der Impressionisten. Vielleicht lag es an seinem Alter (welches weitaus fortgeschrittener war, als das seiner Kollegen Monet, Sisley, Bazille und Renoir) oder vielmehr an seiner Lebenserfahrung, die seine Werke sowohl in ihren Themen als auch in ihrer Komposition durchaus ruhig und schlicht erscheinen lassen. 

Ein Mann mit einfachem Geschmack, der es genoss, die Landbevölkerung in den Straßen zu malen, auch wenn er später mit seinen Stadtansichten Berühmtheit erlangen sollte, die er mit derselben Leidenschaft fertigte, die in ihm aufkam, wenn er wieder einen stürmischen Himmel oder den vom Frost gezeichneten Morgen auf die Leinwand bannte.

Pissarro

« Le père Pissarro », comme aimaient à l'appeler ses amis, était le plus sage des artistes impressionnistes. Peut être son âge, plus avancé que celui de ses camarades Monet, Sisley, Bazille et Renoir, ou plutot sa maturité, lui firent créer des ouvres sereines et sobres tant dans leur sujet que dans leur composition. 

Homme au goûts simples, il se plut à peindre des paysans sur les chemins, bien qu'il dut sa tardive notoriété à ses paysages urbains, traités avec la même passion que celle que faisaient jaillir en lui les ciels orageux et les matins blanchis par le givre.

Camille Pissarro

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 frhlichen 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.

Naive Kunst

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.

Monet

Degas was closest to Renoir in the impressionist's circle, for both favoured the animated Parisian life of their day as a motif in their paintings. Degas did not attend Gleyre's studio; most likely he first met the future impressionists at the Café Guerbois. He started his apprenticeship in 1853 at the studio of Louis-Ernest Barrias and, beginning in 1854, studied under Louis Lamothe, who revered Ingres above all others, and transmitted his adoration for this master to Edgar Degas. Starting in 1854 Degas travelled frequently to Italy: first to Naples, where he made the acquaintance of his numerous cousins, and then to Rome and Florence, where he copied tirelessly from the Old Masters. His drawings and sketches already revealed very clear preferences: Raphael, Leonardo da Vinci, Michelangelo, and Mantegna, but also Benozzo Gozzoli, Ghirlandaio, Titian, Fra Angelico, Uccello, and Botticelli. During the 1860s and 1870s he became a painter of racecourses, horses and jockeys. His fabulous painter's memory retained the particularities of movement of horses wherever he saw them. After his first rather complex compositions depicting racecourses, Degas learned the art of translating the nobility and elegance of horses, their nervous movements, and the formal beauty of their musculature. Around the middle of the 1860s Degas made yet another discovery. In 1866 he painted his first composition with ballet as a subject, Mademoiselle Fiocre dans le ballet de la Source (Mademoiselle Fiocre in the Ballet 'The Spring') (New York, Brooklyn Museum). Degas had always been a devotee of the theatre, but from now on it would become more and more the focus of his art. Degas' first painting devoted solely to the ballet was Le Foyer de la danse à l'Opéra de la rue Le Peletier (The Dancing Anteroom at the Opera on Rue Le Peletier) (Paris, Musée d'Orsay). In a carefully constructed composition, with groups of figures balancing one another to the left and the right, each ballet dancer is involved in her own activity, each one is moving in a separate manner from the others. Extended observation and an immense number of sketches were essential to executing such a task. This is why Degas moved from the theatre on to the rehearsal halls, where the dancers practised and took their lessons. This was how Degas arrived at the second sphere of that immediate, everyday life that was to interest him. The ballet would remain his passion until the end of his days.

Degas

Este livro convida o leitor a seguir o visionário Paul Gauguin de França até à exótica Tahiti, guiado pelas suas coloridas obras de arte. Apresentando uma colecção de trabalhos icónicos e menos conhecidos deste influente artista , o livro realça o famoso estilo erótico e primitivo de Gauguin, assim como a utilização de cores vivas. Este prático livro é a prenda ideal para os fãs do artista ou para aqueles que ainda não conhecem o trabalho de Gauguin.

Renoir

Résumé

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