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Journal articles on the topic 'Impressionism'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 December 2024

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1

Yamash, Yurii, Inna Prokopchuk, Mariana Pelekh, Olena Padovska, and Olena Zherebetska. "Theme of Flowers as a Sign of Impressionism on the Example of the Work of Ivan Trush (1869-1941)." Herança 7, no. 1 (December 29, 2023): 126–35. http://dx.doi.org/10.52152/heranca.v7i1.812.

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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.

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2

Grushitskaya, Marina. "Impressionism in Pierre Loti’s “Madame Chrysanthème”." Ideas and Ideals 12, no. 3-2 (September 23, 2020): 305–13. http://dx.doi.org/10.17212/2075-0862-2020-12.3.2-305-313.

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Pierre Loti was a novelist and a marine officer who visited lots of countries. He gained popularity writing about his travels and travel impressions. This article analyses his travel to Nagasaki back in 1885 where he lived for half a year and had a ‘temporary wife’. His novel written during that travel is called “Madame Chrysanthème”. It’s one of his most extravagant and interesting pieces which made the author world-famous. It reflected common interest in the oriental life typical for that time and it predetermined the image of Japan in the European consciousness of the second half of the 19th century. Pierre Loti wrote about his ambition to make the novel as impressionist as possible determining impressionism not as an intellectual but as a decorative phenomenon related mostly to arts and translation of sensory perception. His interpretation of impressionism was expressed in “Madame Chrysanthème”, which is an attempt to describe the world around us, represented not only by the material world but by the author’s sensory perceptions and feelings. To be exact, this is impressionism in fiction. The world is a product of our sensory experience, and the author’s goal is to fix this experience, which is the sum of his observation and impressions. Pierre Loti creates his work where color plays the main role together with sounds and words. They are a sum total of the elements determining the reality in equal amounts. Stylistically “Madame Chrysanthème” is created according to impressionist canons, with lots of epithets, comparisons, metaphors, the author’s neologisms. The novel is written as a diary where separate episodes in chapters are separated from one another by large white empty gaps. The article discusses similarity of impressionism and the Japanese culture. However, a closer look demonstrates considerable differences between the European and the Oriental minds.

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3

Andoskina, Valeriya A. "Impressionism in Anton Chekhov’s works: History of the term." Vestnik Tomskogo gosudarstvennogo universiteta, no. 499 (2024): 12–19. http://dx.doi.org/10.17223/15617793/499/2.

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The article explores the history of the term “impressionism” in reviews of Chekhov’s prose and drama, which were written by his contemporaries, and in modern research of Chekhov’s creativity (the meaning of this word in historical context). Nowadays the term “impressionism” is popular with researchers of Chekhov’s prose and drama, but there is no strict and generally accepted meaning of it. Researchers suppose various features of impressionism in literature: the impressionistic writer depicts moments of a usual daily life, uses bright and light “paints” in descriptions of nature, prefers short stories and “sketches” instead of voluminous novels and the works of such a writer resemble the “unfinished” and “slipshod” pictures of impressionists created by inconsistent brush strokes, etc. The author of the article does not deny these conceptions of impressionism but believes that the understandings of impressionism should be studied firstly in the historical way. This article studies the uses of the term “impressionism” for more than 150 years: from first readers of Chekhov’s prose and viewers of his dramas to latest researchers. The analysis of the critical articles and research papers about Chekhov created in 1890–2020 showed that the definition “an impressionist” for Chekhov’s contemporaries meant “the author who wants to impress the reader/viewer of the work by creating a certain atmosphere and does not wish to examine ethical and social issues like previous writers/artists did”; and for researches of the 20th century this word meant “the author who belongs to impressionism as a style in art”. Nowadays the term “impressionism” is ambiguous: modern researchers often use this term unsystematically in both its meanings, so it is necessary to specify what a researcher means in a particular paper.

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4

Ozturk, Fatma, and Ozlem Berksan. "A study for the impact of impressionism period’s coloring, style and mode on fashion designers." Global Journal of Arts Education 5, no. 2 (November 15, 2015): 40. http://dx.doi.org/10.18844/gjae.v5i2.243.

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Impressionism is a result of scientific and social developments’ influence on art and cultural movements during 1870’s. Impressionism, as being the brand new and the most important development in art during 19th century, has represented the modern painting with a strict separation from former understanding of art. While other art movements of 19th century have been maintained the relations or bore trace from classical understanding, impressionists severed all these ties. Instead of observing the nature in a realistic manner, they used impressions of observing it on art.Fashion in the most general sense, is representing the change. Whereas, fashion has been seen as the synonym of dressing, it involves all the aspects of human life. The Belle Epoque Era (1890-1914) that comprised a coy eroticism in fashion overlaps with the Impressionism period. It was a period characterized by an extensive freedom, economic growth and scientific development in Europe. New daily sport clothes and expensive night dresses were the source of inspiration in fashion. Trains and cars made it possible to spend time at the outside for everybody and new fashion styles adopted for social activities.This study is intended to analyze Impressionism Period’s impact on fashion designers. The clothes of the period are going to be investigated from the view point of their color, style, models and accessories. Keywords: Fashion, art, impressionism, belle epoque

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5

Liu, Jiabei. "Explore the Influence of Impressionism on Post-Impressionism: Taking Van Gogh's Works as an Example." Journal of Education, Humanities and Social Sciences 31 (April 27, 2024): 135–39. http://dx.doi.org/10.54097/3qjw2990.

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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.

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Jiao, Shizuo, and Xuanjian Zhu. "Post-impressionism: implicit salute towards its predecessors." Journal of Education, Humanities and Social Sciences 1 (July 6, 2022): 302–7. http://dx.doi.org/10.54097/ehss.v1i.675.

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Post-impressionism, as one of the world's most popular schools of art, was focused mostly on its influence on its descendants. However, this paper examines the undiscovered aspect of post-impressionism by giving a perspective on its relations with its predecessors rather than its influence on its successors. It studies the forms and flows of post-impressionist paintings. Comparisons, investigations, and observations were made during the period. It is also reviewed in the thesis about the previous articles on comparisons between post-impressionism and its contemporaries as ukiyo-e paintings. Between post-impressionism and its ensuing schools, such as the art nouveau, these comparisons are made to illustrate the influence. The investigation pointed out that there have always been relationships and similarities between post-impressionism and its predecessors, either implicit or explicit ones. The work could endorse further studies on post-impressionism and break the common sense on post-impressionism that it only had an impact on its posts and was not influenced much by its predecessors.

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7

Surat, Irina Z. "On Osip Mandelstam’s Poem “Impressionism”." Studia Litterarum 6, no. 3 (2021): 166–83. http://dx.doi.org/10.22455/2500-4247-2021-6-3-166-183.

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This article focuses on Osip Mandelstam’s poem “Impressionism”. The main objective of this work is to analyze the key motifs and images of the poem and to offer an integral, non-contradictory reading of the poem based on its immediate context as well as on the specific features of Mandelstam’s poetics. Mandelstam treated impressionism with great enthusiasm considering it an innovative phenomenon in art; impressionism in its broad meaning most fully corresponded with his idea of the life-giving capacities of art as reflected in this poem. The article discloses the plot of the gradual immersion in the world of an impressionist painting in Mandelstam’s poem. A verse-by-verse analysis of the text complemented by the parallel reading of the fragments of Mandelstam’s prose, and also with impressionist paintings the poet was familiar with as a backdrop, allows me to define the particularities of Mandelstam’s symphonic and solid perception of plastic arts, including impressionist painting. The article shows how the antinomies of Mandelstam’s creative art affect the poetic text. “Impressionism” is not a reflection of specific motifs of particular paintings but a cocreative effort of resurrecting reality in art that Mandelstam thought to be the art’s prime purpose.

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8

Gu, Ranran. "Explore the similarity of impressionist music and impressionist painting." Highlights in Art and Design 2, no. 3 (April 24, 2023): 24–26. http://dx.doi.org/10.54097/hiaad.v2i3.7547.

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The 19th, the end of the century, impressionist painting and impressionism music in the background of innovation, the development of impressionism witnessed the transformation of western traditional art and the rise of modern art, in the history of western art left a heavy, painting, music and other art genres, discipline fusion reached a new step. This paper analyzes and compares the subject matter, structure and expression techniques of impressionist painting and music, explores the similarities of two different arts, and explores the important role of the interaction and integration of art in the development of art.

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9

Skorobogacheva, Ekaterina Aleksandrovna. "Genesis of Russian Impressionism and its first interpretations." Pan-Art 3, no. 4 (November 8, 2023): 231–35. http://dx.doi.org/10.30853/pa20230037.

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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.

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10

Zavyalova, Anna E. "Konstantin Somov’s Early Works and Impressionism: A New View on the Issue." Observatory of Culture 18, no. 4 (October 11, 2021): 409–15. http://dx.doi.org/10.25281/2072-3156-2021-18-4-409-415.

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The article reveals literary (Emile Zola’s novel “L’Œuvre”, Richard Muther’s work “History of Painting in the 19th Century”), literary and artistic (magazines “Mercure de France”, “L’Ermitage”, “La Revue Blanche”, “La Plume”) and artistic (exhibits of the French art exhibition of 1896) sources of Konstantin Somov’s acquaintance with the art of French impressionism at the beginning of his independent activity (before leaving for Paris in the late 1890s). There are also identified sources of phenomena in his work that are similar to impressionism only externally. These issues become the subject of special consideration for the first time. The scientific novelty of the work lies in the fact that it first reveals that the artist did not address to impressionism in the period before his departure to France, as it has been long believed. To study the tasks set, the article involves sources of personal origin (letters and diaries of K.A. Somov and his friend A.N. Benois), as well as A.N. Benois’s articles of the 1890s, published on the pages of the magazine “World of Art”. The author comes to the conclusion that K.A. Somov did not turn to the artistic method of the impressionists in his work at that time, since the information he had been able to get from the identified sources was of a verbal and theoretical nature. Black-and-white reproductions of impressionist paintings in literary and art magazines and in Muther’s “History of Painting in the 19th Century” had not provided sufficient information for the artist. The phenomena similar to impressionism in Somov’s works are based on the study of nature, the heritage of the old European artists, the art of the Barbizonians, J.-F. Millet, W. Turner.

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Li, Jie. "Dialogue on Artistic Expression: A Study of Oriental Elements in 19th-Century Impressionism." Journal of Education, Humanities and Social Sciences 31 (April 27, 2024): 151–59. http://dx.doi.org/10.54097/nskets35.

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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.

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12

Yan, Zhiqi, Zidi Guo, and Miao Guo. "On the Combination of Oil Painting Techniques and Modern Illustration Art." Highlights in Art and Design 4, no. 1 (August 28, 2023): 118–21. http://dx.doi.org/10.54097/hiaad.v4i1.12015.

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Oil painting represents the mainstream of modern Western painting art. The development history of Western painting art cannot be separated from the evolution of the style, subject matter and techniques of oil painting. Since its emergence, oil painting has experienced several style periods, including classicism, Romanticism, Impressionism, abstraction and so on. Among them, Impressionism, which was born in the middle of 19th century, played an important role in the history of western oil painting. It changed the style and way of oil painting popular in the past few centuries with new color theory and creative techniques. Impressionism emphasized the intuitive observation and real performance of the painting object. Since then, painting is no longer limited to the spiritual transmission of the author, and "what you paint is what you see" has gradually become one of the creation principles of Western oil painting. This paper analyzes the paintings of famous Impressionist painters with examples, sums up how Impressionist paintings skillfully use light, shadow and color to create, and discusses its referential significance for modern illustration.

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13

Totan, Virðinia, and Petruța Maria Coroiu. "Impressionism in Serbian Music." Studia Universitatis Babeş-Bolyai Musica 68, no. 2 (December 30, 2023): 39–61. http://dx.doi.org/10.24193/subbmusica.2023.2.03.

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"Musical Impressionism is one of the currents that reflected the anti-romantic discourse of the beginning of the 20th century, having a resonance only in the French cultural space - where the preference for suggestion, for deliberately imprecise tone and nuance has always worked. Although musicological studies do not display very important differences in attitude when it comes to defining impressionist compositions, musicologists’ opinions sometimes diverge. However, taking into consideration the extent to which the comparative method and the stylistic analysis, applied to music, can be conditioned by subjective experiences, the discrepancies can be said to be almost negligible. Basically, the opinion is that the elements of Impressionism in the first half of the 20th century were the most marked in certain compositions by Petar Konjović (1883-1970), Miloje Milojević (1884-1946) and Stevan Hristić (1885-1958), and to a lesser degree (only in the case of a few parameters of the musical language) we can see them in certain compositions by other composers. Keywords: impressionism, suggestion, analyze, composition, musicology, Serbian"

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14

Banias, V., and N. Banias. "GÉRARD DE NERVAL’S “ODELETTES”: IMPRESSIONISM BEFORE IMPRESSIONISM." International Humanitarian University Herald. Philology 2, no. 53 (2022): 53–59. http://dx.doi.org/10.32841/2409-1154.2022.53-2.12.

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15

Fried, Michael. "Caillebotte's Impressionism." Representations 66, no. 1 (April 1999): 1–51. http://dx.doi.org/10.1525/rep.1999.66.1.01p0038t.

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Fried, Michael. "Caillebotte's Impressionism." Representations 66 (1999): 1–51. http://dx.doi.org/10.2307/2902878.

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17

da Costa Nunes, Jadviga M. "Impressionism Redux." Nineteenth Century Studies 10, no. 1 (January 1, 1996): 111–33. http://dx.doi.org/10.2307/45196774.

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da Costa Nunes, Jadviga M. "Impressionism Redux." Nineteenth Century Studies 10, no. 1 (January 1, 1996): 111–33. http://dx.doi.org/10.2307/ninecentstud.10.1996.0111.

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19

WIGGINS, COLIN. "POST-IMPRESSIONISM." Art Book 1, no. 2 (March 1994): 20. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00020.x.

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20

Bonevac, Daniel. "Ethical Impressionism." Social Theory and Practice 17, no. 2 (1991): 157–73. http://dx.doi.org/10.5840/soctheorpract19911723.

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21

Ye, Wang. "Non-Traditional Factors in Debussy's Creation Take the Prelude "Voiles" as an Example." Journal of Electrical Systems 20, no. 7s (May 3, 2024): 436–45. http://dx.doi.org/10.52783/jes.3336.

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"Voiles" stands as the second piece in Debussy's "Twenty-four Piano Preludes", marking a mature stage in his musical oeuvre. Debussy, as the pioneer of Impressionism style, demonstrates remarkable innovation and personality in contrast to traditional norms. Drawing from the acoustic expressiveness evident in Impressionist piano compositions, this study begins with an exploration of the aesthetic perception of acoustic color. It intertwines this exploration with the psychological concept of "synesthesia", which links time, space and visual perception. Focusing on auditory aesthetic perception of acoustic color, this paper takes “Voiles” as the research object, and analyzes its melody, structure and acoustic characteristics from the perspective of music analysis. In this way, the sound innovation and impressionism style in Debussy's creation can be explored.

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Cherkashina, M. V. "Stéphane Mallarmé on Impressionism and the Impressionists in the context of French art criticism." Voprosy literatury, no. 5 (October 11, 2023): 13–41. http://dx.doi.org/10.31425/0042-8795-2023-5-13-41.

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The article prefaces the publication of the first Russian translation of Mallarmé’s essay ‘The Impressionists and Edouard Manet:’ originally printed in English in a London-based periodical in 1876, it was not rediscovered until the early 21st c., when the essay’s translation back into French became available. In his work, Mallarmé offers the first contemporary interpretation of Impressionism as a natural next step in the development of art, revealing it to be a form of self-reflection that gazes at reality. He notes that Manet’s manner of depicting landscapes and people in them bears a similarity to Japanese prints — an art form much beloved by the Impressionists. Other innovative viewpoints expressed by Mallarmé include his interpretation of mimesis, which, rather than mimicking nature, means its recreation, ‘touch by touch:’ the idea that the representative art of the period cannot be isolated from the characteristic politics and industry of the era, and the suggestion that, rather than treating artists as spiritual aristocrats, as was customary in the Romantic era, one should consider them as ‘energetic modern workers,’ exemplified by Impressionist painters. The article sets out to present Mallarmé’s ideas in the context of French art criticism from the 18th c. until the present day.

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23

Fodor, Attila. "In Dialogue With Impressionism: Jeux d’eau by Maurice Ravel." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 277–303. http://dx.doi.org/10.24193/subbmusica.2022.1.18.

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"Jeux d’eau, created in 1901, is Ravel’s first piano masterpiece, that of a 26-year-old composer who has just left the Conservatoire. The work surprises with the charm of writing, the playfulness of expression, the maturity of creative thinking and the complexity of elaboration. Beyond the fact that it marks a turning point in Ravel’s career, it is no exaggeration to say that it is both a milestone for piano literature in general and for the impressionist one. Our study focuses on the analysis of Ravel’s writing style and construction in the mirror of musical Impressionism, pointing out, where appropriate, the innovations that foreshadow representative compositional solutions for the avant-garde of the first half of the 20th century and beyond. Keywords: Ravel, Jeux d’eau, Impressionism, piano music, ludic, duplication "

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24

Harris, Rob. "Introduction: First Impressions: The Impact of Impressionism on English Literature." CUSP: Late Nineteenth and Early Twentieth Century Cultures 1, no. 2 (June 2023): 161–69. http://dx.doi.org/10.1353/cusp.2023.a902865.

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McPherson, Heather. "Impressionism in Britain." Nineteenth Century Studies 10, no. 1 (January 1, 1996): 144–46. http://dx.doi.org/10.2307/45196780.

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Sergeev, Alexander. "Impressionism H. Banga." Stephanos. Peer reviewed multilanguage scientific journal 29, no. 3 (May 30, 2018): 16–27. http://dx.doi.org/10.24249/2309-9917-2018-29-3-16-27.

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McPherson, Heather. "Impressionism in Britain." Nineteenth Century Studies 10, no. 1 (January 1, 1996): 144–46. http://dx.doi.org/10.2307/ninecentstud.10.1996.0144.

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Lipton, Eunice, Norma Broude, Hollis Clayson, Richard Kendall, and Griselda Pollock. "Feminism and Impressionism." Art Journal 51, no. 4 (1992): 99. http://dx.doi.org/10.2307/777291.

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29

Tinterow, Gary, and Henri Loyrette. "Origins of Impressionism." Art Book 2, no. 1 (January 1994): 16a. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00343.x.

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Tinterow, Gary, and Henri Loyrette. "Origins of Impressionism." Art Book 2, no. 1 (January 1995): 16a. http://dx.doi.org/10.1111/j.1467-8357.1995.tb00342.x.

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Shamir, Lior, Tomasz Macura, Nikita Orlov, D. Mark Eckley, and Ilya G. Goldberg. "Impressionism, expressionism, surrealism." ACM Transactions on Applied Perception 7, no. 2 (February 2010): 1–17. http://dx.doi.org/10.1145/1670671.1670672.

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32

Heilbrun, Françoise. "Impressionism and Photography." History of Photography 33, no. 1 (February 2009): 18–25. http://dx.doi.org/10.1080/03087290802582889.

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33

SMITH, P. "Studies in Impressionism." Oxford Art Journal 10, no. 2 (January 1, 1987): 97–105. http://dx.doi.org/10.1093/oxartj/10.2.97.

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Simmons, Allan, and John G. Peters. "Conrad and Impressionism." Modern Language Review 98, no. 3 (July 2003): 698. http://dx.doi.org/10.2307/3738308.

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35

Lee, Jisun, and Joonho Kim. "The Culture of the Belle Epoque and Impressionism in Music of Debussy." Society for International Cultural Institute 15, no. 1 (June 30, 2022): 25–49. http://dx.doi.org/10.34223/jic.2022.15.1.25.

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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.

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36

Carrasco, Clare. "The Unlike Pair." Journal of Musicology 37, no. 2 (2020): 158–96. http://dx.doi.org/10.1525/jm.2020.37.2.158.

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Between 1919 and 1923 Arnold Schoenberg’s Chamber Symphony, op. 9 (1906) and Franz Schreker’s Chamber Symphony (1916) were repeatedly programmed together on public concerts in Germany. Critics reviewing these and other postwar performances often framed the two works in a distinctive and, by today’s standards, surprising way: they aligned Schoenberg’s Chamber Symphony with an “expressionist” and Schreker’s Chamber Symphony with an “impressionist” musical aesthetic. With roots in prewar German critical and historical writing, impressionism and expressionism functioned as multifaceted, contextually contingent concepts in postwar music criticism. They bore not only music-stylistic but also psychological, national, and racial implications, thus serving as important mechanisms through which critics could engage music in broader cultural and political debates. Even as critics writing after the Great War almost universally—if certainly reductively—aligned Schreker’s Chamber Symphony with impressionism and Schoenberg’s Chamber Symphony with expressionism, they fiercely disagreed about the relative cultural value of these contrasting orientations. Schoenberg and Schreker were thereby implicated in discussions that related their music to pressing contemporary questions of political radicalism, national identity, and Jewishness. Critical reception of postwar performances of this “unlike pair” of chamber symphonies thus documents a consequential yet neglected chapter in the conceptual history of musical “impressionism” and “expressionism”: a chapter in which German-language critics first connected the two terms in a complex, politically laden relationship.

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Sema, Daniel. "GERAKAN IMPRESIONISME, DEBUSSY DAN “CLAIR DE LUNE”: SEBUAH REFLEKSI TERHADAP PERUBAHAN." Jurnal Abdiel: Khazanah Pemikiran Teologi, Pendidikan Agama Kristen, dan Musik Gereja 2, no. 1 (April 12, 2018): 61–73. http://dx.doi.org/10.37368/ja.v2i1.61.

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Impressionism derives its source of inspiration from external, even exotic sources; its literature, art and music are easily projected outside; the recipient of its colorful images has the means of comparing photoreality with the artist’s experience of it. This impressionism movement starts from painting, then penetrated into other arts fields. Impressionism has changed the way people view art. It has been considered the setting stone of Modern Art. In general, impressionism has changed the perspective of art, itself.

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Marh, Fahmi. "TRANSFORMASI MUSIK CALEMPONG UNGGAN KE DOMAIN KOMPOSISI IMPRESSIONIS UNGGAN." Puitika 12, no. 2 (September 15, 2016): 102. http://dx.doi.org/10.25077/puitika.12.2.102--121.2016.

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The music composition "Impressioniss Unggan" through the construction of musical material, issued an "impression" of the result of the merger of the original rhythm and tone of the music Calempong Unggan in modern musical harmony system vertically and horozintal. Then the musical understanding detected and understood due to phsikoakustik analysis or any listener to hear the music thoroughly enters into the depths of music. The aim of the Impressionists was to "explain the music, not to describe the music, not for reflection object but an emotional reaction to the object. Also interpret impressions through search found from reality". Mystery behind the reality of the music that you want, impressionist is the antithesis of a realist. Keywords: transformation , music of Calempong, impressionist Unggan

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Huang, Xinyi. "The influence of Japanese Ukiyo-e on Western painting art in the 19th Century." BCP Social Sciences & Humanities 20 (October 18, 2022): 304–10. http://dx.doi.org/10.54691/bcpssh.v20i.2334.

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Ukiyo had a profound influence on western painting in the 19th century. It can be seen from the works of Artists such as Monet and Van Gogh that they extensively used, imitated and improved Japanese Ukiyo techniques such as brushwork, composition and color. In addition, under the historical background and social environment at that time, the expression of thoughts and emotions was also greatly influenced by Ukiyo. This paper, starting from the origin and characteristics of Japanese Ukiyo, explains in detail the influence of Japanese Ukiyo-e on western painting in the 19th century, explores the way of expression of Impressionist and post-Impressionist works, analyzes the process of its absorption and re-innovation of Ukiyo-e, in order to provide some reference for modern painting creation. This paper explores the influence of Japanese Ukiyo on western painting in the 19th century in two chapters. First of all, from the origin of Japanese Ukiyo, style, techniques, representatives of the detailed interpretation of Japanese Ukiyo artistic characteristics; Secondly, based on the background of the introduction and integration of Ukiyo in western painting art, the paintings of Monet and Van Gogh, the representative painters of Impressionism and post-Impressionism, are extracted respectively, so as to explore the influence of Japanese Ukiyo on western painting art in the 19th century in terms of style, techniques and ideas.

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Qin, Yingting. "Debussy’s Love Affair with Impressionism in Ariettes oubliées." International Education Forum 2, no. 6 (August 9, 2024): 308–15. http://dx.doi.org/10.26689/ief.v2i6.7834.

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When the audience mentions impressionist composers, many remember Claude Debussy (1862–1918) as the first icon. To this day, his vocal works remain one of the most popular choices of French music for singers. It is also frequently featured in recitals, auditions, and competitions. Critics have insisted on associating Debussy with impressionism even though he did not agree with the label. Critics claim that Debussy’s alternations of major, minor, augmented, and diminished chords in conjunction with Verlaine’s impressionistic poetry produced the same novel effect as the contrast between light and shadow in the painting, which provides one answer. This paper will explore which elements of Debussy’s first published song cycle, Ariettes oubliées, embody characteristics of impressionistic music.

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Karpenko, Olga. "Reminiscences of Impressionism in the works of Ukrainian avant-garde artists." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 194–99. http://dx.doi.org/10.32461/2226-0285.1.2021.238620.

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The purpose of the study is to reveal the identification of common features in the work of Ukrainian avant-garde artists, which have the character of impressionism. Methodology of the study employs historical-logical, comparative methods, formal analysis and method of interpretation. Scientific novelty of the research consists in the role of impressionism in the formation of the creative manner of such artists of the Ukrainian avant-garde as O. Bogomazov, D. Burliuk, K. Malevich, O. Exter was first explored in the article. Conclusions. Experiments in the spirit of impressionism and post-impressionism helped the representatives of the Ukrainian avant-garde to free themselves from the method of repetition of the full-scale image towards the free transformation of the pictorial sensation and construction of the work with the help of purely pictorial elements, discarding the plot, literature, instructive character and many other layers. Impressionism was the first step in freeing painting from the boundaries of material form

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محمود علی الجابری, حمدی. "Henry James and Impressionism." مجلة کلیة الآداب بقنا 2, no. 2 (September 1, 1992): 174–280. http://dx.doi.org/10.21608/qarts.1992.114705.

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Fodor, Attila. "Ravel on (his) Impressionism." Studia Universitatis Babeş-Bolyai Musica 62, no. 1 (June 20, 2017): 77–82. http://dx.doi.org/10.24193/subbmusica.2017.1.05.

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DENWR, BERNARD. "THE CHRONICLE OF IMPRESSIONISM." Art Book 1, no. 2 (March 1994): 21. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00025.x.

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Whitworth, M. H. "Review: Conrad and Impressionism." Review of English Studies 54, no. 213 (February 1, 2003): 149–51. http://dx.doi.org/10.1093/res/54.213.149.

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Cronan, Todd. "Georg Simmel's Timeless Impressionism." New German Critique 36, no. 1 (2009): 83–101. http://dx.doi.org/10.1215/0094033x-2008-022.

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Bénard, Silvia M. "From Impressionism to Realism." Cultural Studies ↔ Critical Methodologies 13, no. 5 (July 19, 2013): 427–31. http://dx.doi.org/10.1177/1532708613495801.

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Prentice, Chris Ortiz y. "RUDYARD KIPLING'S TACTICAL IMPRESSIONISM." Victorian Literature and Culture 45, no. 1 (February 13, 2017): 17–33. http://dx.doi.org/10.1017/s1060150316000413.

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A story titled “The Impressionists”that was published in 1897 should have something to say about art, but does it? The sixth installment in Rudyard Kipling'sStalky & Co.series, “The Impressionists” follows the antics of M'Turk, Stalky, and Beetle, three cunning boys at a dreary English military preparatory school. Suspecting these boys of cheating on their schoolwork, housemaster Mr. Prout turns them out of their private study into the main house dormitory. For revenge, and hoping to win back their room, Stalky & Co. becomeagents provocateurs. They start a fight in their house and manage to involve the other housemasters’ houses: “Under cover of the confusion the three escaped to the corridor, whence they called in and sent up passers-by to the fray. ‘Rescue, King's! King's! King's! Number Twelve form-room! Rescue, Prout's – Prout's! Rescue, Macrea's! Rescue, Hartopp's!’” (102). The three boys then allow Mr. Prout to overhear a conversation that makes money-lending seem common practice in the houses: “‘Where's that shillin’ you owe me?’ said Beetle suddenly. Stalky could not see Prout behind him, but returned the lead without a quaver. ‘I only owed you ninepence, you old usurer’” (103). Stalky & Co. rile up the other boys by telling ghost stories and spreading slanderous ditties; they turn the house against the prefects and undermine Mr. Prout's authority; and in the end they win back their room, but they are also found out by the headmaster, who mixes corporeal punishment with his admonishments: “There is a limit – one finds it by experience, Beetle – beyond which it is never safe to pursue private vendettas, because – don't move – sooner or later one comes – into collision with the – higher authority, who has studied the animal.Et ego– M'Turk, please –in Arcadia vixi” (117). The boys take the headmaster's attentions as a compliment, and they take his advice. Never again do they stake the school's peace in the pursuit of their own ends.

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ADLER, K. "The Magic of Impressionism." Oxford Art Journal 18, no. 2 (January 1, 1995): 96–99. http://dx.doi.org/10.1093/oxartj/18.2.96.

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Mallios, Peter Lancelot. "Conrad and Impressionism (review)." Modernism/modernity 10, no. 4 (2003): 767–70. http://dx.doi.org/10.1353/mod.2003.0081.

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