string(5796) "The separation of URBAN LANDSCAPE into a separate genre was facilitated by the architectural landscape. Masters of this direction, which developed under the influence of theory linear perspective, saw yours main task in the construction of a complex, carefully designed composition, taking into account one, main point of view. Italian artists of the Renaissance - Raphael, Piero della Francesca, Andrea Mantegna - made a great contribution to the development of this genre. Almost simultaneously with architectural landscape Another direction also developed - the depiction of urban landscapes. German, Dutch and French painters of the 16th-17th centuries brought from their travels numerous albums with sketches from nature. By the middle of the 17th century, CITY LANDSCAPE firmly occupied its position as an independent genre, becoming a favorite subject Dutch artists. When depicting corners of Amsterdam, Delft, Haarlem, artists sought to combine the geometric clarity of urban buildings with everyday episodes and landscapes. Real city views can be found in such major Dutch artists of the 17th century as J. Goyen, J. Ruisdael, Vermeer of Delft. One of the most striking and successful examples of CITY LANDSCAPE of this period is “View of the City of Delft” by Vermeer of Delft, who poetically praised the image hometown. In the 18th century, a special type of landscape genre was formed, closely related to the URBAN LANDSCAPE - veduta. Veduta, depending on the nature of the reproduction of the urban area, was divided into real, ideal or fantastic. In the real veduta, the artist diligently and scrupulously depicted real buildings in a real landscape; in the ideal one, real buildings were depicted surrounded by a fictional landscape; the fantastic veduta was entirely the author’s imagination. The heyday of this type of painting was the Venetian Veduta, and the head of the school of Venetian Veduta was the artist Antonio Canaletto. During the era of romanticism, artists maintained an interest in depicting archaeological monuments, antiquities, and ancient temples. In the mid-nineteenth century, landscape painters turned to genre scenes. CITY LANDSCAPES depicting views of London appear in engravings French artist Gustave Dore. Another French artist, master of CITY LANDSCAPES, Honore Daumier, was also interested in city views, albeit of Paris. New page in the history of the URBAN LANDSCAPE were discovered by impressionist artists. Their attention was attracted by the motifs of the streets in different times days, train stations, silhouettes and outlines of buildings. The desire to convey the rhythm of city life, to capture the constantly changing state of the atmosphere and lighting led the Impressionists to the discovery of new means artistic expression.
The section of paintings dedicated to CITY LANDSCAPE presents objects depicting various cities, architectural monuments, streets and attractions. In this section you will find views of Moscow, St. Petersburg, as well as Rome and many other cities. We offer you to buy items from the CITY LANDSCAPE section in our Commission Antique Store. The CITY LANDSCAPE section is constantly updated, stay tuned for new arrivals. "
CITY LANDSCAPE - genre fine arts, in which the main plot is the image of the city, its streets and buildings. Initially, CITY LANDSCAPE was not an independent genre; medieval artists used cityscapes only as a frame for biblical scenes. The CITY LANDSCAPE was rethought in a new way by the Old Dutch masters, who captured the world around them with special care and love.
The architectural landscape contributed to the separation of the URBAN LANDSCAPE into a separate genre. The masters of this movement, which developed under the influence of the theory of linear perspective, saw their main task in constructing a complex, carefully designed composition, taking into account one, main point of view. Italian artists of the Renaissance - Raphael, Piero della Francesca, Andrea Mantegna - made a great contribution to the development of this genre. Almost simultaneously with the architectural landscape, another direction developed - the depiction of urban landscapes. German, Dutch and French painters of the 16th-17th centuries brought from their travels numerous albums with sketches from nature. By the middle of the 17th century, CITY LANDSCAPE firmly occupied its position as an independent genre, becoming a favorite subject of Dutch artists. When depicting corners of Amsterdam, Delft, Haarlem, artists sought to combine the geometric clarity of urban buildings with everyday episodes and landscapes. Real city views can be found in such major Dutch artists of the 17th century as J. Goyen, J. Ruisdael, Vermeer of Delft. One of the most striking and successful examples of CITY LANDSCAPE of this period is “View of the City of Delft” by Vermeer of Delft, who poetically glorified the image of his native city. In the 18th century, a special type of landscape genre was formed, closely related to the URBAN LANDSCAPE - veduta. Veduta, depending on the nature of the reproduction of the urban area, was divided into real, ideal or fantastic. In the real vedita, the artist diligently and scrupulously depicted real buildings in a real landscape; in the ideal veduta, real buildings were depicted surrounded by a fictional landscape; the fantastic veduta was entirely the author’s imagination. The heyday of this type of painting was the Venetian Veduta, and the head of the school of Venetian Veduta was the artist Antonio Canaletto. During the era of romanticism, artists maintained an interest in depicting archaeological monuments, antiquities, and ancient temples. In the mid-nineteenth century, landscape painters turned to genre scenes. CITY SCAPES depicting views of London can be found in the engravings of the French artist Gustave Doré. Another French artist, master of CITY LANDSCAPES, Honore Daumier, was also interested in city views, albeit of Paris. Impressionist artists opened a new page in the history of the URBAN LANDSCAPE. Their attention was drawn to the patterns of streets at different times of the day, train stations, silhouettes and outlines of buildings. The desire to convey the rhythm of city life, to capture the constantly changing state of the atmosphere and lighting led the Impressionists to the discovery of new means of artistic expression.
The section of paintings dedicated to the CITY LANDSCAPE presents objects depicting various cities, architectural monuments, streets and landmarks. In this section you will find views of Moscow, St. Petersburg, as well as Rome and many other cities. We offer you to buy items from the CITY LANDSCAPE section in our Commission Antique Store. The CITY LANDSCAPE section is constantly updated, stay tuned for new arrivals.
In this article you will see St. Petersburg urban presented in art gallery"Art-Breeze". Here are collected works by various authors, which were made in different styles and techniques. All these works have one thing in common - they depict St. Petersburg, as the artist saw it.
Cityscape, as a genre of painting, was formed quite late, in the 18th century. It was then that cities began to acquire their modern character and the number of urban residents began to increase rapidly. Before this, only a few medieval artists depicted cities on their canvases. These images were very primitive, they lacked topographical accuracy and they served to indicate the location of the events to which the plot of the picture was dedicated. Forefathers cityscape in painting we can name the Dutch artists of the 17th century Wermeer of Delft, J. Goyen and J. Ruisdael. It is in their works that one can find the city landscape as we are accustomed to seeing it in modern paintings.
Contemporary artists who exhibit their own cityscapes at St. Petersburg's Ar-Breeze art gallery portray St. Petersburg as primarily a foggy seaside city with bustling life and magnificent architecture. Most The paintings were created in the style of impressionism and classics. The richness of colors and the ability to fill the canvas with light, which is provided by the Impressionist painting technique, allows you to most fully reflect the spirit of this city on the Neva!
Further development European painting associated with impressionism. This term was born by chance. The reason was the title of the landscape by C. Monet “Impression. Sunrise" (see Appendix No. 1, Fig. 3) (from the French impression - impression), which appeared at the Impressionist exhibition in 1874. This first public performance by a group of artists, which included C. Monet, E. Degas, O. Renoir, A. Sisley, C. Pissarro and others, was greeted by official bourgeois criticism with rude ridicule and persecution. True, already from the late 1880s, the formal techniques of their painting were picked up by representatives of academic art, which gave Degas a reason to bitterly remark: “We were shot, but at the same time our pockets were searched.”
Now that heated debates about impressionism are a thing of the past, hardly anyone will dare to dispute that the impressionist movement was a further step in the development of European art. realistic painting. “Impressionism is, first of all, the art of observing reality that has reached unprecedented sophistication” (V.N. Prokofiev). Striving for maximum spontaneity and accuracy in conveying the visible world, they began to paint mainly in the open air and raised the importance of sketches from nature, which almost replaced the traditional type of painting, carefully and slowly created in the studio.
Consistently clarifying their palette, the Impressionists freed painting from earthy and brown varnishes and paints. Conventional, “museum” blackness in their canvases gives way to an infinitely diverse play of reflexes and colored shadows. They immeasurably expanded the possibilities of fine art, revealing not only the world of sun, light and air, but also the beauty of fogs, the restless atmosphere of big city life, the scattering of night lights and the rhythm of continuous movement.
Due to the very method of working in the open air, the landscape, including the city landscape they discovered, occupied a very important place in the art of the Impressionists. How organically tradition and innovation merged in the art of the Impressionists is evidenced, first of all, by creativity outstanding painter XIX century Edouard Manet (1832-1883). True, he himself did not consider himself a representative of impressionism and always exhibited separately, but in ideological and ideological terms, he was undoubtedly both the forerunner and ideological leader of this movement.
At the beginning of his creative career, E. Manet was ostracized (the ridicule of society). In the eyes of the bourgeois public and critics, his art becomes synonymous with the ugly, and the artist himself is called “a madman who paints a picture, shaking in delirium tremens” (M. de Montifaud) (see Appendix No. 1, Fig. 4). Only the most insightful minds of that time were able to appreciate Manet's talent. Among them were Charles Baudelaire and the young E. Zola, who declared that “Mr. Manet is destined for a place in the Louvre.”
Impressionism received its most consistent, but also far-reaching expression in the work of Claude Monet (1840-1926). His name is often associated with such achievements of this painting method as the transfer of elusive transitional states of lighting, the vibration of light and air, their interrelation in the process of constant changes and transformations. “This, undoubtedly, was a great victory for the art of modern times,” writes V.N. Prokofiev and adds: “But also its final victory.” It is no coincidence that Cezanne, albeit somewhat polemically sharpening his position, later argued that Monet’s art is “only the eye.”
Monet's early works are quite traditional. They still contain human figures, which later increasingly turn into staffage and gradually disappear from his paintings. In the 1870s, the impressionistic style of the artist finally took shape, and from now on he devoted himself entirely to landscape. Since that time he has worked almost exclusively en plein air. It is in his work that the type is finally established big picture- sketch.
Monet was one of the first to create a series of paintings in which the same motif is repeated at different times of the year and day, under different lighting and weather conditions (see Appendix No. 1, Fig. 5, 6). Not all of them are equal, but the best paintings in these series amaze with the freshness of their colors, the intensity of color and the artistry of their lighting effects.
In the late period of creativity in Monet’s painting, the tendencies of decorativeism and flatness intensified. The brightness and purity of colors turn into their opposite, a kind of whitishness appears. Speaking about the late Impressionists’ abuse of “light tone, turning some works into a discolored canvas,” E. Zola wrote: “And today there is nothing but plein air... only spots remain: the portrait is only a spot, the figures are only spots, only spots.” .
Other impressionist artists were also mostly landscape painters. Their work often undeservedly remained in the shadows next to the truly colorful and impressive figure of Monet, although they were not inferior to him in their vigilance of vision of nature and in their painting skills. Among them, the names of Alfred Sisley (1839-1899) and Camille Pissarro (1831-1903) should be mentioned first. The works of Sisley, an Englishman by birth, are characterized by a special pictorial elegance. A brilliant master of plein air, he knew how to convey the transparent air of a clear winter morning, the light haze of sun-warmed fog, and clouds running across the sky on a windy day. Its range is distinguished by its richness of shades and faithfulness of tones. The artist’s landscapes are always imbued with a deep mood, reflecting his essentially lyrical perception of nature (see Appendix No. 1, Fig. 7, 8, 9).
It was more complicated creative path Pissarro, the only artist who participated in all eight exhibitions of the Impressionists, J. Rewald called him the “patriarch” of this movement. Starting with landscapes similar in painting to the Barbizons, he, under the influence of Manet and his young friends, began to work in the open air, gradually lightening the palette. Gradually he develops his own impressionistic method. He was one of the first to abandon the use of black paint. Pissarro was always inclined to an analytical approach to painting, hence his experiments in the decomposition of color - “divisionism” and “pointellism”. However, he soon returns to the impressionistic manner in which his best works- wonderful series of city landscapes of Paris (see Appendix No. 1, Fig. 10,11,12,13). Their composition is always thoughtful and balanced, their painting is refined in color and masterful in technique.
In Russia, the urban landscape in impressionism was enlightened by Konstantin Korovin. “Paris came as a shock to me... the impressionists... in them I saw what I was scolded for in Moscow.” Korovin (1861-1939) together with his friend Valentin Serov were central figures Russian impressionism. Under the great influence of the French movement, he created his own own style, which mixed the basic elements French impressionism with the rich colors of Russian art of that period (see Appendix No. 1, Fig. 15).
18-19 centuries marked a period of prosperity European art. In France, Emperor Napoleon III ordered the reconstruction of Paris following hostilities during the Franco-Prussian War. Paris quickly became the same "shining city" that it had been under the Second Empire and again proclaimed itself the center of European art. Therefore, many impressionist artists turned to the theme of the modern city in their works. In their works, the modern city is not a monster, but a homeland where people live. Many works are impregnated strong feeling patriotism.
This can be especially seen in the paintings of Claude Monet. He created more than 30 paintings with views of Rouen Cathedral in a wide variety of lighting and atmospheric conditions. For example, in 1894 Monet painted two paintings - “Rouen Cathedral at Noon” and “Rouen Cathedral in the Evening”. Both paintings depict the same fragment of the cathedral, but in different tones - in the warm yellow-pink tones of midday and in the cold bluish shades of the dying twilight light. In the paintings, the colorful spot completely dissolves the line; the artist conveys not the material weight of the stone, but, as it were, a light colorful curtain.
The Impressionists sought to make the painting look like open window, through which one can see real world. Often they chose a view from the window onto the street. The famous “Boulevard des Capucines” by C. Monet, painted in 1873 and shown at the first Impressionist exhibition in 1874, is an excellent example of this technique. There is a lot of innovation here - the view of a large city street was chosen as the motive for the landscape, but the artist is interested in its appearance as a whole, and not its attractions. The entire mass of people is depicted with sliding strokes, in a generalized manner, in which it is difficult to make out individual figures.
Monet conveys in this work an instantaneous, purely visual impression of the barely noticeable vibrating air, of the streets, people and departing carriages going deeper into the depths. It destroys the idea of a flat canvas, creating the illusion of space and filling it with light, air and movement. The human eye rushes into infinity, and there is no limiting point where it could stop.
The high point of view allows the artist to abandon the foreground, and he conveys the brilliant sunlight in contrast with the bluish-purple shadows of the houses lying on the street pavement. Monet gives the sunny side orange, golden-warm, the shadow side violet, but a single light-air haze gives the entire landscape tonal harmony, and the contours of houses and trees emerge in the air, permeated with the sun's rays.
In 1872, in Le Havre, Monet painted “Impression. Sunrise" - a view of the port of Le Havre, later presented at the first exhibition of the Impressionists. Here the artist, apparently, has finally freed himself from the generally accepted idea of the image object as a certain volume and devoted himself entirely to conveying the momentary state of the atmosphere in blue and pink-orange tones. In fact, everything seems to become intangible: the Le Havre pier and the ships merge with the streaks in the sky and the reflection in the water, and the silhouettes of fishermen and boats in the foreground are just dark spots made with a few intense strokes. The rejection of academic techniques, painting in the open air and the choice of unusual subjects were met with hostility by the critics of the time. Louis Leroy, the author of a furious article that appeared in the magazine "Charivari", for the first time, in connection with this particular painting, used the term "impressionism" as a definition of a new movement in painting.
Another outstanding work dedicated to the city was Claude Monet’s painting “Gare Saint-Lazare”. Monet painted over ten paintings based on the Saint-Lazare train station, seven of which were exhibited at the 3rd Impressionist exhibition in 1877.
Monet rented a tiny apartment on Monsey Street, located near the station. The artist was given complete freedom of action. The movement of trains stopped for a while, and he could clearly see the platforms, the furnaces of smoking locomotives, which were filled with coal - so that steam would pour out of the chimneys. Monet firmly “settled” at the station, passengers watched him with respect and awe.
Since the appearance of the station was constantly changing, Monet only made sketches on location, and based on them in the studio he painted the paintings themselves. On the canvas we see a large railway station, covered with a canopy mounted on iron poles. There are platforms on the left and right: one track is intended for commuter trains, the other for long-distance trains. The special atmosphere is conveyed through the contrast of dim lighting inside the station and the bright, dazzling street light. Plumes of smoke and steam scattered throughout the canvas balance the contrasting stripes of lighting. Smoke seeps everywhere, glowing clouds swirl against the faint silhouettes of buildings. Thick steam seems to give shape to the massive towers, covering them with a light veil, like the thinnest cobweb. The picture is painted in gentle muted tones with subtle shade transitions. Swift, precise strokes in the shape of commas, characteristic of that time, are perceived as a mosaic; the viewer gets the impression that the steam is either dissipating or condensing.
Another representative of the Impressionists, C. Pissarro, like all Impressionists, loved to paint the city, which captivated him with its endless movement, the flow of air streams and the play of light. He perceived it as a living, restless organism, capable of changing depending on the time of year and the degree of illumination.
In the winter and spring of 1897, Pissarro worked on a series of paintings called “Boulevards of Paris”. These works brought fame to the artist and attracted the attention of critics who associated his name with the divisionist movement. The artist made sketches for the series from the window of a hotel room in Paris, and completed work on the paintings in his studio in Eragny at the end of April. This series is the only one in Pissarro’s work in which the artist sought to capture with maximum accuracy various conditions of weather and sunlight. For example, the artist painted 30 paintings depicting Montmartre Boulevard, viewing it from the same window.
In the paintings “Boulevard Montmartre in Paris,” master C. Pissarro masterfully conveyed the richness of atmospheric effects, the colorful complexity and subtlety of a cloudy day. The dynamics of city life, so convincingly embodied by the painter’s quick brush, creates an image of a modern city - not ceremonial, not official, but excited and alive. The city landscape became the main genre in the work of this outstanding impressionist - the “singer of Paris”.
The capital of France occupies a special place in Pissarro's work. The artist constantly lived outside the city, but Paris persistently attracted him. Paris captivates him with its incessant and universal movement - the walking of pedestrians and the running of carriages, the flow of air currents and the play of light. Pissarro's city is not a list of noteworthy houses that came into the artist's field of vision, but a living and restless organism. Captivated by this life, we do not realize the banality of the buildings that make up the Boulevard Montmartre. The artist finds unique charm in the restlessness of the Grand Boulevards. Pissarro captured Montmartre Boulevard as morning and daytime, evening and night, sunlit and gray, looking at it from the same window. The clear and simple motif of the street receding into the distance creates a clear compositional basis, which does not change from canvas to canvas. The cycle of canvases painted the following year from the window of the Louvre Hotel was constructed completely differently. In a letter to his son while working on the cycle, Pissarro emphasized the different character of this place from the Boulevards, that is, the square of the French Theater and the surrounding area. Indeed, everything there rushes along the axis of the street. Here, the square, which served as the final stop of several omnibus routes, intersects at the most various directions, and instead of a wide panorama with an abundance of air, our eyes are presented with a closed foreground space.
