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At the root of contemporary art. The crisis of Impressionism

Vincent van Gogh.
I girasoli, 1888, Londra.
National Gallery

Nel 1886 è un anno chiave for art in Paris, then the undisputed capital of the European School. The pointillist

contributes to the emergence of new languages \u200b\u200bfor the future development of artistic creation. The original style of Paul Cezanne, is increasingly becoming more and more significant results with becoming a point of reference for the new generations, by Paul Gauguin, who is still seeking its own artistic language, but already interested in painting a synthetic, highly symbolic.

In that period he worked in Paris Herri de Toulouse-Lautrec, a man become a legend because of its short fictional biographer, sensitive singer of Parisian nights and clever inventor of posters of surprising modernity. In 1886 Vincent van also comes Gong and its unique language will leave a deep mark on the European scene, sowing the seeds for the birth of the expression of them upset about the artistic circles in France and Germany.

The expressions are not easy to label, artists are free of any membership group.

These new artists express a new way of seeing and hearing. Art is no longer a retinal and simply record the external reality, the impressions of truth, the artist looks into looking at the answers himself, transforms, translates information that the eye provides, enriching or simplifies a new era is dawning The "big eye" of Monet to capture the subtle variations of true, is not enough. The term has already passed the impression, the time of avant-garde is now at hand.

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The short life of Henri de Toulouse-Lautrec , has the flavor of a novel and can be used as few others in the narrative. This aspect too has contributed to the fame of the artists who best embody the common imagery of life in Paris. Beyond lights and shadows of his character, Toulouse is a painter of the highest level, an extraordinary inventor of billboards and very modern printed works that are innovative graphics solutions. Born in 1864, from a noble family, he started painting as a result of immobility due to poor health forced, un'osteogenesi imperfect nature of genetics is causing his frequent bone fractures, and stop its growth to 150 cm in height. In 1886 he moved to Paris, the economic independence also marks the start of a brilliant and brief career as an artist. Admirer of Degas he devoted mainly to scenes of daily life in Paris by night. If the issues are similar to those of Degas, the aproccio is different. Seconded the eye of the master impressionist is replaced by that of Henri Toulouse-sensitive. To understand the difference between the two eyes, is enough to compare the works of Degas to the female toilet and one of the best known oils of Toulouse. The toilet in the first image gives the impression of spying in the lock, the second in spite of the position behind the subject and the atmosphere of a quiet complicity between artist and model. Few artists have managed to portray the daily life with stunning immediacy. The bed is a real snapshot of disarming truth cultured without malice can suggest the complexity of a lifetime in the short space of a sheet.

His posters have made history, one of the most famous Moulin Rouge, La Goulue, a new era, the advertising graphics. The poster was an immediate success and introduces some great novelty, reminiscent of a sign written in red with a solution of the big M and the repetition of words, the perspective distortion of space, globes of gas lamps, the idea of \u200b\u200bthe public placed in a semicircle. Henri Toulouse combines different suggestions, mediating the simplicity and stylization of Japanese prints, key to understanding the artist's work. "Toulouse, became interested in lithography in 1891, in ten years will create more than 360 that shows the 'the artist's commitment in this area. Lautrec for his graphic works is a proper completion of the work depicted. A lot of originality not matched by a real appreciation from the critics and the public, which does not include the changes introduced by the artist. Toulouse, died at only thirty-seven years syphilis.

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Paul Cezanne . The father of modern
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Paul Cezanne .

Apples and oranges-1895-1900

Paris, Musée d'Orsay

apples make their appearance in the work of Cezanne in the seventies and became, in later years, one of the most popular subjects of the artist. Cezanne's style in painting fruit has charmed critics and writers, is known, the opinion of the writer Virginia Woolf observes that As you look more like apples of Cezanne, the more apples seem to become more red and more green and round and their heavy pigment itself seems to defy, we touch some nerve, stimulate, excite words inspire in us where we did not believe that words exist, suggests ways in which the first did not see that yet. In this wonderful canvas
nothing is left to chance, the objects and fruits are arranged in space according to different angles, along a diagonal, giving a balanced but very complex multiplicity of points of view.

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Paul Cèzanne nasce a Aix-en Provence nel 1839. Suo padre è un fortunato commerciante di umili origini che grazie alla propria abilità negli affari, arriverà a possedere l'unica banca della città; all'ascesa economica non ne corrisponde una sociale: gli arricchiti Cèzanne non godrà mai della considerazione dei propri concittadini. Compagno di scuola di Zola, che rappresenta per il pittore un importante riferimento culturale e affettivo Paul abbandona presto gli studi per dedicarsi alla pittura. Parte per Parigi dove viene accolto con ostilità: il suo carattere scontroso e ostentatamente rozzo, cosi poco avvezzo alle raffinatezze cittadine, si accompagna a un linguaggio artistico incomprensibile anche agli spiriti più colti. Il lato oscuro Cezanne's good is evident in his early works, never completely subsided even in maturity. First encounter with impressionism whose works are Maddalena (1869 Paricio about Musée d'Orsay) or woman strangled of 1870-1872, Paris, Musée d'Orsay), both works highlight a particular aspect of the work of visionary Cèzanne.Le scenes painted in the seventies-all: The orgy (pictured right)
(around 1870 private collection) which reveals all the contradictions and fears of a difficult man inwardly unresolved, for which the sexual and emotional relationships are still a painful battlefield. The paintings of this period are particularly interesting for understanding the artist and his work.
The portrait is a genre very popular artist, from the beginning. The youthful portrait of her father, learned while reading the newspaper in an armchair at home gives us an extraordinary example, the apparent calm hides once again the complexity of a difficult family relationship: "L'événement" is the newspaper in which Zola publishes his articles in defense of the Impressionists, writings hardly have received the sympathy of his father, adamantly opposed to the son's departure for Paris and his vocation as an artist. It is no coincidence that, at his back, face fine show whether, on the wall, a still life painter, a painting that really exists: Sugar Pears and blue cup (1865-1866 - Paris Musée d'Orsay) Works
the next with Paul Gauguin and Vincent van Gogh

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Stars. Silent spectators

of anger and joy

of terrible things

motionless companions of the lonely wanderer

the fisherman at night

of those awaiting a return.

To offer looks

joyful sparks.

Splendor spread. Want to light up

Stars.

Ember dispensers of hope

Dreams illuminate

range of colors in unexpected.

wink

Bright summer nights.

Recall blond sirens

for the novel Ulysses.

Stars.

In their magic dust

the beginning of time is enclosed

the mystery of the universe.

Anna Robert
thank my friend Anna, who with his verses, enhanced by pure poetry Soloimmagini.

Wooden Fingerboard Sale 2010

The daily distribution to kiosks of the historic center of Venice in the early hours of the morning, newspapers and periodicals


WHY 'PRINT WHEN IT' IN LOSS OF PERENNIAL?


At the bottom of many emails I receive, marked with a logo depicting a small leaf, often find the phrase "Respect the environment. Do not print this email if you do not need "an invitation, in other words, not wasting paper and contribute thereby to protect the planet from the disastrous deforestation in place a bit 'everywhere and especially in the Amazon rainforest. And also to prevent, if the mail, once printed and completed its purpose, would end up as often the case in the trash, excessive and unnecessary accumulation of waste paper difficult to recycle or dispose of without causing damage, in one way or another, the environment.

Given the crisis in newspapers for years now a bit 'all over the world and especially in our country - not having been able to grasp and make their own opportunities offered by social and cultural changes have occurred in recent years globally via the Internet - and considered that their publishers, despite the inevitable financial losses resulting from the crisis, continue undeterred to send them on sale regularly using tons and tons of paper, and wasting nearly as many because yield more consistent every day, why not pay them a call also to respect the environment and not to print their newspaper if it is not necessary?

Maybe some of them can not repent, for once, closing down shack and puppets rather than insistently pity funding from the state, blame is wrong with the Internet or rhetorically unlikely prospect risks to our democracy, as if a company has finally learned to communicate on its own and in its place, without any need for intermediaries or distributors from the top of world views, then something was undemocratic.

ENZO PEDROCCHI


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fall in sales for newspapers, data

(http://lapulcedivoltaire.blogosfere.it/2010/05/crollo-delle-vendite-per- everyday-i-i-dati.html)

Transmission Fluid 110cc

DAILY NEWSPAPERS IN THE AGE OF THE INTERNET 2.0

Far from become "the morning prayer of modern man" - according to the wish of Hegel - reading the newspaper or newspapers, both in their traditional print edition in the online media, meets today new and unexpected obstacles - including which, above all, the claim more and more ways and times to make information on the so-called "web 2.0" - which hamper it in a much more serious and more serious than any obstacle encountered in the past.

Until a few decades ago, when yours truly was still little more than a boy, the biggest obstacle standing in the way of reading one or more daily newspapers printed edition, which was still the only existing, was represented by a widespread reluctance to the reading in our country and due in large part, in addition to a low level of culture medium at all to have the slightest familiarità con la lingua italiana scritta, al fatto che la giornata della stragrande maggioranza della popolazione italiana era ancora forzatamente assorbita pressoché interamente dalla preoccupazione di mettere insieme quotidianamente pane e companatico. E non c’era quindi assolutamente spazio, né voglia, per distrazioni fuorvianti quali la lettura anche soltanto del quotidiano locale, riservata a pochi privilegiati che, grazie alla discreta condizione economica di cui godevano, potevano tranquillamente permettersi tale “lusso”, assieme curiosamente a pensionati, disoccupati e sfaccendati vari che, pur non godendo ovviamente dei medesimi mezzi economici, potevano tuttavia disporre di tutto il tempo possibile e immaginabile e approfittare during the day the newspaper that, like today, many public places are used to make available to its customers.

Subsequently, in a few years, everything changed fortunately thanks to a relative affluence spread in most of the Italian population and the launch in our country, similar to what had already happened a long time in other European countries, of mass schooling. But, despite the fact that after these changes become the newspaper every day for many Italians a primary means of information and movement of ideas, but we do not differ much in the world ranking of reading newspapers, they were still relegated in last place, where, after several years, is still shown today - by, paradoxically, in certain countries where the notoriously press freedom and the right to information which are essential to democracy, are being systematically violated - taking into account that, as you can read between the other things in an interesting article by Stephan Faris published in "Time" just a few months ago - Italy's Newpapers: Untrusted Sources - only one Italian out of ten law on a daily newspaper, against one in five U.S. and three in five in Japan.

In this regard, however, today, unlike the past when there was a tendency to attribute almost exclusively to the hastily because of the limited success of newspapers in our country to a supposed innate idiosyncrasy of reading against the Italians in general and to wrongly assume that the newspapers did not have anything to reproach which, not a few analysts are of the opinion that it, beyond all possible faults of the Italians, should certainly attributable in part to what the newspapers could not do and have done and continue to do today to avoid the crisis in a long time.

E 'in the eyes of all, to cite one example, they have not innovated pressoché nulla in un secolo e che, se si eccettua qualche dettaglio, come la fotografia a colori o il formato tabloid, i quotidiani che troviamo oggi in edicola non siano poi molto diversi, alla fin fine, da com’erano un secolo addietro. E, quel che è peggio, è che essi tendano per lo più a trasferire la medesima staticità e mancanza di innovazione, in forme diverse, anche nelle loro edizioni on line. Con il risultato di una sostanziale delusione da parte dei lettori, sia giovani che meno giovani, i quali chiedono in genere maggiore partecipazione e interattività; notizie inedite che non risultino, possibilmente, già apprese la sera prima dalla televisione o dalla radio e attinte solo ed esclusivamente dai canali ufficiali, but also from other news sources, alternative to the latter, such as blogs, citizen journalism, social networking etc, and especially images and video to the post, preferably, certain pedants pistolotti written primarily, rather than to inform, to show off its prose and culture with friends, colleagues, politicians etc..

It goes without saying that as long as the newspapers, be they paper or digital, will not feel the need to innovate, especially bridging the gap between what we usually offer and what would be requested, the crisis in act, not only will not cease, but that appears even more logical.

ENZO PEDROCCO

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Murdoch & Co. hanno sprecato tutto

Black And White Party Wording

Edouard Manet, off September 30, 1882 His death opens a deep wound in the Impressionist group, the loss of a landmark so important in a way that accentuates the crisis for some time going through the ranks of the movement - also irreversible, which will explode in all its seriousness of the last exposure. organized in 1886 - the cause must be sought not so much in the history of the movement itself but in the artistic faced by each of its members.

Pierre-Auguste Renoir

(Madame Charpentier with children)

1878

Metropolitan Museum of Art, New York

The most emblematic example of current crisis is to Auguste Renoir , trasfuga the first group, which analyzes lucidly his expulsion from the Impressionist movement, going so far as, if not deny, rillegerne at least many of the precepts in a new light.
The work which starts at the turn of the artist's style is an impressive portrait of the wife of the famous publisher Sharpentier Georges, Madame Sharpentier with his children, Renoir decided to present with large-blame by Degas, always critical of official circles.

Edgar Degas L'Etoile, 1876 - 1887, Paris, Musée Dorsay.

The first signs of crisis all'interno del movimento si avvertono già con la quarta esposizione, organizzata nel 1879, fortemente voluta da Degas, che è tra i principali premonitori. Renoir e  Sisley , decidono di non parteciparvi. Ne seguirà l'esempio Claude Monet, che diserterà la quinta edizione, lasciandosi alle spalle un'associazione ormai ridotta a pochi elementi:  Pissarro , La  Morisot ,  Caillebotte ,  Guillaumin ,  Rouart  e Degas " Che ne sarà delle nostre esposizioni"?, scrive in una lettera Degas a Camille Pissarro, il 24 gennaio del 1881, "
must continue, but continue only in the artistic sense, the only way, by definition, that interests us. "He calls for a return of the friends who have deserted the latest exhibitions, some wish fulfilled in the edition of 1882, which revises between participants Monet, Renoir and Sisley (but lack Degas), but it represents at the same time, the swan song of the group.

Degas sculpture arrives with his usual wit and curiosity. A severe shortage has made it to the view difficult approach to oil painting, pushing towards the use of crayon and from the plastic work. " E 'to my satisfaction that the wax model, animals and people, "the artist explains," not per allontanarmi dalla pittura e dal disegno ma per donare alle mie pitture e ai miei disegni più espressione, più ardore e più vivacità".Raramente Degas mostra le proprie sculture al pubblico. Quando provò a esporre Ballerina di quattordici anni, (nell'immagine) la critica si scatena con l'usuale ferocia. Alla sua morte vengono trovate nel suo atelier centocinquanta sculture in cera e in terracotta, molte delle quali saranno poi  fuse in bronzo da  Hèbrard, nel 1991.

        

Il pittore dell'impossibile.

Claude Monet

less dramatic and ostentatious, but just as deep and perhaps even more complex, is the stylistic evolution of Claude Monet. True to paint en plein and Impressionism, Monet knows how to deepen their poetic prejudice in the wake of the movement that he created years ago. Interest and research on the changeability of the only reality and the perception that it has the human eye. To find new ideas makes many trips: visit the north and the south of France, the Netherlands Italy, Norway Whether looking for new confirmations to their thinking, new grounds on which riflettere.Il subject is always an excuse: they are the haystacks and the Rouen Cathedral does not matter. What matters is the perception that they have, the rapid change of their appearance due to changing weather conditions. The same place is portrayed at different times of day and under different climatic conditions to be able to fix on canvas the subtle, sometimes imperceptible, changes the truth. That Monet has become a challenge, conscious search of the impossible. In 1890 he settled in Giverny, where he has long been a studio. Here she realizes his dream: the creation of "a garden waterslide, a small pond full of water lilies crossed by a bridge Japanese landscape of water, "which soon became the sole protagonist of his pittura.Quella Monet's is more like a real poetry to the pages of Marcel Proust to ones, so close to impressionism history of Emile Zola. A lesson properly prepared, will mark the birth of the abstractism.

THE Pointillism

The crisis of the group that gave birth to Impressionism is evident, in tutta la sua gravità, nell'ottava e ultima mostra del 15 maggio del 1886. A tenere alta la bandiera dell'impressionismo ormai sono davvero pochi.
La presenza di Georges Seurat e del suo seguace Signac solleva molte perplessità tra gli altri membri del gruppo. Seurat apporta un elemento nuovo L'artista cerca di mettere in pratica una regola che gli impressionisti avevano indagato in teoria  ma disatteso nella loro pittura: non mescolare sulla tavolazza  i colori ma lasciare che sia la retina dello spettatore a farlo, osservando dalla giusta distanza una fitta rete di puntini di colore puro avvicinati seguendo le precise leggi della percezione cromatica. Per raggiungere il proprio fine, Seurat studia le piu recenti teorie ottiche. This scientific procedure allows the artist once set the tone that you wish to work in all light conditions, even artificial. It ended the era of painting en plein air.Anche organization of the composition he follows precise mathematical rules, coming to recover their criteria geometric proportion of Renaissance art, and a line of engraved, far away from the free brushwork of Renoir and Monet.

Georges Seurat A Sunday afternoon at the island of Grande-Jatte
1886, Art Institute, Chicago

preceded by numerous studies and meticulously prepared in detail, the Grande Jatte is one of the most modern and stunning paintings of the second half of the real stone of scandal to the Impressionist exhibition of 1886, the painting, monumental in size (207.6 x 308 cm), bears witness to the birth of a new style, known as Pointilisme for characterizing the application of color dots. The colors are divided according to the technique of touch divided, so as to achieve a particular color effect and a clear feeling bright In spite of the immobility of the composition of the scene as a whole retains an emotional vitality.

Georges Seurat, died at only thirty-one in the spring of 1891, leaving little but works reached the summit with the circus, the last artist's masterpiece, a veritable compendium of all her research.

The circus is an oil painting on canvas 185.5 x 152.5 cm built (but unfinished) in 1891 by the painter Georges-Pierre Seurat.

is kept at the Musée d'Orsay Parigi.L 'work was exhibited although it was not finished in seventh Salon des Independants, during the exhibition period morì.Seurat Seurat depicts the circus tent with foil and a party atmosphere . This is the last work of the painter, left unfinished at his death. The framework will be purchased by Paul Signac who then resold the American collector John Quinn, the promise of his bequest to the Louvre.

After his death, the Pointillisme affect many young people up to Herri Matisse-elaborating their first tests in a style close to that of Seurat. True heir of the painter Signac, however, is part of the assumptions to develop a style of Seurat's position, freer and more influenced by modern trends in taste.