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.
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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.
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.
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.
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.
