印象派 绘画与革命
导演: Susan Doyon
编剧: Waldemar Januszczak
官方网站: http://www.bbc.co.uk/programmes/b012rvkl
Art writer Waldemar Januszczak explores the revolutionary achievements of the Impressionists. In the first episode, Waldemar delves into the back stories of four of the most influential Impressionists - Pissarro, Monet, Renoir and Bazille - who together laid the foundations of the artistic movement. He finds out what social and cultu...
Art writer Waldemar Januszczak explores the revolutionary achievements of the Impressionists. In the first episode, Waldemar delves into the back stories of four of the most influential Impressionists - Pissarro, Monet, Renoir and Bazille - who together laid the foundations of the artistic movement. He finds out what social and cultural influences drove them to their style of painting, how they were united and how ultimately they challenged and changed art forever.
Waldemar journeys from the shores of the West Indies, to the progressive city of Paris to the suburbs of South London, where these four artists drew inspiration from the cities and towns in which they lived. Whether it be the infamous spot on the river Seine - La Grenouillere - where Monet and Renoir beautifully captured animated people, iridescent light and undulating water or the minimalist, non-sensationalised illustrations of Pissarro s coarse countryside paintings, Waldemar discovers how the Impressionists broke conventions by depicting every day encounters within the unpredictable and ever changing sights around them.
Waldemar Januszczak continues his investigation of the Impressionists by taking us outdoors to their most famous locations. Although Impressionist pictures often look sunny and relaxed, achieving this peaceful air was hard work. Trudging through fog, wind and rain, across treacherous coastal rocks and knee-deep snow, Waldemar shows how the famous spontaneity of the Impressionists is thoroughly misleading.
This episode visits the French riverside locations that Monet loved to paint, and where Renoir captured the bonhomie of modern life. Waldemar also introduces a number of technical and practical developments of the age which completely revolutionised Impressionist painting - the invention of portable easels; the use of hog s hair in paint brushes; as well as the introduction of the railway through France. And a scientific demonstration in a Swedish snowdrift explains just how right the Impressionists were to paint brightly coloured shadows in their winter scenes, despite being accused of hallucinating at the time.
Finally, Januszczak explains Cezanne s part in the Impressionist story from his dark and challenging early work to his first rural landscapes in France, and then his departure from Paris and separation from the Impressionist gang.
Waldemar Januszczak continues his investigation of the Impressionists, focusing this time on the people they painted and in particular the subjects of Degas, Caillebotte and the often forgotten Impressionist women artists. The Impressionists are famous for painting landscape but they were just as determined to paint people.
Looking closely at one of Impressionism s finest painters, Edgar Degas, Waldemar reveals how he consistently challenged traditions and strove to record real life as it appeared in the city, from sculpting the contorted movements of horses in motion at the Longchamp race course in Paris to encapsulating extravagant 3D viewpoints of the ballet dancers at the Paris Opera.
Waldemar also uncovers the intoxicating haziness the pastel produced in Degas work when visiting his supplier Pastels de Roche. He also reveals the unusual viewpoints and dramatic perspectives of Caillebotte s paintings from the Place de L Europe and the rebellious and revolutionary art of Morisot, Bracquemond and Cassatt, three impressive female artists who were eagerly embraced by the progressive movement of Impressionism
This episode takes a closer look at the late years of Impressionism, using the last show these artists did together as a starting point.
Waldemar looks in considerable depth at the work of Georges Seurat, taking into consideration his academic training at the Beaux-Arts School in Paris and the artists that influenced him, such as Piero della Francesca and Puvis de Chavannes.
There is also an insight into the complex but fascinating world of optics and art, and the ways in which the Impressionists were using the new discoveries in light and eyesight to influence their work. A fascinating after-image experiment brings to life the ways in which our own eyes see colour, both in its presence and its absence.
Van Gogh s time in Paris, a period very little is known about, is also covered, charting the incredible journey the artist made from his brown and dull canvases to the splendid colour and light that pervaded his work on the cusp of his departure for the South of France.
The film finishes with a revisiting of Monet and his later waterlily paintings in the Orangerie in Paris. Waldemar investigates how a bad case of cataracts was responsible for a seismic shift in his colour palette and his brushstrokes. Spending time with an ophthalmologist, he finds out how old age and a fairly common ailment of the eyes caused Impressionism to shift and become radical again at the turn of the century and into the 20th century
添加视频评论 | 图片65 · 添加
[第3集] 谁知道第三集的粉笔店在哪？5色小盒的哪有...
求字幕啊求字幕啊！！！！！！！！
[第4集] 探讨里面的背景音乐
[第1集] 是技术变革产生印象派，还是反之？
这片子的下集叫什么名字？
[第4集] 探讨里面的背景音乐
[第1集] 是技术变革产生印象派，还是反之？
[第3集] 谁知道第三集的粉笔店在哪？5色小盒的哪有...
求字幕啊求字幕啊！！！！！！！！
这片子的下集叫什么名字？
BBC：巴洛克！-从圣彼得到圣保罗
洛可可：旅行，享乐，疯狂
艺术普及资料，翔实而生动的入门级有声读物
据说顾爷对印象派的解读部分就是“借鉴”了这个节目
这个纪录片不打满分我还是人？这么用心
评论被折叠，是因为发布这条评论的帐号行为异常
评论仍可以被展开阅读，对发布人的账号不造成其他影响
如果认为有问题，可以联系豆瓣电影
你关注的人还没写过短评
印象派 绘画与革命的剧评 · · · · · ·
在所有艺术流派里我独独喜欢印象派，古典派太贵族，现代派太抽象，只有19世纪的印象派让我感觉最亲切
在大众审美领域，印象派似乎也有广泛的群众基础
近年来，以梵高领衔的印象派的作品屡屡拍出天价，前几年年印象派来中国展览的场面也是人头攒动，轰动一时
梵高传奇性的天...
这部片子完全可以说是纪录片中的一股清流吔～ 每次看这四集的OP我都不会错过，Hold your horses乐队的《70 million》，配合着让人不禁捧腹大笑的MV画面，这些奠定了本片的风格:用逗比的方式说出了严肃的史实，浅显易懂，很容易让人接受
片中的很多情节和画面也都将主持人的...
1. 犹太教《十诫》：不可为自己雕刻偶像，也不可做什麽形像彷佛上天、下地，和地底下、水中的百物 You shall have no other gods beside Me. You shall not make for yourself a sculptured image, or any likeness of what is in the heavens above or on the earth below, or...
印象派的特点就是户外作画，画现实生活，抓现实光线 0、时代 印象派诞生的年代，正是巴黎瞬息万变的年代，拿破仑三世掌权，巴黎人口翻番，建筑景观大变，经济快速发展 扁头刷发明，之前画画都用圆头刷；用小猪毛做画笔，相比之前的鼬科动物毛，更硬更粗，运笔坑坑洼洼 颜料管发...
更多的是报以学习的角度
报以学习的角度去观看这部纪录片，受益匪浅
在这个开放的的时代，扩张个人风格尤为突显，那么作为一名文艺/文字工作者，提高自我修颜和培养自己的审美观念就很重要了
基本上我是为了让自己了解世界美术的各种流派和思想并带有强烈渴望的求知心态想要明白“艺术之所以被称之...
牙怒扎杰作
结合了实地调查，和材料学分析
他居然去了青蛙塘 第一集：四人帮
毕沙罗，参加了所有八次展览，他是维京群岛上的犹太血统，禁止画画
颜料(青金石)装管，之前他们用猪膀胱，是1841年在英国的美国人兰德发明，就职于温莎牛顿公司
毕沙罗1855年到巴黎，城市在巨变...
1. 「莫奈一生都伴水而居，就像他出生时连着两根脐带，一根连着母亲，一根连着塞纳河
」画水的难点在于，水变幻无常，虚虚实实，风一吹就起了涟漪
2. 画家们的罩衫通常都是深色的，比如黑或蓝，是担心罩衫上反射的光投射到画布上，影响作画
戴宽沿帽也是出于颜色判断的考...
评论被折叠，是因为发布这条评论的帐号行为异常
评论仍可以被展开阅读，对发布人的账号不造成其他影响
如果认为有问题，可以联系豆瓣电影
莫奈的艺术，已经成为了自然本身
印象派兴起于19世纪60年代，兴盛于70、80年代，反对因循守旧的古典主义和虚构的臆造的浪漫主义
画家把“光”和“色彩”作为绘画追求的主要目的，他们倡导走出画室，描绘自然景物，以迅速的手法把握瞬间的印象，使画面呈现出新鲜生动的感觉
莫奈不喜欢学院派的新古典主义的...
印象派 绘画与革命-
