na, potpuno završena slika kakvu je tadašnja akademija očekivala. Reč koja je trebalo da bude uvreda ubrzo je postala ime pokreta. Dega je praktično preuzeo or- ganizaciju, prenosio slike i nad- gledao postavljanje, a Mone je bio toliko zabrinut za svoj rad da je skoro odustao od izlaganja. Prva izložba izazvala je masu reakcija. Kažu da su posetioci često staja- li zbunjeni pred Moneovim ili Re- noarovim slikama, smejući se neo- baveznim potezima četkice. Jedan od posetilaca navodno je komen- tarisao: „Ako je ovo umetnost, ja sam spreman da budem pirat!“ Grad je u to vreme već bio u periodu velike promene. Novi bu- levari, parkovi i železnice menjali su svakodnevni život Pariza, a im- presionisti su upravo taj moderni ritam gradskog života pretvarali u motive svojih slika. Renoar je sli- kom beležio plesne vrtove i kafiće, Dega baletske scene, dok je Mone opsesivno pratio svetlost nad re- kom i u pejzažima. Između 1874. i 1886. grupa je organizovala ukupno osam za- jedničkih izložbi. Stilovi su se to- kom godina razvijali i razilazili, ali osnovna ideja ostala je ista: zabe- ležiti prolazni trenutak i svetlost dana, ono što „teče“, umesto savr- šenih kompozicija u ateljeu. Ironija istorije je očigledna. Ono što je u aprilu 1874. izgle- dalo kao eksperiment male gru- pe buntovnih slikara, danas je je- dan od najpopularnijih pravaca u svetu umetnosti. Radovi impresi- onista su među najtraženijim deli- ma u muzejima i među najvoljeni- jim slikama kod publike. A sve je počelo jednim prolećnim danom u Parizu, kada je nekoliko umetni- ka odlučilo da slikarstvo izvede iz ateljea – pravo na dnevnu svetlost i u radosne boje aprila.
Pisaro / Pissarro
APRIL COLOURED BY IMPRESSIONISM When art abandoned the studio and delved into the Parisian spring Halfway through the long bygone April of 1874, Paris provided the backdrop for a mini art rebellion that would go on to change art history
A group of young artists who were sick of being constant- ly rejected by the official Par- is Salon - France’s preemi- nent exhibition - decided to organise their own exhibition. Opened on 15 th April at the studio of famous photographer Nadar on the Boulevard des Capucines, its organisers cared on- ly about one thing: presenting paintings that the Salon didn’t want to see. Some 30 artists exhibited around 200 works. Among them were famous figures like Claude Monet, Renoir, Ed- gar Degas, Pissarro and one lady artist - Berthe Morisot. Their paintings differed drastically from anything the pub- lic could have expected. Instead of his- torical scenes and mythological heroes, they painted parks, rivers, dance halls, train stations and everyday people. Swift
brushstrokes and bright colours creat- ed a sense of the moment – ephemeral, yet alive. The term “impressionism” was coined almost by accident – and in jest. Critic Louis Leroy wrote a scathing satirical ar- ticle after the 1874 exhibition, referring to Monet’s painting Impression, Sunrise. “Wallpaper in its embryonic state is more finished than this seascape”, he wrote, ironically emphasising that it was mere- ly an “impression”. Monet had named the painting “Impression” in order to em- phasise that it was a study of a moment, rather than the type of conventionally complete painting that was expected by the Academy of the time. A word intend- ed as an insult soon became the name of a movement. The first exhibition prompted major reactions. Visitors are said to have stood
Tekst / Words: Jelena Pantović Fotografije / Photography: Profimedia.rs
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