جستجوی مقالات مرتبط با کلیدواژه « امپرسیونیسم » در نشریات گروه « هنر و معماری »

Impressionism, the first modern artistic movement in the 19th century, refers to immediate sensory perception. This movement transformed painting and made its way into literature, offering a brilliant and fragmented representation. Impressionist painters aimed to capture the real world in a specific moment, emphasizing the role of perception in shaping reality. In literature, writers adopted the impressionist approach by expressing their momentary interpretations, presenting realistic mental images, and often eliminating the use of an omniscient narrator. Anton Chekhov is one of the few writers who skillfully incorporated the impressionist style into his works, particularly his plays.This research examines Chekhov’s plays and ascertains how he drew upon impressionist elements to present a comprehensive overview of society and reflect its contemporary cultural and social conditions. The study focuses on Chekhov’s play “Three Sisters” and employs a descriptive-qualitative approach and content analysis. Through theoretical research and extensive examination of literary sources, the impressionistic elements in Chekhov’s works are thoroughly investigated.By presenting a collection of features and characteristics associated with impressionism, the study demonstrates that Chekhov adeptly juxtaposed fragments of the mundane world inhabited by various characters. These fragments include their close relationships, missed opportunities, and the misguided values prevalent in Russian society. Chekhov’s plays present simple yet profound images of people’s lives, which serve as manifestations of impressionistic representations. Consequently, the findings of this research indicate that Chekhov’s prose, particularly his plays, exhibits a discernible influence of impressionism.In conclusion, Chekhov’s plays beautifully embody impressionistic characteristics, providing a nuanced and comprehensive depiction of society while reflecting his time’s cultural and social conditions. Chekhov successfully captures the essence of impressionism through the fragmentation of narrative events and the portrayal of characters’ interconnected lives. His works stand as a testament to his prowess as a writer in the impressionist style, solidifying his position as a prominent figure in literature.This research examines Chekhov's plays and ascertains how he drew upon impressionist elements to present a comprehensive overview of society and reflect its contemporary cultural and social conditions. The study focuses on Chekhov's play "Three Sisters" and employs a descriptive-qualitative approach and content analysis. Through theoretical research and extensive examination of literary sources, the impressionistic elements in Chekhov's works are thoroughly investigated.By presenting a collection of features and characteristics associated with impressionism, the study demonstrates that Chekhov adeptly juxtaposed fragments of the mundane world inhabited by various characters. These fragments include their close relationships, missed opportunities, and the misguided values prevalent in Russian society. Chekhov's plays present simple yet profound images of people's lives, which serve as manifestations of impressionistic representations. Consequently, the findings of this research indicate that Chekhov's prose, particularly his plays, exhibits a discernible influence of impressionism.In conclusion, Chekhov's plays beautifully embody impressionistic characteristics, providing a nuanced and comprehensive depiction of society while reflecting his time's cultural and social conditions. Chekhov successfully captures the essence of impressionism through the fragmentation of narrative events and the portrayal of characters' interconnected lives. His works stand as a testament to his prowess as a writer in the impressionist style, solidifying his position as a prominent figure in literature.

Claude Monet is known as the pioneer of the first completely modern movement in painting by presenting a different painting. In this work, instead of a completely naturalistic description of a sunrise scene, he records the immediate impact of the landscape on the eye by focusing on the transformations of light and color. In this way, nature in Claude Monet's works is more than the subject, it is an excuse for experiments that make him to leave the workshop and bring him a scientific and new vision to light and colour in contrast to the typical workshop painting style.In sunrise scene, Claude Monet shows a way of perception and vision that critics use the word "impression" to describe it. In his impressionist paintings, he is searching for a way to record the immediate visual perception of the subject, which in this regard changes the previous fixed principles in the field of painting and in general the thinking of the audience of the work. So that it provides a new description and interpretation of the usual and familiar category of nature.The nature in Monet's paintings shows that the painter is more concerned with describing nature than trying to find a way to record the immediate visual perception of the subject. Monet's special way of seeing nature makes it dependent on the individual experience of the artist from an independent and unchanging presence.His emphasis on visibility shows that the nature of the subject depends on the fleeting light conditions and that the subject of the painting is not visible to everyone in the same way. In this regard, by using the new theories of the emergence of colour and following the previous achievements of Barbizon painters, he turns nature from a completely naturalistic treatment into an excuse for another way of seeing and representing nature. By focusing on the change that governs nature and also human perception, Monet diminishes objective reality in contrast to sensory perception. Focusing on the transitory and fleeting states of nature, he reveals an invisible and absolutely necessary field to make nature visible.  The idea of series paintings by prioritizing the atmospheric conditions, for the first time diminishes the importance of the subject of the painting and encourages the painter's eye to push back the main subject and focus more on the invisible field, which makes the subject visible.At this time, the visible subject finds the rule of a reflecting mirror, which records the invisible conditions of every variable in a random state. With this preparation, Monet reveals the issue of how the subject of the painting has an existential cause related to an invisible realm. Based on this, Monet changes the framework of attention from the visible subject to the realm of invisibility, which, above all, requires the use of a method different from the common method.Unlike the previous painter, Monet is much less concerned with the description of the subject, beyond that, he is trying to achieve a pure visual-pictorial expression and to induce a sense of the subject to the audience. In This kind of painting, subject turns from a stable presence based on the pure principles of design into forms resulting from the capture of a moment, which their display requires concentration, speed and a special attitude of the painter. In this definition, the sense of the subject is more real than its solid shell, and in this way, the constructionist of nature is discarded and the solid structure of the form transformed in the rapid effects of light and colour.The difference that Monet creates in the history of painting is that this time he gives priority to the background environment. By changing the frame of attention from the main subject of the painting to the surrounding environment, Monet transforms the interaction between nature and the environment.Also, by using visual methods, he looks at a place in the image space that has been considered an unimportant background until now. In this regard, the paintings of Monet's collection realize the visualization of the invisible conditions of visible elements. This collection shows the constantly changing level of the interaction of elements and the surrounding environment, and more than the subject, it tries to capture an invisible position. Monet solves this issue in his painting by recording momentary perceptions, immediacy in execution, focusing on transitory and accidental states, and constructing the structure of objects and analyzing shapes in favour of representing the transformations of light. The broken colour technique, by ignoring the consistent linear format of the shapes, turns the canvas in to a field of continuous colour vibration and colour effects.Therefore, Monet's painting is the field of showing the simultaneous possibilities of visible and invisible, continuity and discontinuity. The elements of nature appear in Monet's painting through an invisible frame, and then, drowning in the distant dimension, they always stay back and remain invisible. Monet captures the visual effect of light without paying attention to the subject and presents relationships in the painting that until then had an unclear and dumb understanding.By introducing a new kind of perception and vision, Monet shows that; Rather than describing nature, the painter is trying to find a way to record the immediate visual perception of the subject. Monet's special way of seeing nature turns nature from an independent and static presence to the individual experience of the artist and his emphasis on his way of seeing and perceiving the moment and the transitory and dynamic conditions of light and atmosphere. This nature is the nature that the painter's eyes see. A method arising from the transformation of the painter's way of seeing, which leads to the transformation of the objective reality and negation of the validity of the subject. Therefore, Monet's paintings show the process of transformation of his look. So that the painting canvas is the field of emergence of the painter's perception in the face of the universe.  .

The Impressionists developed one of the most innovative movements in the history of Western art. Their revolutionary ideas about light and color, expression, realism, the aim of painting, and the artist's role laid the foundations of modern art. Although ridiculed at first by the art establishment in Europe, Impressionism became one of the most celebrated and popular art styles. Artists such as Monet, Manet, Pissarro, and Renoir have achieved enduring acclaim. Unlike the earlier Realists, Impressionists focused more on how light impacted the landscape at a particular time rather than creating a faithful representation of a static scene. Their techniques, subjects, and color palettes would conflict with accepted parameters for art during their era, necessitating a break from the restrictive control of institutions such as LAcadrmie des Beaux-Arts, which had traditionally set the standards in the Paris art world. Developing in Paris in the 1860s, its influence spread throughout Europe and eventually the United States. Its originators were artists who rejected the official, government-sanctioned exhibitions or salons, consequently shunned by powerful academic art institutions. In turning away from the fine finish and detail to which most artists of their day aspired, the Impressionists aimed to capture the momentary, sensory effect of a scene - the impression objects made on the eye in a fleeting instant. Many Impressionist artists moved from the studio to the streets and countryside, painting en Plein air to achieve this effect. As a multifaceted art, cinema is dependent on arts such as literature, music, and the visual arts, especially painting. The image, the most crucial element of cinema, owes much to the visual arts. French Impressionism is arguably the movement that initially academically inspired film criticism. The movement explored non-linear editing, innovative lighting, and attempts to portray dream sequences and fantasies, and other ingenious methods to tell a story from a protagonist's point of view. Although these conventions are well-known to filmgoers today, this common knowledge is thanks to innovative frameworks created with movements such as French Impressionism. Abel Gance even introduced using widescreen to enhance the cinematic experience for his 1927 film, Napoléon. The movement was somewhat inspired by the increasing dominance of American cinema released in France after World War I. These American releases would usually have mainstream appeal and, therefore, conventional storytelling for that period. This explains why filmmakers such as Louis Delluc, Jean Epstein, Abel Gance, and Marcel L'Herbier decided to challenge these conventions using undeniably French techniques, despite never officially forming a collective to change the status quo. Marcel L’Herbier, one of the chief filmmakers associated with the movement, admitted to an integrated theoretical stance: None of us – Germaine Dulac, Epstein, Delluc or myself – had the same aesthetic outlook. But we had a common interest, which was the investigation of that famous cinematic specificity. On this we agreed completely. In retrospect, the movement is widely known for prioritizing aesthetically beautiful images, in the same vein as Impressionist painters such as Pierre-Auguste Renoir, Édouard Manet, Claude Monet, Camille Pissarro and Edgar Degas. Visual elements as the basics and artistic alphabet are particularly important in forming graphic work in visual language. Cinema needs visual elements to form an image. The combination of visual features based on visual language leads to creating a cinematic vision. This accompaniment in the film frame, like a painting, conveys the adequate energy of the image to the viewer. Given the close relationship between cinema and painting, the present study intends to analyze and compare the role of light in Impressionists and Kiarostami's films in two fields of painting and cinema. To do this research, several Kiarostami's appointments that were consistent with the research goal were selected and studied as a statistical population. His first artistic experience was painting. He continued into his late teens, winning a painting competition at the age of 18 shortly before leaving home to study at the University of Tehran, School of Fine Arts. He majored in painting and graphic design and supported his studies by working as a traffic policeman. As a painter, designer, and illustrator, Kiarostami worked in advertising in the 1960s, designing posters and creating commercials. In the late 1960s, he began creating credit titles for films (including Geyser by Masoud Kimiai) and illustrating children's books. Abbas Kiarostami was one of those filmmakers who tried to base the visual texture and form of his work on a personal system and ignore the old and shared traditions and forms of storytelling. In his films, human, poetic, and philosophical concepts have been conveyed through cinematic tools such as the lighting in the heart of simple stories. In Kiarostami’s cinema narration is omitted by the omission of the director. He, in his recent works mentioned above, uses the “self-reflection” element much more than before. Besides trying to the Cinema as a media and the work being released, he tries to omit the director as well. In other words, he considers the audience as the chief creator of the work, without the work is not complete. By borrowing the element of “reaction” from drama, he bases he cinema on “reaction”. This is done in its most unusual way in his movie Shirin. One of the essential commonalities between painting and cinema, is the issue of lighting. Cinema is a painting with light. Lighting in cinema can be examined from two perspectives: the light that shines from the projector to the screen and causes images. The other is the exposure and lighting in film scenes to see the cinematic image and convey meanings and concepts. Some of Abbas Kiarostami's most important cinematic works have been made due to his style outside the urban space, i.e., in meadows, villages, mountains, roads, and the embrace of nature in general like The Koker trilogy: Where Is the Friend's Home? Life, and Nothing More... and Through the Olive Trees. but Taste of Cherry film, has an urban theme and narrates an urban human being who wants to die, a large part of the film takes place outside the city. The wind will carry us, which some critics consider being a poetic and philosophical work. Like many of Kiarostami's films, it narrates Kiarostami's most critical human concerns and his most prominent themes. Kiarostami directed The Wind Will Carry Us in 1999, which won the Grand Jury Prize (Silver Lion) at the Venice International Film Festival. The film contrasted rural and urban views on the dignity of labor, addressing themes of gender equality and the benefits of progress, utilizing a stranger's sojourn in a remote Kurdish village. An unusual feature of the movie is that many characters are heard but not seen; at least thirteen to fourteen speaking characters have never been seen. Researches show that the role of light in Kiarostami's work is in line with the Impressionists' goals in their work, and in some cases, may coincide (The Wind Will Carry Us). Finally, light can serve the artist and her thinking as an independent and controllable element. Determining the amount of light reflection can provide a new kind of style to the artist and offer new concepts in visual arts.

This paper aims to study Claude Debussy’s works (1862-1918) in order to display his longing for the Oriental art, and to examine the new sounds and symbols he introduced to the Western music of the twentieth century. This French composer of the impressionist school, like his predecessors –such as Gauguin, the painter of the same school– made a lot of effort to find the beauties of the Oriental art, and to associate them with the music of his era. His approach opened new windows of musical connection for the later musicians, and brought about an outstanding evolution in the twentieth century art, by itself. The first spurs of propensity towards the Oriental art was ignited in Debussy by his several journeys and sojourns in Russia and encounter with the ideas of the artists there, especially those of Mussorgsky, also by viewing the East-Asian, e.g. Indonesian, music concerts when visiting the achievements at Exposition Universelle at the end of the nineteenth century. In order to evade the greatest music of his era, especially the German music, and to escape from its overhanging shadow, he felt the need for an evolution in the structure of the twentieth century music, and this transformation became possible via an exploration in the Oriental music. Having heard the music of the Gamelan ensemble of Java, Debussy fell in love with this music and began to compose pieces using the elements of the Oriental music. Using a historical and analytical outlook within the scope of Debussy’s works, this article analyzes his works from artistic and musical perspectives, and demonstrates that his works, like Estampes and Arabesque, composed in the early years of the twentieth century, all have an Oriental tendency and are inspired by the Oriental music, and that, with a fresh look at the major composition elements, such as rhythm, melody, harmony, and orchestration, Debussy presented a fresh structure of the Western classical music for the later composers. This article will also demonstrate that Debussy opened new pathways of acquaintance for later music enthusiasts and artists, leading the later composers to take firmer steps towards furthering the Western music. Among Debussy’s important achievements in approaching the Oriental music is the founding of schools and movements such as minimalism in music; admittedly, foundations of sciences, such as ethnomusicology, lie in this outlook of Debussy’s. One could observe, since then, that the western composers have been searching for fresh elements and new sounds via affinity and cooperation with the instrumentalists and musician of the Orient, and this, per se, has been a beginning for the spiritual encounter of the artists of the East and the West, a significant development and fusion made possible through Debussy’s efforts, and, quoting Pierre Boulez, Debussy was the turning point of the Western music. By examining Debussy’s works, this study aims to introduce him as the herald of this colossal movement. Lastly, one can claim that this approach set the foundation for the fusion and synthesis of the Eastern and Western music.

The distinction between «appearance» and «reality» goes back to the origins of western philosophy. The Greek philosophers almost have considered the appearance as a distortion of the true essence of things and, as such, have strived to establish the reality behind the elusive and ephemeral appearances. The visual arts were condemned by this devaluation of appearances principally in Plato’s philosophy. For Plato, visual arts were essentially mimetic and not only were devoid of cognitive and epistemological values, but also were intrinsically deceiving. This philosophical condemnation of mimetic and representational arts prevailed all western art and culture until the early eighteenth century, when the study of appearance was gradually reevaluated and the role played by it in the visual art was also reconsidered. The first part of this article focuses on the developments of the concept of appearance in the 18th century’s philosophical reflections and its pivotal role in Kant, Schiller and Hegel’s aesthetics. The second part is devoted to the outgrowth of Impressionism based on these theoretical developments. According to the hypothesis adopted by this study, the Impressionist movement was rooted in these overvaluation of appearance in the philosophical debates of the late eighteen and early nineteenth century. The deep observation of the ever changing natural appearances, the scrutiny of colour hues and light shades and shadows, and the visual reductionism were at the service of the appearance representation. One of the discoveries of Impressionism was the flatness of canvas surface. We will show that great achievement of Edouard Manet (1832-1883), i. e breaking away from quattrocento traditions of representation the visual depth on the flat canvas, was undoubtedly the result of the reconsideration of the appearance and its far reaching importance in the reorganisation of the painting’s visual composition. One of the influential contribution to this appearance reconsideration was due to Konrad Fiedler’s (1841-1895) theories of «pur visibility». He argued that visual arts are the arts of pure visibility (reine Sichtbarkeit), that is the representation of appearances detached from their material solidity. He concluded that artistic creation is the creation of appearances. Although the impressionist painters were not aware of his theories, it is clear that the transition from essence to appearance was «in the air» in that period of western cultural history. We see at the same time the emergence of a new philosophical school, i. e. the phenomenology, which choses as its slogan «return to the things themselves». It was a complicated philosophical study of the appearances to achieve a true and genuine understanding of th world’s phenomena. Finally, we will see that the notion of appearance has always been at the heart of western art negatively or positively. In other words, the development of western painting can be traced in parallel with the developments of the appearance’s notion. There is a clear overlapping between modern art and the reeavalution of the appearance.