Free to guide the people, this painting by French Delacroix is set in 1830 French "July Revolution". 1830 On July 26th, King Charles X cancelled Parliament, and the citizens of Paris revolted in succession. On the 27th to 29th of that month, in order to overthrow the Bourbon dynasty, citizens fought with royalists and occupied the palace, which is called "three glorious days" in history. In this battle, a girl named Clara Lessing first raised a tricolor flag symbolizing the French Republic on the barricade. When young Ale planted this flag on a bridge next to Notre Dame, she was shot and fell. The painter Delacroix witnessed this tragic and intense scene, and then he was indignant and determined to draw a picture for it as a permanent memorial. The scene of street fighting shown in the painting is finalized by the painter on the basis of hundreds of sketches of the barricade war of the "July Revolution". In the picture, a young girl bravely leading the way with a tricolor flag in one hand and a pistol in the other is calling the masses forward, which is not only a true portrayal of the participants in the uprising, but also a symbol of the Statue of Liberty. The young drummer next to her is waving a pistol and running fast. On the other side, a college student in a hat is staring at the front firmly. Behind him, there are two workers waving sharp knives, with a firm expression and an angry face. There are many rebels behind them. On the right side of the foreground, two government soldiers lay dead on the ground, and on the left side lay a rebel who died for freedom. A badly injured young worker looked up at the tricolor flag of the Statue of Liberty and looked forward to freedom. His coat, exposed corner shirt and belt are exactly the color of the tricolor flag. If you look closely, you can vaguely see a Republic flag flying on the North Tower.
This painting is magnificent, with compact structure, rich and hot colors, bold and unrestrained pen and strong appeal. When 183 1 was exhibited in Paris in May, it caused a sensation. The German poet Heine wrote a hymn for this painting. After that, the painting had some interesting experiences.
183 1 year, this painting was acquired by the French government and exhibited in the Luxembourg Palace for several months. Later, due to the changes of the times, it was returned to the painter himself.
17 years later, 1848, the "February Revolution" broke out in France, and the French people demanded that this painting be exhibited again in the Luxembourg Palace. In June of the same year, workers in Paris revolted, and the painting was removed by the government on the grounds that it was inflammatory. It was not sent to the Louvre until 1874.
As long as Delacroix picks up the brush, his romantic passion is like a volcano in the making, and generate comes out and gives a loud cry. He is painted like a lion swallowing its prey in one breath, so people call him a "romantic lion".
No one can compare with Rembrandt in the depth and intensity of expressing feelings; In expressing the intensity and momentum of sports, few people except Rubens can reach his touching degree; Except Michelangelo, no one has the talent to turn abstract meditation and moral things into artistic images.
Delacroix is the pride of the French people. Most of his works are kept in the Louvre Museum in Paris, and the Louvre has set up several exhibition rooms to preserve his works. His representative works include Shia Island Massacre, Free Man and Dante's Ship.
British constable hay wagon
Constable, English painter. Born in Suffolk on June 1776+0 1, died in London on March 3 1837. He studied at the Royal Academy of Art and was deeply influenced by landscape painters J Farrington and J. T Hackett constable Smith. 1805, he made an altar painting "Christ Blesss Children".
The famous work "Haycart" caused a sensation in the art world and won the gold medal in Paris Salon that year. This is a landscape painting full of sunshine, warmth and life, which has a great influence on young painters. Many of his works, which show the rural scenery and describe the life of ordinary working people, get rid of the traditional rules in composition and color, and abandon the traditional earthy tones. He created the idea of spreading unadjusted color blocks on canvas with a palette knife, which made the wet picture produce endless flashes, which was later called "Snow White in constable".
His representative works, Gu Tianzhuang (in Victoria Museum), Wheat Field (in the National Gallery of London) and Brighton Beach, show his bold exploration of light and color, arouse people's love for nature, and show the pursuit of light and color by impressionist painters.
In memory of him, later generations named a room in a restaurant in St. Kyle Street "constable Salon", and his works were hung around for people to visit.
France miller
"gleaner" describes the most common scene in a rural area: in autumn, the golden fields look endless. On the land after the wheat harvest, three peasant women are bending over to pick up the lost ears of wheat very carefully to supplement the food at home. The wheat pile behind them seems to have nothing to do with them. Although we can't see the faces and facial expressions of these three peasant women clearly, Miller described their postures as solemn as classical sculptures. The action angles of the three peasant women are slightly different, and they have the beauty of serial actions, which seems to be an exploded view of a peasant woman's gleaning action. The peasant woman wearing a red headscarf is picking it up quickly, and the other hand is holding a large bundle of wheat ears in the bag. I can see that she has been taking it for a while, and there is a small gain in the bag; The woman wearing a blue headscarf has been exhausted by repeated bending up and down. She looks exhausted, with her left hand behind her waist to support her body. The woman on the right in the picture, leaning half-way, with a pile of wheat in her hand, is carefully examining the wheat field that has been picked again to see if there are any missed ears of wheat. This is how the peasant women go back and forth, patiently and tirelessly picking up the ears of wheat for the sake of food and clothing for the whole family and with deep affection for every grain.
In the picture, Miller uses a charming warm yellow tone, and the calm and rich colors of the red and blue headscarf are also blended with yellow. The whole picture is quiet and solemn, conveying Miller's deep sympathy for the hard life of farmers and his special love for rural life in the form of pastoral.
Miller was keen on farmers all his life. Kala-azar was prevalent in Paris in 1849. At the age of 35, he and his family moved to barbizon village near Fontainebleau, a suburb of Paris. In barbizon Village, he met painters such as Koro, Rousseau and Trollope. He lived in this poor and isolated village for 27 years. Miller has a deep affection for nature and country life. He gets up early and comes home late. He works in the fields in the morning and paints in a small room with weak light in the afternoon. His life is extremely difficult, but this has not weakened his love and pursuit of art, because he has no money to buy pigments, and he often makes charcoal sketches himself. He loves life, labor and farmers. He once said, "In any case, the theme of farmers is the most suitable for me."
Memories of Montfontein Carlo Montfontein Carlo was born near the Louvre and Duery Park in Paris. In his career of nearly 80 years, he left behind 3000 works. He is a prolific artist. Landscape painting accounts for the majority. "In my life, there is only one dream goal, and that is to draw scenery." He said that we should pursue nature with strong feelings for nature and patience not to give in to any blow. Without such preparation, it is best not to engage in the profession of painter. He loved nature all his life and advocated going to nature.
Connor lives a single life, and art occupies his whole heart. His fame and glory in painting is gained by attending the Paris Autumn Salon every year. In the history of French painting in the19th century, neoclassicism, romanticism, realism and impressionism competed for glory. Connor experienced all these artistic movements in his long life, but he was not a pioneer in creating these schools. He was educated in classical art and a loyal classicist. His passion for romantic view of nature and worship of nature made him a sincere realist. Therefore, critics believe that Koro's greatest achievement is that he integrated all the mainstream in the19th century, which opened the way for impressionism, which was just emerging at that time. Memory of Mongolian Fontaine is one of the most mature and representative landscape paintings in Koro's later period.
Montfontein is located near Sanlis in the north of Paris. Koro once set foot there and felt the beauty of the garden scenery. This painting is the artist's memory of this beautiful scene.
This painting exhibition is held in a corner of the forest by the lake. The morning fog began to disperse, and the fresh woodland and water vapor on the lake formed a warm and humid natural feeling. A giant tree on the right occupies about 3/5 of the picture, and a small dead tree on the opposite side echoes it, which strengthens the sense of balance in the picture. The branches lean in one direction, harmonious and rhythmic. A mirror-calm lake appeared between the two trees. The warm sunshine scattered from the leaves to the grass, awakening the red flowers blooming everywhere. A woman in a red skirt faces the small tree on the left, raising her head and hands to pick the grass and mushrooms on the trunk.
In the whole painting, these three characters are full of business atmosphere. Although the painter put them all aside, they were dense. When Connor paints landscapes, he often likes to draw a few weak branches in the foreground to enhance the lyricism of the picture. For example, the small tree on the left of this painting also belongs to this situation. Look at the crooked posture of that small tree, which is obviously caused by the long-term breeze. Its sloping branches show more graceful dance beauty, adding infinite poetry to the whole painting. Women's red skirts and headscarves are the strongest sounds in the panorama. Savoring this painting carefully, the viewer can almost hear the rustling of branches and leaves.
This natural interest is not a dream, but it is better than a dream. The painter spread the picture completely and dyed it with warm colors. The whole tone seemed to be whispering, without passion, only harmony. Without the painter's strong natural beauty, it is difficult to leave so many unforgettable impressions. This is an ideal landscape painting and a real lyric painting. Love of nature is the first condition for painting scenery.
Chloe loves nature very much. He once said: Art is love. When you draw a landscape painting, you must first find the shape, and then find the color to make the chromaticity connect well. This is called color. That is the reality. But it's all subject to your feelings. These short sentences may be all the secrets of Connor's landscape paintings. Connor has never experienced the desire to order or do it in a hurry in his life. He didn't sell a work for the rest of his life. Once it rains, he will wait for the weather to clear up before sketching. He likes sunny days. In his view, sketch is only the material preparation for creation in the studio. This shows that the charm of Connor's landscape painting is not because he is facing sketch, but because he refines the beauty he finds in life.