Hall 8. MANET. DEGAS. TOULOSE-LAUTREC. FORAIN

In the mid-nineteenth century many young French artists, dissatisfied with the predominance of the academic tradition based on strict classical canons, began to look for ways of renewing art. They turned to themes and subjects ill en from real life: the heroes of their works were now simple Parisians, the-M re lovers and frequenters of cafes. Artists now strove to record fresh impressions and directly perceived reality in their works.

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The oeuvre of Edouard Manet is generally regarded as the harbinger of Impressionism, although the artist did not see himself as an adherent to this trend and refused to take part in the Impressionists' group exhibitions. Yet Manet's discoveries, the deliberate fragmentation of the representation, the energetic moulding of form, and the fresh, expressive colours, had a great Influence on the next generation of artists. It was around Manet that young painters including the future Impressionists Monet, Sisley, Pissarro and Renoir grouped.

A special position in the art of this period belongs to the painting of Edgar Degas.  A participant in almost all the Impressionist exhibitions and one of the organisers of the Anonymous Society of Painters, Sculptors and Engravers, nevertheless found many principles of the new art alien to him. Having received an academic education, the artist denied the possibility of conveying I direct impression in a picture: “Everything I do is the result of deliberation…”  A brilliant master of composition, Degas advanced a fundamentally new method of constructing a picture without the traditional centre, a method based on the "random glance". For the artist the meaning of his work lay in depicting life "caught unawares, without any posing".

Like his teacher Edgar Degas, Jean-Louis Forain turned to contemporary subjects, sketching street scenes, theatre people, frequenters of cafes, couples out for a walk. His works, regularly displayed at Impressionist exhibitions, possess remarkably keen vision, as well as precise characters and types.

Most of the works in this room were executed in the pastel medium, which became particularly widespread in the middle of the nineteenth century.

EDOUARD MANET

Кабачок

1879

72x92, oil on canvas

EDGAR DEGAS

Балерина

53x41, pastel on paper

EDGAR DEGAS

Танцовщицы на репетиции

1875 - 1877

50х63, cardboard, pastels

EDGAR DEGAS

Вытирающаяся женщина

1890

76x50,5, paper glued to cardboard, charcoal, pastel, gouache

EDGAR DEGAS

Blue dancers

Around 1898

65x65, pastel on paper

DE HENRI TOULOUSE-LAUTREC

Дама у окна

1889

71х47, cardboard, tempera

JEAN-LOUIS FORAIN

Театральное фойе

90х72, cardboard, pastel, gouache

JEAN-LOUIS FORAIN

Скачки

End of 1880

38x45, oil on canvas

PAUL HELLEU

Дама в белом

82x66, oil on canvas

Танцовщица

1890

100,3х73,2, canvas, pastels

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