Reference List

Renaissance — revival of arts and letters which began in Italy in the 14th, reached its height in the 15th and spread to the rest of Europe in the 16th and 17th centuries. The Renaissance epoch was a time of the flourishing of art

Impressionism —method of painting initiated in France in the I860— 1870s by a school of painters, whose aim was to paint the momentary or transitory appearance of things, esp the effects of light and atmosphere, rather than form or structure. The effort to present a general impression of an incident, a view, an object rather than to record it in detail; to paint what the eye sees at a glance, not what it knows to be there

French Impressionists —several French painters of great talent and marked individuality—Manet, Degas, Renoir, Sisley, Pissarro and Mo­net—whose purpose was to revolutionize painting and free it from the shackles of academic doctrines and convention. Subsequently they were joined by some other artists in France and abroad and Impressionism grew into an international movement. It must be noted however that each of the Impressionists eventually took his own course in art determined by the individuality of his talent. There is a good collection of their pictures in the USSR owned by the Hermitage in Leningrad, the Pushkin Museum of Fine Arts in Moscow and the Museum of Fine Arts in Riga

Post-Impressionism —a non-imitative art including various develop­ments in painting: Neo-Impressionism, Expressionism, Cubism, Abstrac­tionism and Surrealism, which followed Impressionism in the late 19th and early 20th centuries. The artist paints his emotions or symbolic images of the objects. These currents are derived from the painters who moved beyond impressionism: Cezanne (1839—1906), Redon (1842—1916), Gau­guin (1848—1903), Van Gogh (1853—1890).

Post-Impressionism's real contribution to the history of art lies in its emphasis on pure form and structural integrity

Bakst (1866—1924)—one of the most outstanding representatives of "The World of Art" group of painters that existed in St. Petersburg at the turn of the century. Unlike the Wanderers these painters were interested in pure form and decorative possibilities of painting

Brueghel the Elder ['broig(a)I] (1530—1569)—a Dutch painter, a real­ist who painted many scriptural subjects, genre scenes and made numerous drawings and engravings typical of moralizing art

Cezanne (1839—1906)—a French artist who moved beyond Impres­sionism and was much concerned in form. He experimented with cubistic forms and built spaces out of densely interlocking colour planes in his pictures

Chardin [Ja:'dsen] (1699—1779)—a French genre painter who excelled as an exquisite colourist

Corot [ka'rou] (1796—1875)—a brilliant French landscape painter whose presentation of a landscape motif was at once highly original and lyrical

Degas [ds'ga:] (1834—1917) was closely associated with the Impression­ists and even participated in seven out of eight exhibitions held by the group, but Degas insisted on using the term "independent" painter to distin­guish himself from the other painters. He became interested in dancers at the dancing classes of the Opera. Each painting occasioned an extensive series of studies. He gave a true rendering of the dynamic movement

Delacroix |,deb'krwa:] (1798—1863)—a French painter conspicuous for a strong romantic trend in his creative work

El Greco (1541—1614). One of the most prominent Spanish painters who used mystic religious subjects in his pictures to reveal man's inner world. Famous for his sombre colour scheme and peculiar disproportionate portrayal

Ingres [жпдг] (1780—1867)—an eminent French painter of the first half of the 19th century. A realist who worked in terms of the academic school of painting

Manet (1832—1883)—forrunner of French Impressionist painting who built up a remarkable technical skill: he has been called "the greatest manipular of oil painting who ever lived"

Michelangelo (1475—1564)—a distinguished Italian sculptor, archi­tect, painter and poet of the Renaissance

Monet (1840—1926)—an illustrious French painter, well-known as an ideologist of Impressionism, the first of the painters to discover Nature's inexhaustible wealth of colour. Monet's colourific analysis of various phenomena was marked by rare refinement and subtlety

Raphael I'rsefeial] (1483—1520)—a Florentine artist, one of Italy's most famous painters whose work is a highest achievement of man's spirit­ual and creative power

Rubens (1577—1640)—a great Flemish painter whose painting is an inspired hymn of praise to the beauty of man and nature

Sisley (1839—1899)—a French Impressionist (English by birth) whose landscapes expressed his delight at the ever-changing face of nature

Van Gogh [vsn'gok] (1853—1890)—an outstanding painter of the Post-Impressionistic period whose works are marked by the so-called objec­tive expressionism when the artist tries to change the things he paints into symbols of expressiveness

Velasquez [vi'laeskwiz] (1599—1660)—a Spanish painter of the 17th century whose painting is highly appreciated for its realistic and psycholog­ical treatment of man, laconic manner of expression and beauty of colour

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