【587編輯留言版｜印象派150週年】
1874年4月15日，第一屆印象派展在巴黎那達攝影工作室舉辦，自此在藝術史上標誌出雋永的篇章，影響廣泛而深入人心，更斑斕地側寫了19世紀後半葉的時代面貌與文化脈絡。今年適逢印象派一百五十週年，法國「2024諾曼第印象派藝術節」與巴黎大區策畫從3月起陸續開展的展演活動共超過兩百場，除了回顧印象派的根源與發展，更提問其餘韻如何穿透至當代，並期待藉此吸引國內外藝術愛好者朝聖藝文觀光路線。
4月專輯，駐法國作者廖瓊芳選介2024諾曼第印象派藝術節在法國西北部不同城市藝術機構舉辦的展演活動，一窺印象派畫家與其創作對多位知名當代藝術家的啟發或回響；專輯收錄藝術史學者維克特．貝葉爾和貝納．丹維爾的專文，邀請讀者重新回看這些從法國官方沙龍落選的藝術家當年形塑這場繪畫運動的歷史場景，並對照所選輯的第一屆印象派展參展作品，以為遙想。與此同時巴黎奧塞美術館與華盛頓國家藝廊合作，於3月下旬推出「巴黎1874─創造印象派」特展，並於5月中旬舉辦國際學術研討會，以當代跨學科視角重新探討印象派，提出新的觀點。關於奧塞美術館特展以及其他法國北部美術館相關主題展覽，後續於下一期《藝術家》雜誌特別報導單元呈現。
邁入第六十屆的威尼斯雙年展即將於4月20日正式開幕，總策展人阿德里安諾．佩德羅薩（Adriano Pedrosa）以「處處都是外人」為主題。本期威尼斯雙年展快報特別報導，綜覽主題館參展的三百餘位藝術家名單、佩德羅薩的策展理念和所謂「外人」的諸多意指，而從目前綠園城堡和軍火庫的國家館展覽釋出的消息概況可得知，當中許多策展方向不乏是呼應此次主展覽的命題。
而2月底，義大利文化部長桑朱利亞諾（Gennaro Sangiuliano）拒絕由逾一萬名藝術家、策展人、文化工作者等響應連署藝術非種族滅絕聯盟（ANGA）籲求威尼斯雙年展撤除以色列國家館的公開信，並表示以色列有自由與權利表達藝術，威尼斯雙年展官方隨後發表聲明：「所有義大利承認的國家都可自主提出參展的要求。」因此不會考慮排除以色列參加雙年展。隨著去年年底爆發的以巴衝突，其背後欉生的複雜性也使藝術界捲入風波與分岐。本期國際傳真單元，李欣潔從第十六屆卡塞爾文件展至近日柏林漢堡車站美術館塔妮婭．布魯古拉的展演爭議，探問目前德國文化場域實踐的困境和藝術與自由的思辨。
在國際藝壇時勢的關注，本期亦報導分析英國財政壓力導致多間博物館和藝文機構面臨文化預算削減的困境；費城賓州藝術學院同樣因財務壓力取消學位課程，重新校準未來規畫回歸初衷。相對於此藝文館所和藝術教育機構的經營挑戰，從英國脫歐並歷經疫情至今，倫敦畫廊生態的應對和發展走向呈現轉危為安的新創活力。
圖說：
克萊兒．方丹（Claire Fontaine） 處處都是外人（西班牙文） 2007 懸掛式安裝牆壁或窗戶的霓虹燈、框架、電子變壓器、電線 98×2.16×45cm 由阿德里安諾．佩德羅薩策畫之巡迴展至墨西哥城胡美克斯當代藝術美術館（La Colección Jumex）展場一景（Photo: Studio Claire Fontaine）
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📚👀🖱《藝術家》587期將於本週五出刊，選購連結請見留言處⬇⬇
#印象派 #Impressionnisme
#印象派150週年 #Les150AnsdelImpressionnisme
#諾曼第印象派藝術節 #NormandieImpressionniste2024
#威尼斯雙年展 #LaBiennalediVenezia
#處處都是外人 #ForeignersEverywhere
#阿德里安諾佩德羅薩 #adrianopedrosa
#第十六屆卡塞爾文件展 #Documenta16
#塔妮婭布魯古拉 #TaniaBruguera
#柏林漢堡車站美術館 #HamburgerBahnhof
#英國地方財政壓力 #刪減藝術文化預算
#FinancialChallengeFacedbyEnglishCouncils #ArtsFundingCuts
#賓州藝術學院 #PennsylvaniaAcademyoftheFineArts #PAFA
#倫敦畫廊生態 #GalleriesinLondon
（法）讓-保爾·克雷斯佩勒 著《印象派画家的日常生活》 《The Impressionists 》(2006, BBC)；The Impressionists:Painting and Revolution(2011, BBC)
- 作者： （法）讓-保爾·克雷斯佩勒 著
- 出版社：華東師範大學出版社
- 出版日期：2007/06/01
- 語言：簡體中文
印象派画家的日常生活 / 让-保尔.克雷斯佩勒(Jean-Paul Crespelle)著 ; 杨洁,王奕,郭琳译 | Crespelle, Jean-Paul. |
The Impressionists (2006 BBC)；The Impressionists:Painting and Revolution(2011 BBC)
BBC 2006和2011各有一部同名的The Impressionists，前者3集戲劇，YouTube可找到---英文發音，
www.youtube.com/watch?v=_eBah6c5kyA
May 14, 2014 - Uploaded by Ariana Viktoria
The Impressionists Part 1 ..... Breaking the Code: Biography of Alan Turing (Derek Jacobi, BBC, 1996) - Duration: 1:30:47. by Ciencias ...
The Impressionists:Painting and Revolution(2011, BBC)
後者4集，副標題為 Painting and Revolution，由藝術作家Waldemar Januszczak主持，7月5日起在公視播出：
In this landmark four part series the art critic Waldemar Januszczak explores the revolutionary achievements of the Impressionists, through the stories of some of Art’s most famous painters: Monet, Degas and Van Gogh, as well as less-known Impressionists such as Caillebotte, Cassatt and Braquemond.
Although today Impressionism is considered appropriate for chocolate boxes, Januszczak argues that it was actually a remarkably exciting and radical movement in Art.
Travelling from the shores of the West Indies, to the city of Paris and the suburbs of London, Januszczak explores the key locations that inspired the Impressionists, and discovers the ground-breaking scientific advancements that allowed the movement to flourish.
Travelling from the shores of the West Indies, to the city of Paris and the suburbs of London, Januszczak explores the key locations that inspired the Impressionists, and discovers the ground-breaking scientific advancements that allowed the movement to flourish.
4 x 1 hour
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1.【繪畫革命】
印象派最著名的是什麼！？是戶外畫作。於印象派戶外活動中，當然也看到很多陽光，印象派畫家們用新方法觀察和紀錄大自然，莫內的畫好像與世無爭，雷諾瓦也一樣，那些跳舞和午餐的美麗景象，輕鬆舒服，畢沙羅也一樣，金黃色的玉米田、晴朗的果園，即使他畫 冬季，他也會使寒冷看起來很受歡迎，印象派畫家的戶外畫作，是他們對繪畫最大的貢獻，大家都熱愛的東西，其實非常難畫，達成這種愉悅的戶外輕鬆感覺，比看起來要困難得多了。
4.【繪畫和革命：最後盛況】本集中探討關於色彩輪和光學的一些複雜技術問題，以秀拉的『大碗島上的星期天下午』（嘉德島的假日午後）為例，在1886年的印象派畫展中出現時，大家都注意到了，印象派在這裡顯然有新東西出現，秀拉製造出現代巴黎的刻板印象，一個正面、一個反面，現代 世界的兩面隔著一條河，互相對峙。
錯誤之處在（嘉德島的假日午後），以其標點符號系統，應該是秀拉的『大碗島上的星期天下午』vs『嘉德島的假日午後』為例，這是兩幅畫作標題，塞納河兩岸的後者表示工人階級，前者是腐敗；怕曬陽光的中產階級.......
公視的節目說明應該向英文學習，介紹要求全貌簡述 (末行his later waterlily paintings in the Orangerie in Paris也過份簡單，背後的故事很有意思，如Mason說那兒是現代藝術的Sistine Chapel......)，而不是拿一處說說：我讀過John Russel的Seurat 專書和Monet多本專書，這節目都給我些新知識。
Final Flourish
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Information
Art writer Waldemar Januszczak explores the revolutionary achievements of the Impressionists.As the name suggests Waldemar Januszczak's aim is to show that despite appearing on chocolate boxes and tea towels the impressionists' art was and still is pretty revolutionary. Despite veering into gimmickry from time to time the series covers the ground well. The last episode, in which he considers the optical theories underlying Seurat's dottiness and how Monet's cataracts affected his vision, is perhaps the best of the lot.
[edit]Gang of Four
In the first episode, Waldemar delves into the back stories of four of the most influential Impressionists - Pissarro, Monet, Renoir and Bazille - who together laid the foundations of the artistic movement. He finds out what social and cultural influences drove them to their style of painting, how they were united and how ultimately they challenged and changed art forever. Waldemar journeys from the shores of the West Indies, to the progressive city of Paris to the suburbs of South London, where these four artists drew inspiration from the cities and towns in which they lived. He discovers how the Impressionists broke conventions by depicting every day encounters within the unpredictable and ever changing sights around them.
[edit]The Great Outdoors
Waldemar Januszczak continues his investigation of the Impressionists by taking us outdoors to their most famous locations. Although Impressionist pictures often look sunny and relaxed, achieving this peaceful air was hard work. Trudging through fog, wind and rain, across treacherous coastal rocks and knee-deep snow, Waldemar shows us how the famous spontaneity of the Impressionists is thoroughly misleading. This episode visits the French riverside locations that Monet loved to paint, and where Renoir captured the bonhomie of modern life. Waldemar also introduces a number of technical and practical developments of the age which completely revolutionised Impressionist painting - the invention of portable easels; the use of hog's hair in paint brushes; as well as the introduction of the railway through France. Plus, Januszczak explains Cezanne's part in the Impressionist story.
[edit]Painting the People
Waldemar Januszczak continues his investigation of the Impressionists, focusing on the people they painted and in particular the subjects of Degas, Caillebotte and the often forgotten Impressionist women artists. The Impressionists are famous for painting landscape but they were just as determined to paint people. Looking closely at the work of Edgar Degas, (他的姓氏讀法如出身貴族、他的厭女；"斯巴達女性挑戰男性是著名Jacques-Louis David的 Oath of the Horatii (from 1786)之戲仿......)Waldemar reveals how he consistently challenged traditions and strove to record real life as it appeared in the city. Waldemar also reveals the unusual viewpoints and dramatic perspectives of Caillebotte's paintings (真正有錢人；解釋為什麼要將木頭地板刨出一道道痕，因為整體地板均勻；畫室多亮色，讓陽光進來越多越好) from the Place de L'Europe and the rebellious and revolutionary art of Morisot, Bracquemond (她的作品多在陶器上頭)and Cassatt, three impressive female artists who were eagerly embraced by the progressive movement of Impressionism. (這集還介紹高更，因為他棄家到大溪地時已43歲，藝術生涯已可觀。)
[edit]Final Flourish
This episode takes a closer look at the late years of Impressionism, using the last show these artists did together as a starting point. Waldemar looks in considerable depth at the work of Georges Seurat, taking into consideration his academic training at the Beaux-Arts School in Paris and the artists that influenced him, such as Piero della Francesca and Puvis de Chavannes. There is also an insight into the complex but fascinating world of optics and art, and the ways in which the Impressionists were using the new discoveries in light and eyesight to influence their work. Van Gogh's time in Paris, a period very little is known about, is also covered, charting the incredible journey the artist made from his brown and dull canvases to the splendid colour and light that pervaded his work on the cusp of his departure for the South of France. The film finishes with a revisiting of Monet and his later waterlily paintings in the Orangerie in Paris.
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