Impressionist music
Impressionist music was first created by French composer Debussy. The word impressionism first appeared in music in 1887. The judges of the French Academy of Fine Arts accused Debussy of the unclear structure of the second symphonic suite Spring when he was studying in Rome, and asked him to be "wary of vague impressionism". When his String Quartet premiered in Brussels in 1894, critics began to praise it with "impressionist music". In the future, this word is often used to summarize Debussy and his music with similar style, and it is no longer derogatory.
Impressionist music evolved from romanticism and folk music in the later period, and at the same time it absorbed the nourishment of oriental music. Its artistic expressions are as follows:
① A novel motivational vocabulary is composed of short tune cells.
② I like complex beat and polyrhythm in rhythm, and the irregular subdivision of beat weakens the driving force, showing a state of loose flow.
③ Pay attention to the expressive force of modes and adopt corresponding modes according to the image requirements. Expand the concept of tonality, and often avoid the appearance of clear convergence. The use of the diatonic scale makes every tone in the mode occupy the same position, weakens the sense of the center of the tone, and appears the polytonality factor.
④ Because I like to juxtapose different colors and acoustics in a plane and painting style, harmony becomes the most important means of expression. By increasing the possibility of chord structure and weakening the functionality of harmonic progression, we can get extremely rich harmony colors.
⑤ The timbre is rich, unique and novel. In vocal music works, bass areas lacking brilliance and dramatic power are often used. Extensive use of color means in various musical instruments.
⑥ The arrangement of orchestration and texture is novel.
⑦ The structure is often loose and fuzzy, but the outline of trilogy can still be seen in many works.
After Debussy, although it is difficult to classify a composer into impressionism, the practical influence of impressionism's music style and technique has spread all over the music world.
Impressionist literature
Literary historians believe that impressionism entered literature after the 197s, but there are different opinions on how impressionism is manifested in literature and which writers and poets belong to impressionism. What can be determined is that some writers in western Europe did have a creative method similar to impressionist painting and music, that is, they devoted themselves to capturing vague and fleeting feelings and impressions. Due to the special nature of literary creation, impressionists in literature pay more attention to how this instantaneous feeling experience can be transformed into emotional state. Like impressionists in painting and music, they also oppose the logical or rational refining of the relationship between the things described, so they themselves have become the intermediary between conveying external stimuli and instinctive reactions.
There are similarities between impressionism literature and symbolism literature. They are both literary schools of formalism. But there are also differences between them, mainly because Impressionism opposes the use of symbolism to express ideas and tends to describe feelings. Some poets, who are usually regarded as symbolism, are actually more inclined to impressionism. For example, the poem The Art of Poetry by Paul Welland, one of the leaders of symbolism, is not so much about symbolism as an impressionism declaration.
French literary historians regard the Gongur brothers as the representatives of impressionism novels, and pierre loti, another French poet and novelist who is regarded as the representative of impressionism, indeed, some of his poems "capture the instant feeling and impression" like impressionism painters, but not all of his works are like this. In the 2th century, some French writers were seriously influenced by Impressionism, and only the vague pursuit of feeling and impression remained in some novels.
In some works by Oscar Wilde and others in Britain at the end of 19th century, the impressionism tendency is obvious. From 1912 to 1918, a group of British and American poets in London, like Impressionism, emphasized the description of feelings and impressions, but they claimed to pursue a "clear and tough" image. They think that the ambiguity and ambiguity of the image are the remnants of romanticism, so they attack it with all their strength. However, the theoretical differences are sometimes difficult to detect in creative practice. For example, many works of American poets such as Ai Lowell, Xi doolittle and John Gauld Fletcher in the Imagist school are inseparable from impressionist poems.
The situation is similar in German literature, and literary historians can't identify impressionism schools with clear boundaries. Headed by Detlef von Lillinkron, including Richard Daimer, Gustav falk and others, it is considered to be the most obvious impressionist school in Germany, but they emphasize on truthfully recording the feelings and experiences of things to poets, so they are close to naturalism. In addition, many poems such as Hugo Feng Hofmannsthal and Arno Holtz also have impressionistic tendencies to varying degrees.
impressionism also refers to a kind of literary criticism, which is called impressionism criticism, that is, perceptual criticism. This kind of criticism refuses to make a rational and scientific analysis of the works, but emphasizes the critic's aesthetic intuition. It holds that the best criticism is only to record the process of the critic's feeling of beauty, and at most to point out how the impression of beauty was produced and under what conditions. Therefore, impressionism criticism is a kind of vague and unclear criticism of "explaining poetry with poetry", and it is often written in the form of prose poetry, so literary criticism becomes an art category that is not essentially different from literary creation, and the person who writes this kind of criticism is often a poet or writer himself.
impressionist photography
in 1889, the first exhibition of French impressionist paintings was held in Britain. Under the influence of the painter Robinson, he put forward the aesthetic standard that "soft-tone photography is more beautiful than sharp photography" and advocated "soft-tone" photography. This genre is the reflection of painting impressionism in the field of photography.
At first, they used soft-focus lens to shoot and wove paper to develop and print, in pursuit of a vague artistic expression effect. With the appearance of "silver bromide developing method" and the method of developing paper mixed with dichromate glue in pigments, impressionist works developed from the control of lens imaging to darkroom processing. They put forward that "the work should look completely unlike photos" and that "if there is no painting, there will be no real photography".
Under the guidance of this theory, impressionist photographers also used brushes, pencils and erasers to process the pictures, deliberately changing their original light and shade changes and pursuing the effect of "painting". For example, La Croia's "The Man Sweeping the Park" in 199 is like a charcoal drawing on a canvas. Impressionist photographers completely lost the characteristics of their own photography art, so some people called it "Imitation School". It can be said that it is a branch of painterly photography.
The artistic features of this genre are gloomy tone, rough shadow lines and rich decoration, but lack of sense of space. Its famous photographer is Dumasi (? -1937), Puyo (1857-1933), Qiu En (1866-1944), Vatsek (1848-193), Hofmeister brothers (1868-1943; 1871-1937), Durkheim (1848-1918), Evre (1874-1948), Mizuno (187-1943), Hinton (1863-198), Chili (1861-1947), etc.
Impressionist film
In the 192s, Louis Drucker, a French film creator, United with a group of talented directors, such as Abel Gunce and Zhemin Drucker, and some film directors who had achieved success in commercial films, and wanted to reform the films made by film company owners for commercial reasons, so as to improve the French films that declined after World War I.. However, his efforts were not supported by the producers, and the movement failed after the death of Drucker in 1924. Some people go to commercial films, while others go to the avant-garde road. Because some of DeLuc's theories and creative concepts are closely related to the later French avant-garde film movement, most of the impressionist films are considered as the prelude or directly classified as avant-garde films. Important works include Gunce's Wheels (1922), Drucker's Fever (1921) and Drucker's Spanish Festival (1919).