{"id":15790,"date":"2025-03-29T14:45:19","date_gmt":"2025-03-29T13:45:19","guid":{"rendered":"https:\/\/oraziopuglisi.art\/?page_id=15790"},"modified":"2025-03-29T14:54:44","modified_gmt":"2025-03-29T13:54:44","slug":"le-pre-impressionisme","status":"publish","type":"page","link":"https:\/\/oraziopuglisi.art\/index.php\/le-pre-impressionisme\/","title":{"rendered":"Le Pr\u00e9 Impressionisme"},"content":{"rendered":"

Image mise en avant :<\/strong> William Turner<\/a>,\u00a0L’Incendie du Parlement, 1835, Cleveland, Museum of Art.<\/em><\/span><\/p>\n

\n

\u00a0<\/h3>\n

1859-1874\u00a0: pr\u00e9mices<\/h3>\n<\/div>\n
\n

<\/span>Pr\u00e9-impressionnisme<\/h4>\n<\/div>\n
\"Peinture<\/a>
William Turner<\/a>,\u00a0L’Incendie du Parlement<\/i>, 1835, Cleveland, Museum of Art.<\/figcaption><\/figure>\n

Pour l’historienne de l’art Sophie Monneret, le terme pr\u00e9-impressionnisme\u00a0\u00ab\u00a0s’applique \u00e0 la mani\u00e8re, suggestive, esquiss\u00e9e, qui chez maint artiste pr\u00e9lude plus ou moins directement \u00e0 la technique impressionniste\u00a0\u00bb<\/span>[<\/span>2]<\/span><\/a><\/sup>. Une premi\u00e8re rupture significative dans la peinture de paysage remonte \u00e0\u00a0John Constable<\/a>\u00a0et\u00a0William Turner<\/a>[<\/span>2]<\/span><\/a><\/sup>, qui renoncent aux paysages romantiques et adoptent la simplicit\u00e9 pour Constable[<\/span>2]<\/span><\/a><\/sup>\u00a0et l’instantan\u00e9it\u00e9 pour Turner[<\/span>3]<\/span><\/a><\/sup>, auxquelles se rattachent les impressionnistes. La disparition du dessin au profit de la couleur qui caract\u00e9rise certaines toiles de Turner se retrouve notamment chez\u00a0Monet<\/a>[<\/span>3]<\/span><\/a><\/sup>. Dans la seconde moiti\u00e9 du\u00a0XIX<\/span>e<\/sup><\/abbr>\u00a0si\u00e8cle, les artistes modernes europ\u00e9ens recherchent g\u00e9n\u00e9ralement \u00e0 repr\u00e9senter la lumi\u00e8re et \u00e0 composer en\u00a0plein air<\/a>[<\/span>4]<\/span><\/a><\/sup>, comme le montre le groupe italien des\u00a0Macchiaioli<\/a>, contemporains des impressionnistes avec lesquels ils sont parfois en contact via\u00a0Degas<\/a>[<\/span>5]<\/span><\/a><\/sup>.<\/p>\n

En France, les paysages de\u00a0Camille Corot<\/a>\u00a0rompent eux aussi avec la tradition, et il est refus\u00e9 au\u00a0Salon<\/a>\u00a0de 1843[<\/span>6]<\/span><\/a><\/sup>. Il est directement li\u00e9 aux impressionnistes, donnant des le\u00e7ons aux s\u0153urs\u00a0Berthe<\/a>\u00a0et\u00a0Edma Morisot<\/a>\u00a0et \u00e0\u00a0Pissarro<\/a>\u00a0dans les ann\u00e9es 1860[<\/span>7]<\/span><\/a><\/sup>, et son influence se fait sentir sur tout le groupe[<\/span>8]<\/span><\/a><\/sup>. Le style novateur de\u00a0Delacroix<\/a>\u00a0peut \u00eatre rattach\u00e9 au pr\u00e9-impressionnisme, dans sa mani\u00e8re de cr\u00e9er les atmosph\u00e8res de ses tableaux et dans sa touche divis\u00e9e[<\/span>6]<\/span><\/a><\/sup>. Les impressionnistes se r\u00e9f\u00e9rent aussi \u00e0 un certain nombre de paysagistes de la g\u00e9n\u00e9ration pr\u00e9c\u00e9dente, parmi lesquels\u00a0Th\u00e9odore Rousseau<\/a>\u00a0et\u00a0Jean-Fran\u00e7ois Millet<\/a>, peintres de l’\u00c9cole de Barbizon<\/a>\u00a0aux couleurs vives et \u00e0 la touche rapide[<\/span>9]<\/span><\/a><\/sup>, dont l’influence est visible dans les premi\u00e8res toiles que les futurs impressionnistes exposent au Salon[<\/span>7]<\/span><\/a><\/sup>.<\/p>\n

Trois peintres, par leurs liens directs avec ces jeunes artistes, m\u00e8nent le pr\u00e9-impressionnisme au terme de son \u00e9volution\u00a0:\u00a0Eug\u00e8ne Boudin<\/a>,\u00a0Johan Jongkind<\/a>\u00a0et\u00a0Fran\u00e7ois Daubigny<\/a>[<\/span>10]<\/span><\/a><\/sup>. Les deux premiers ont notamment enseign\u00e9 \u00e0 Monet, le dernier en est un ami proche et un futur d\u00e9fenseur de l’impressionnisme[<\/span>10]<\/span><\/a><\/sup>.<\/p>\n","protected":false},"excerpt":{"rendered":"

Image mise en avant : William Turner,\u00a0L’Incendie du Parlement, 1835, Cleveland, Museum of Art. \u00a0 1859-1874\u00a0: pr\u00e9mices Pr\u00e9-impressionnisme William Turner,\u00a0L’Incendie du Parlement, 1835, Cleveland, Museum of Art. Pour l’historienne de l’art Sophie Monneret, le terme pr\u00e9-impressionnisme\u00a0\u00ab\u00a0s’applique \u00e0 la mani\u00e8re, suggestive, esquiss\u00e9e, qui chez maint artiste pr\u00e9lude plus ou moins directement \u00e0 la technique impressionniste\u00a0\u00bb[2]. Une […]<\/p>\n","protected":false},"author":1,"featured_media":15794,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-15790","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\nLe Pr\u00e9 Impressionisme - Orazio Puglisi<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/oraziopuglisi.art\/index.php\/le-pre-impressionisme\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Le Pr\u00e9 Impressionisme - Orazio Puglisi\" \/>\n<meta property=\"og:description\" content=\"Image mise en avant : William Turner,\u00a0L’Incendie du Parlement, 1835, Cleveland, Museum of Art. \u00a0 1859-1874\u00a0: pr\u00e9mices Pr\u00e9-impressionnisme William Turner,\u00a0L’Incendie du Parlement, 1835, Cleveland, Museum of Art. Pour l’historienne de l’art Sophie Monneret, le terme pr\u00e9-impressionnisme\u00a0\u00ab\u00a0s’applique \u00e0 la mani\u00e8re, suggestive, esquiss\u00e9e, qui chez maint artiste pr\u00e9lude plus ou moins directement \u00e0 la technique impressionniste\u00a0\u00bb[2]. 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