what　ｉｓ 印象派 ????????/

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印象派的代表作，莫內的《印象·日出》
印象派又稱為「外光派」，產生於19世紀60年代的法國。1874年莫內創作的題為《印象·日出》的油畫，遭到學院派的攻擊，評論家們戲稱這些畫家們是「印象派」，印象派由此而得名。

特點
印象派強調對客觀事物的感覺和印象，反對因循守舊，主張藝術的革新。繪畫技巧上對光和色進行了探討，研究出用外光描寫對象的方法，並認識到色彩的變化是由光色造成的，色彩是隨着觀察位置，受光狀態的不同和環境的影響而發生變化。同時印象派著重於描繪自然的霎那景象，使一瞬成為永恆，並將這種科學原理運用到繪畫中。根據觀察和直接感受表現微妙的色彩變化。給後來的現代美術以極大的影響。
印象派追求光的描寫，把畫架從室內搬到戶外，在野外作畫，因此稱為外光派。一般來說這樣的畫派屬於早期的印象派。
印象派脫離了以往藝術形式對歷史和宗教的依賴，藝術家們大膽地拋棄了傳統的創作觀念和程式。藝術家關注的焦點轉移到了純粹的視覺感受上，作品的內容和主題變得不再重要。
Impressionism was a 19th century art movement that began as a loose association of Paris-based artists who began publicly exhibiting their art in the 1860s. The name of the movement is derived from Claude Monet's Impression, Sunrise (Impression, soleil levant). Critic Louis Leroy inadvertently coined the term in a satiric review published in Le Charivari.
Characteristics of Impressionist painting include visible brushstrokes, light colors, open composition, emphasis on light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, and unusual visual angles.
The influence of Impressionist thought spread beyond the art world, leading to Impressionist music and Impressionist literature.
Impressionism also describes art done in this style, but outside of the late 19th century time period.

印象主義 Impressionism
一八七四年四月，一群畫家在巴黎舉行了一次展覽，這個展覽得到的評價不高。也因為其中有一幅莫內的油畫作品，名為「日出.印象」，而被藝評家譏諷為「印象派」，他們不但不加以反駁，反而從此乾脆以印象派畫家自居了呢！

　　印象派的畫家提倡走出戶外，直接在陽光下寫生，特別重視光線在物體上造成的陰影和變化。否認物體有固定的顏色，認為陰影不僅是黑色或褐色，陰影也是有 彩度的，只是彩度比較低而已。他們描繪自然風光、平凡的生活，表現出光和色彩交融的美；有時甚至因太過追求光線燦爛的感覺，而使形體溶入背景顯得模糊不 清。他們也受到日本「浮世繪」東洋畫色彩和線條的影響。

印象派藝術家的氣質和造詣各不相同，追求的理想也各自有異。印象派繪畫不同於其他繪畫之處，在於借助光與色的變幻來表現作者在瞬間捕捉到的印象。印象派畫家認為在表現光的過程中，他們也就找到了繪畫藝術的一切。

印象主義繪畫技法的基本原理是色彩分解，即只用光譜中的七種純色作畫，像這樣在畫布上只並列不同純色而讓觀者憑自己的視覺自行加以調合的做法，可以保持每一種純色的新鮮和光彩，從而創造出更強烈的發光度。

印象派畫家的風景畫，把過去被忽略的許多現實的色調變成為主角，這無疑是印象主義作出的巨大貢獻。但是由於藝術家的全部注意力都集中在光線和空氣對色彩的影響，使得畫布上所描繪的受光物變得越來越不重要了。印象派畫家不關心作品的思想性，是一個根本性的缺陷。

Impressionism France, ca. 1870s
The Impressionists were a group of painters who, in general, departed from the traditional pursuit of reproducing an illusion of real space in paintings of academic subjects, choosing instead to exploit the possibilities of paint to explore the fleeting effects of nature and the vagaries of visual sensation in, for the most part, rapidly executed works.
Among the several dozen painters who participated in this loosely defined group—most of whom are unknown today—were Mary Cassatt, Paul Cézanne, Edgar Degas, Claude Monet, Berthe Morisot, Camille Pissarro, and Pierre Auguste Renoir.
These artists were associated principally through their group exhibitions (although some, like Cézanne, never showed their work in the so-called Impressionist exhibitions) and were perceived by some critics of the time as sharing certain stylistic devices, such as
employing loose brushwork to produce the illusion of the artist’s spontaneous recording of natural light on the canvas and rejecting the practice of chiaroscuro (modeling in light and dark).
In their pursuit of modernity, some of them borrowed formal devices used in photography and Japanese prints, such as radical foreshortening, cropping, and keyhole or bird’s-eye perspective.