第一届印象派展览 (法語: Première exposition des peintres impressionnistes)

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150 年前，1874 年 4 月 15 日，第一届印象派展览在巴黎开幕。“渴望独立”的莫奈、雷诺阿、德加、莫里索、毕沙罗、西斯莱和塞尚最终决定摆脱规则，在官方渠道之外举办自己的展览：印象派诞生了。为了庆祝这个150周年纪念日，奥赛博物馆将展出约 130 件作品，并以全新的视角看待这个被视为先锋派诞生的重要日期。本展览将于 7 月 14 日结束。

第一届印象派展览是由匿名艺术家协会举办的艺术展览，该协会是一群十九世纪艺术家，他们被官方巴黎沙龙拒绝，并寻求自己的场地来展示他们的作品。展览于 1874 年 4 月在卡普西纳大道 35 号举行，这是著名摄影师纳达尔的工作室。艺术评论家路易斯·勒鲁瓦在 1874 年 4 月 25 日的《Le Charivari》杂志上发表了一篇题为“印象派展览”的讽刺评论，该展览被称为“印象派展览”。勒鲁瓦的文章是印象派一词的起源。（en.wikipedia.org/wiki/First_Impressionist_Exhibition）

3 月 22 日，法国邮政发行了邮票小册子“印象派 150 年作品集”，其中有 12 幅印象派画作，但并非所有这些画作都在 1874 年的第一届印象派展览中展出。
克劳德·莫奈的《印象，太阳升起》（1872 年）在 1874 年和 2024 年展出，但未包含在邮票小册子中。

克劳德·莫奈在位于 Grand-Quai 41~45 号的 Amirauté 酒店的一个房间里，画了黎明时分的勒阿弗尔外港。两年后的 1874 年 4 月 15 日，这幅画在摄影师纳达尔以前的工作室展出，引起了轩然大波。最激烈的批评者路易斯·勒鲁瓦嘲笑这幅海景画，认为其素描风格藐视学院派绘画的规则。在 4 月 25 日的文章中，这位记者直言不讳：“我敢肯定，这是一种印象。我心想，这给我留下了深刻的印象，所以这其中一定有印象……。”路易斯·勒鲁瓦更广泛地抨击了他讽刺地称之为“印象派展览”的展览，他没有想到半个世纪后，这一运动——他偶然树立了它的声誉——会引起如此国际性的热情！ （fondation-monet.com/en/actualites/impression-sunrise-the-saga-of-a-legendary-painting/）

150 years ago, on April 15, 1874, the first impressionist exhibition opened in Paris. “Hungry for independence”, Monet, Renoir, Degas, Morisot, Pissarro, Sisley and Cézanne finally decided to free themselves from the rules by holding their own exhibition, outside official channels: impressionism was born. To celebrate this anniversary, Musée d’Orsay is presenting some 130 works and bringing a fresh eye to bear on this key date, regarded as the day that launched the avant-gardes. This exhibition will end on July 14.

The First Impressionist Exhibition was an art exhibition held by the Société anonyme des artistes peintres, sculpteurs, graveurs, etc., a group of nineteenth-century artists who had been rejected by the official Paris Salon and pursued their own venue to exhibit their artworks. The exhibition was held in April 1874 at 35 Boulevard des Capucines, the studio of the famous photographer Nadar. The exhibition became known as the "Impressionist Exhibition" following a satirical review by the art critic Louis Leroy in the 25 April 1874 edition of Le Charivari entitled "The Exhibition of the Impressionists". Leroy's article was the origin of the term Impressionism. (en.wikipedia.org/wiki/First_Impressionist_Exhibition)

On March 22, La Poste issued stamp booklet "Autour des 150 ans de l’impressionnisme" with 12 Impressionist paintings but not all these paintings were exhibited in The First Impressionist Exhibition in 1874.
Impression, soleil levant (1872) by Claude Monet was exhibited in 1874 and 2024 but was not included in stamp booklet.

From a room at the Amirauté Hotel located at 41~45 Grand-Quai, Claude Monet captured Le Havre’s outer harbour in the dawn. Exhibited two years later, on 15 April 1874, in photographer Nadar’s former studio, the painting caused outrage. Its most vociferous critic, Louis Leroy, mocked this seascape with its sketch-like style that flouted the rules of academic painting. In his article dated 25 April, the journalist held nothing back: “An impression, I’m sure. I thought to myself, this has made an impression on me so there must be impressions somewhere in there […].” Louis Leroy lambasted more generally what he ironically christened “the exhibition of impressionists”, little imagining that half a century later the movement – whose reputation he incidentally established – would generate such international enthusiasm! (fondation-monet.com/en/actualites/impression-sunrise-the-saga-of-a-legendary-painting/)

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克劳德·莫奈的《罂粟田》（1873 年）于 1874 年和 2024 年展出，并被收录在邮票册中。

1871 年从英国返回后，莫奈定居在阿让特伊，并一直住到 1878 年。这些年对他来说是一段充实的时光。在经销商保罗·杜兰德-鲁埃尔 (Paul Durand-Ruel) 的支持下，莫奈在他家附近的地区发现了明亮的风景，这使他能够探索户外绘画的潜力。

1874 年，在摄影师纳达尔 (Nadar) 废弃的工作室举办的首届印象派展览上，他向公众展示了《罂粟田》。如今，它是世界上最著名的画作之一，让人想起夏日漫步田野的活力氛围。 (musee-orsay.fr/en/artworks/coquelicots-1010)


Poppy Field (1873) by Claude Monet was exhibited in 1874 and 2024 and was included in stamp booklet.

When he returned from England in 1871, Monet settled in Argenteuil and lived there until 1878. These years were a time of fulfilment for him. Supported by his dealer, Paul Durand-Ruel, Monet found in the region around his home the bright landscapes which enabled him to explore the potential of plein-air painting.
He showed Poppy Field to the public at the first Impressionist exhibition held in the photographer Nadar's disused studio in 1874. Now one of the world's most famous paintings, it conjures up the vibrant atmosphere of a stroll through the fields on a summer's day. (musee-orsay.fr/en/artworks/coquelicots-1010)

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卡米耶·毕沙罗的《白霜》（1873 年）于 1874 年和 2024 年展出，并被收录在邮票册中。

《白霜》创作于画家 1873 年至 1882 年居住的蓬图瓦兹附近，是毕沙罗在 1874 年首次举办的画展上展出的五幅作品之一。评论家路易斯·勒鲁瓦 (Louis Leroy) 写道：“那是什么？——你看，深脊上的白霜。——脊，那是？那是霜？……但那些只是均匀涂抹在脏画布上的纯粹的油漆划痕。它既无头无尾，既无顶部也无底部，既无前部也无后部。”（musee-orsay.fr/en/artworks/gelee-blanche-368）

White Frost (1873) by Camille Pissarro was exhibited in 1874 and 2024 and was included in stamp booklet.

Painted near Pontoise where the painter lived from 1873 to 1882, White Frost was one of five pieces presented by Pissarro at the first exhibition of the group in 1874. The critic Louis Leroy then wrote: "What is that? -You see, white frost on deep ridges. -Ridges, that? That, frost?... But those are sheer scratches of paint uniformly put on a dirty canvas. It has neither head or tail, neither top or bottom, neither front or back."(musee-orsay.fr/en/artworks/gelee-blanche-368)

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La Maison du pendu, Auvers-sur-Oise or The Hanged Man's House (1873) by Paul Cézanne was exhibited in 1874 and 2024 (?) but was not included in stamp booklet.

The Hanged Man's House was one of the three canvases that Cézanne presented at the first Impressionist exhibition in 1874. The influence of his friend Camille Pissarro, with whom he regularly worked in the region of Pontoise and Auvers-sur-Oise, is clearly perceptible. Compared to his early works, Cézanne has used the pale colours and broken brushstrokes of the Impressionists. He has also given up dramatic or literary themes for a simple, even commonplace subject. But The Hanged Man's House reveals Cézanne's peculiar brand of Impressionism.
The composition of the canvas is complicated. There are several strong axes leading away from a central point: a path which climbs to the left; another which leads down towards the centre of the painting; a bank curving away to the right; the branches of the trees angling off to the top of the painting. The planes are close set. The thickness of the grainy brushstrokes seems to 'plaster' the painting. The lack of people, the stiff, austere vegetation, and the cool colours help to create a strong sense of solitude.
Although the painting puzzled the critics when it was first shown, it was nonetheless the first that Cézanne managed to sell to a collector. (musee-orsay.fr/en/artworks/la-maison-du-pendu-auvers-sur-oise-1476)

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Le Berceau or The Cradle (1872) by Berthe Morisot was exhibited in 1874 and 2024 (?) but was not included in stamp booklet.

Undeniably Berthe Morisot's most famous painting, The Cradle was painted in Paris in 1872. It shows one of the artist's sisters, Edma, watching over her sleeping daughter, Blanche. It is the first image of motherhood—later one of her favourite subjects—to appear in Morisot's work.
The mother's gaze, her bent left arm, a mirror image of the child's arm, and the baby's closed eyes form a diagonal line which is further accentuated by the movement of the curtain in the background. This diagonal links the mother to her child. Edma's gesture, drawing the net curtain of the cradle between the spectator and the baby, further reinforces the feeling of intimacy and protective love expressed in the painting.
Berthe Morisot showed The Cradle at the Impressionist exhibition of 1874—the first woman to exhibit with the group. The painting was scarcely noticed although important critics commented on its grace and elegance. (musee-orsay.fr/en/artworks/le-berceau-1132)

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Bal du moulin de la Galette or Dance at Le moulin de la Galette  (1876) by Pierre-Auguste Renoir  is doubtless Renoir's most important work of the mid 1870's and was shown at the Impressionist exhibition in 1877. Though some of his friends appear in the picture, Renoir's main aim was to convey the vivacious and joyful atmosphere of this popular dance garden on the Butte Montmartre. The study of the moving crowd, bathed in natural and artificial light, is handled using vibrant, brightly coloured brushstrokes. The somewhat blurred impression of the scene prompted negative reactions from contemporary critics.
This portrayal of popular Parisian life, with its innovative style and imposing format, a sign of Renoir's artistic ambition, is one of the masterpieces of early Impressionism.
(https://www.musee-orsay.fr/en/ar ... n-de-la-galette-497)


皮埃尔·奥古斯特·雷諾瓦 的 1876年畫作《Bal du moulin de la Galette》或《煎餅磨坊的舞會》无疑是他在1870 年代中期最重要的作品，并在 1877 年的印象派展览中展出。在这幅画中，他的主要目的是传达蒙马特高地这座受欢迎的舞蹈花园的活泼和欢乐的气氛。对沐浴在自然光和人造光下移动的人群的研究是使用充满活力、色彩鲜艳的笔触进行的。这一场景的模糊印象引起了当代评论家的负面反应。
这幅对巴黎大众生活的描绘，以其创新的风格和气势磅礴的形式，体现了雷诺瓦的艺术雄心，是早期印象派的杰作之一。