（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.
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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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