File talk:Pierre-Auguste Renoir 007.jpg

How could us make the aesthetic senses abstracted from Pierre-Auguste Renoir' paintings with impressionist style? Take a sample of 'Two Sisters, oil on canvas, 1881, Art Institute of Chicago'

1. Usually, impressionists preferred to fuzzy the background by mixing the boundaries between different 'colours blocks’ in the spectrum.

It isn't to say these pieces of aesthetic information provided aren't important. However, impressionists would like to 'break' them into basic particles and merge them into your unconsciousness through the photons' penetrating of your visual system (from eyes to nerves). Afterwards, you gained the senses by your general impressions of this painting's basic theme.

In this painting, behind terrace's iron armrest, the landscape stood upon 2 dimensions' distribution. Things became different: the boundaries among different matters were fuzzing a little bit by a little bit; then, every item of them continuously processing a motivation merging into another. This kind of merging has also been carrying the energies' changing, emitting and fading.

I searched some resources from out team, and found this quotation 'In the late 1860s, through the practice of painting light and water en plein air (outdoors), he and his friend Claude Monet discovered that the color of shadows is not brown or black, but the reflected color of the objects surrounding them, an effect known today as diffuse reflection.' (https://en.wikipedia.org/wiki/Pierre-Auguste_Renoir) I am personally prefer this explanation - applying 'diffuse reflection' to identify impressionist's fine art's ideas.(https://en.wikipedia.org/wiki/Diffuse_reflection)

You would find 'diffuse reflection' mixed and transitioned colours, which made you could not clearly say: what colours they really are, what shapes they really are, and what lights they reflected out. However, only huge blocks from different colours schemes filled in not only your eyes, but also your mind. You knew the blue block of pool-part was continuously transitioning into green-yellow block grassland, as if a light and soft breeze was blowing passing by the transitional part. Then, the mind would tell you the leisure and holiday life-style with several boats was existing upon the pool. While, the houses in white-colour block made a reflexive upon grey-belt's mountains which welcomed a feeling of home by waving their hands attracting you senses of belonging. Closing your eyes, what were left still? The background is a leisure, cool, holiday-feeling, relax impression.

2. what are emphasized and detailed carved upon the fuzzy background

Yes, compared with the first point, the second one is much easier to be talked. Around 135 years, so many persons have already contribute their ideas to analyse the beauties of two young girls (https://en.wikipedia.org/wiki/Two_Sisters_(On_the_Terrace)) - their clothing, sunny face-expressions and the colours of the flowers on the table , on girls' hats and on big girl's chest .

I merely would like to mention a small detail: Did you see big girl's eye contact(glance)? What does this expression mean? Usually, in a warm afternoon, when a person feel a little bit lazy, warm, comfortable and produce a daydream, she would show this kind of expressions, which matching with the pink face made you touched by their innocence, purity and loveliness.

Musical synaesthesia (appreciating impressionist music through the pathway of painting)

We all knew: in the same period, the impressionism in France and also throughout Europe (UK, German and other countries) wasn't merely in painting - one field, but multiple-disciplinary.

When we would like to study and research them, we also need to take a multiple-fields picture. Here, I would like to introduce one composer - Claude Debussy [ https://en.wikipedia.org/wiki/Claude_Debussy ]. I knew him from my childhood. Through playing his melodies, and threading with today's educational picture.

I creatively got an idea - the impressionist in music also preferred to 'break' colours of notations (the pitches and textures) into small particles; and then, form a impressive background through fuzzing and merging the colour-blocks transitionally and continuously. However, in the field of music, the techniques used by them somehow contented 'the fast-pizzicato of black chords, the polyphony and the applications of small phrases which were separated and drawn from pieces of arpeggio or scale etc.'

Following the first point, during their composing, they also would like to sprinkle the brighten and pieced 'silver' upon melodic sea for emphasizing the main theme, just as two girls' part in today's painting.