В данном разделе вы можете ознакомиться с билетами по различным предметам, школьными и экзаменационными топиками по английскому и немецкому языку, конспектами, а также материалами по педагогической практике.
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If we look at the bottles in "A Bar at the Folies - Bergere" by Manet, we shall notice that the treatment of detail here is totally different from the treatment of detail by the painters of the Academy who looked at each leaf, flower and branch separately and set them down separately on canvas like a sum in addition. But all the bottles in Manet's picture are seen simultaneously in relation to each other: it is a synthesis, not an addition. Impressionism then, in the first place, is the result of simultaneous vision that sees a scene as a whole, as opposed to consecutive vision that sees nature piece by piece.
Let us suppose, for a moment, that we are staying at a house on the banks of the Seine opposite the church at Vernon. Let us suppose that, having arrived there in darkness the previous evening, we jump out of bed in the morning, open the window, and put out our head to see the view. Monet's picture "The Church at Vernon" shows us what we should see at the first glance; the glance, that is to say, when we see the scene as a whole, before any detail in it has riveted our attention and caused us unconsciously to alter the focus of our eye in order to see that detail more sharply.
Another way of putting the matter is to say that in an Impressionist picture there is only one focus throughout, while in an academic picture there is a different focus for every detail. These two methods of painting represent different ways of looking at the world, and neither way is wrong, only whereas the academicians look particularly at a series of objects, the Impressionist looks generally at the whole.
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