In 1925, Joan Miro held an exhibition at the Pierre Gallery in Paris. All the surrealist painters including Redon, Dali and Masson came there. To the surprise of this Spannish painter, the audience in Paris showed the hitherto unknown passion for him and the crowded visitors packed the whole gallery. The exhibition got the huge success. And Miro became the most eye-catching painter in Paris overnight. Harlequin S Carnival was one of the Joan Miro Paintings in this exhibition, which

marked the final formation of Miro’s artistic style. This work had a unique sense of space and fantastic charm.

Harlequin S Carnival was the first surrealistic painting, the reversal sense of space. The indoors held the feverish rally and only the humans were sad. The figure with the elegant beard and long rod pipe gazed disconsolately at the viewers. Around him were a variety of wild animals, small animals and organic matters which were very happy. This painting had no special symbolic meaning and what the painter adequately described was a brilliant dream image.

Harlequin S Carnival was the early work that Miro tried surrealism. It seemed that a lot of strange things were placed in the painting. And the traditional composition rule had gone here. The painting was filled with “carnival” atmosphere, and even the tablecloth wanted to slide down to join. The stairs also wanted to move. Various shapes of curious spirits were busy destroying everything. They mocked with each other, but humans appeared helpless with open eyes and crying long faces. The whole painting was permeated with pure, happy and humorous atmosphere.

Between 1872 and 1876, Sisley paintings were the most outstanding, and reached an unknown height. Platz in Argenteuil was made in 1872. This impressionism painting is now collected in Orsay Museum in Paris, France. His painting style was robust with highly skilled techniques and clear contrast color. His sharp eyes were able to see the subtle changes of the transition of color tone.

For Sisley, the rural scenery is not used to create the contrast basis, nor the life’s theme, but the relationship between the colors. In the painting of Platz in Argenteuil, yellow, rose and green highlighted the grey of the houses, and brown emphasized the tone of the earth, some roofs were brown and some were deep blue, which was set off by the bright pink blue sky. Sisley’s snow effect was not match with other works; I am quite sure about that.

If you compare this impressionism painting with the early works of Monet and Pissarro, what attracted to us was not only Sisley’s painting with more stability and nature, but also the kind of unique technique learned from Corot. Because his art was completely obedient to the feeling and not in line with showing any rapid establishment, so he was not ready to give a person with a long statement.

Several stay in the UK, the desire to be accepted by the salon and the poor life did not shake the belief of Sisley and make him change his painting style. Among his about 800 works, most were landscapes. His love for the nature and simple emotion were revealed in his creation. Pissarro said that Sisley was the purest impressionist painter, for he clung to the original painting idea — through the light and color performance to capture the natural scenery of instantaneous real impression.

The Vladimir S Road was a realistic landscape painting of the Russian famous painter Levitan. On one occasion, Levitan led his students to make sketches in Siberia and found a deserted road with the remaining road signs. He asked a student what this way was. The student told him that it was an ancient path leading to the Siberia Presidio. Levitan stood in the way and his mind immediately emerged out of a team of exiles that was escorted by the Russian soldiers, heard the deep cry of the revolutionaries and jingling chains. He fell into the deep thoughts. Then he collected a lot of materials and created this realism art, The Vladimir S Road, –the road to exile.

In this landscape painting, the visual horizon which was pressed very low made the painting extensive and far-reaching. The distance was overshadowed by the dark clouds and the deserted signpost, desolate wilderness and tombstone increased the desolate atmosphere. It told people in a very vivid way that this was a road full of misery, blood and tears. In this very simple artistic image, Levitan

Czarist period to Siberia.

Behind the church, there was the birch forest that appear a lot in Isaac Levitan paintings. The birch forest covered the hustle and bustle of the city and blocked the secular vanity, making the quiet and beautiful land of idyllic beauty presented in front of us. Vesper Chimes depicted the countryside scenery when the dusk fell.

In the middle of this landscape painting, there was a quiet river and a dense forest across the river. From the forest, a church with blue dome was seen. Next to the church was the bell tower of the monastery with red and white. The spire had a small golden dome and the reflection of the church and bell tower was loomed in the river. Two boats were placed in the one side of the river, revealing a bleak and chilly smell and an artistic conception of “the remaining boat without people in the wild”.

The sunset was reflected in the winding river near the village

which showed the painter’s yearning for peace and quiet to free from the agitated restless life mood. This was a painting with warm colors. Large tracts of the golden sunset spread around in the grass, scattered in the calm lake with no waves, and the steeple of the church, which plated a layer of golden light for the scenery and brought a scared, solemn and holy sense. This became a beautiful silhouette existing in the canvas and in Levitan’s paintings.