This painting, Still Life with Old Shoe, was completed by the Spanish painter, sculptor, artist, printmaker, and surreal representative

a random space and the color, black and sinister form made people disgusting.

The still life painting was not a special symbol, but a reflection of Miro’s pain and disgust for his beloved Spain incident. He used the object, color and shape to condemn the corruption, disaster and death. In this period, Miro drew a line drawing portrait. The staring big eyes and tight lips reflected his terrible idea. The harsh drawing and drowsy positive image marked that he inherited his early style.

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.

Isaac Levitan (1861-1900) was an outstanding Russian sketching painter and realistic painting master. At the same time, he was also the member of Peredvizhniki. The works of Levitan were very poetic, which deeply and truly showed the beauty of the characteristics of the Russian nature. The uniqueness of his sketches lied in the succinct strokes, comprehensive coverage, strong emotions, the depiction of the state of the nature and various changes of the spiritual experience and the rich brooding melancholy feeling.

The famous painting Autumn Day Sokolniki was the first work of Levitan. This painting reproduced the dark golden autumn. The autumn scenery was as bleak as the life in Russia and Levitan’s life. The painting seemed to emit something that was able to affect each person’s feeling of sadness. A black-clad young girl—it is was the strange woman standing on a heap of fallen leaves and walking in the path of Sokolniki. Her song was unforgettable for Levitan: “my song is full of lingering sentiments, but makes you miserable……” She was alone in the forest, and this kind of lonely feeling made her full of meditation and melancholy sense.

Autumn Day Sokolniki was the only Isaac Levitan painting that depicted the character, which was also the one that Nicola Chekhov once had described. Since then, any character no longer appeared in his paintings, replaced by the forest, pasture, spring wind in the mist and Russia’s shabby huts. These houses were silent and desolate, just as the silent and lonely people.

Kazimir Malevich once said, “The square plane marks the beginning of art Suprematism, which is a new color realism and an object creation…… The so-called Suprematism means the pure emotion or the supreme feeling in the painting.” After the denial of the painting’s subject, object, content, and space, simplification became the final performance. The consciousness of the people was shown in the close-zero content and the white science of the painting. “Nothing” became the supreme painting principle of Suprematism.

At the end of 1913, Malevich began to restrain his interest in the earth’s gravity and conquering the universe. He said in Maqiu book, “My new painting does not belong to the earth. The earth is like a ruined house and has been abandoned. Indeed, in the human body, in people’s consciousness, there is a desire for the space and a yearning get away from the earth.” In Malevich paintings, the theme about the universe and space flight began to be highlighted. Many of his works broke off the concepts of up and down although the forms were full of rhythm, as if to hover freedom in a vast imaginary space. The blue of the sky covered the space sight, so Malevich ripped the colorful awning. “I have broken the limit of blue color world,” he said with passion, “I turned to white, except for me, the pilot comrades, cruise in the infinite world. I have established the banner of Suprematism. The free white sea is lying in front of you.” When the space’s theme reached the peak, the white became the ultimate symbol.

In 1918, Malevich’s most famous work White Square was known to people. This work marking the end of the supremacy completely abandoned the elements of color. White became the incarnation of light. The white square on the white block was faint and difficult to distinguish the degree, which seemed to spread and reappear in the incandescent light in the atmosphere. Here, Malevich would seem to enter an area which was difficult to see by the naked eyes, observe by the heart and taste by the feeling. All the contemporary ideas about the space, objects and the universal law became meaningless here. The artist wanted to express a final liberation, namely some approximate Nirvana states, and that the small which was difficult to see the edge was the only concrete traces. This was the highest expression of the Supreme spirit. “Square (the will of the people, or people) got off its material nature and was mixed with infinity. All that was left was the dim traces of its appearance (or his appearance).”

The portraits of Repin were very rich. The figures he painted with distinct personality were portrayed exquisitely. This depended on his outstanding realistic skills. The painting Portrait Of The Composer Modest Musorgsky was one of the representative works of portraits.The painting depicted that when Musorgsky was ill in hospital, the resolute and tenacious spirit of this great composer was emphasized. The painter used the perspective of looking up to show this great musician, whose head and chest formed the angle of rotation, sharp eyes and resolute character to be showed in front of the audience.

Repin liked to use a kind of relaxed and lively style to depict their relatives and close friends, similar to a portrait of the genre paintings. In 1892 the “Observer” magazine commented on
like an old man. The arrival of Repin made Musorgsky feel freshed and sit up from the bed. In the ward, Repin spent four days completing the portrait of Musorgsky. A few days later, Musorgsky died. The painting was purchased by Tretyakov (now preserved in the Tretyakov Gallery in Moscow). Repin devoted all the remuneration and built the monument in the tomb of Musorgsky.

This famous oil painting, Zaporozhtsy was created by Ilya Repin in 1880 and completed in 1891, lasting for 12 years. This work was based on the Ukraine folk legend: Turkey Sultan put forward a letter to require Zaporozhtsy to believe in Muslim and join with them to fight Russia. The brave Zaporozhtsy who loved freedom resolutely refused them and laughed at Sultan. These ordinary humans’ actions were revealed through the contempt for the enemy.

For the creation of this history painting, Repin carefully read the history of Ukraine and understood the background of legend era. At the same time, he visited the areas closely related to this event in 1880 and got familiar with people’s clothes, faces, bodies, etc. In addition to creation of many sketches and drawings, he also made a lot of portrait clays. He made painstaking efforts and repeatedly drafted to constantly revise and supplement to his creations.

Zaporozhtsy was a work consisting of lots of people. Ilya Repin made powerful features to the character’s attitudes, bending fingers, details of lines of clothes and hairstyles, and character’s psychological and emotional feelings. In his later years, Repin’s right hand was not flexible, so he used his left hand to paint. In order to repeatedly bate and modify the works, he always walked several miles back and forth every day. He loved his art career and worked very hard. Sometimes because of the excessive fatigue, he fainted in the studio. The doctor asked him to have a good rest in Sunday and get away from painting. So he had to draw sketches with cigarette butts to leach the ink with no painting tool.

In the oil painting of Ivan the Terrible and His Son Ivan on November 16, this Ilya Repin painting chose such a plot to portray: when Ivan fought with his son, he threw the wat in his hand to his son. But the wat unfortunately hit the son’s head, and a lot of blood flew. This occasional violent impulse made the successor killed. Ivan immediately realized his terrible action and stepped forward to embrace the dying son. His eyes were full of terror, remorse and shame. He wanted to ask his son to forgive him, but it was in vain. Both animal and human nature were shown in Ivan. In order to enhance the Realism painting’s feeling of terror, the painter deliberately adopted the deep red tone and the dark background to strengthen the prospects of terror. The red carpet represented the bloody killing scene. The artist concentrated on portraying Ivan’s face and stared at the big eyes in a blue funk. The irreversible choice pain indicated that Ivan’s rule would be destroyed, but also showed the world why tyrannical Tsar was doomed to fail.

This painting, Ivan the Terrible and His Son Ivan on November 16, angered the tsar. An attorney wrote to the emperor in the memorial, “The painter used all the truth to describe this event. What does he want to do? Why he paint Ivan? In addition to a certain tendency, there is no other reason.” So the picture was removed once exhibited.

In 80s, Russia began the bloody carnage because of the assassination of Czar Alexander II, which aroused people’s anger and rebellion, Repin was going to show the reality of this time. One day, he went to listen to the second parts of symphonic suite Aetna—Revenge of The Time of Nikolai and Reivitch Rimsky-Korsakov and got inspired. He said, “It gave me an indelible impression. Can I show my emotion affected by music in the paintings? I recall Ivan. Many bloody events happened these years. I felt very terrible, but there was a force always urging me to finish this painting.”