1900s – Renoir continued to diligently improve his painting in his later years, painting many nude women, bringing the soft visual touch to life.

1910s - Renoir finally saw his work hanging in the Louvre during his lifetime,

He died in 1919.

Renoir's "The Ball at the Moulin Rouge", in which the painter died of poverty and illness, sold for $78.1 million in 1990. It's ironic.

Zhang Feng carefully studied this painting, and from the technical point of view, the dappled sunlight through the leaves, and the treatment of light and color spots, fully expressed the Impressionists' high sensitivity to the changes of light and color in real life.

The painting epitomizes the most impressionistic moment in which he lived. The people inside are dressed in contemporary costumes. The men wore top hats or straw hats, and the women wore skirts and waist pads that were propped up with hoops. In this painting, the mundane scene of an outdoor bohemian ball is transformed into a dream full of light and color for beautiful women and attentive men. Beams of light, flickering and flickering over the colourful forms of the figures—blue, rose, and yellow—mingle in the romantic smoke, soften and increase the value of all these pleasant people's beauty.

Dancing in the painting is the queen of Montmartre at the time, La. Gu Liu and his male dance partner Hua Landan. She is a wild and uneducated dancer. People gathered around the dance floor, watching the intense performance, no one cared who they were, and they just had fun in this place.

"Isn't that what art is all about?" After reading it, Zhang Feng couldn't help but sigh, what kind of dogma do you want, and after taking a commemorative photo, Zhang Feng continued to walk forward and came to the painting made by Berth Morisot.

Berthe Morisot, born in Bourges in January 1841 and died in Paris in March 1895, was a French painter. Morisot was the first female painter to join the Impressionists, having been taught by Corot, and her friend and uncle, Manet, had an absolute influence on her style. Mauter married Manet's younger brother, Eugène Manet. Unlike other Impressionists, Morisot paid special attention to the optical experience of color, and is considered to be the most important female painter of the second half of the 19th century, along with Cassatt in the United States.

The painter Berth Morisot depicts mothers and children, as well as the painter's daughter, with a feminine sensibility, and embodies the delicate and steady nature of women in his works. In addition to being a model for the great painter Édouard Manet on several occasions, it has been pointed out that she had a relationship with this person above the master-apprentice relationship.

As a child, Berthe Morisot studied oil painting with her sister Edmer at Joseph Benoit Gillard, where they were influenced by the works of the painters there. Later, Camille Corot came to Paris to study the Barbizon School and began to create works outdoors. Berthe Morisot also turned to Corot.

In 1864, after the painter Camille Corot was selected for the Salon for the first time, he met Édouard Manet at the Louvre Museum through the introduction of the Salon painter Henri Fontaine Latour. In addition to Manet, Monet, Renoir, Pissarro, Bazier and other Batignol painters and art critics such as Emile Zola were also greatly influenced.

In 1874, Berthe Maurisot married Eugène Manet, the younger brother of Edouard Manet, and four years later in 1878 their daughter, Julie Manet, was born. After her marriage, Bellet Morisot participated in the Fourth Impressionist Exhibition.

Later, Morisot died in Paris in 1895.

She likes to depict interior scenes, as if she wanted to express poetic images in a familiar, intimate domestic environment. This "Cradle" is one of the first works by a female painter to participate in an Impressionist exhibition. The painting depicts a young mother gazing at her sleeping child, and the mother and the sleeping baby in the gauze tent form a very affectionate and harmonious and elegant picture, without pretentiousness, which is due to the psychological emotions of a warm woman, which makes the picture very pure, no wonder Renoir called her a "pure genius" and regarded her as an excellent interior scene painter. This painting remains in people's memories with its smooth brushstrokes and fresh tones.

Edgar Degas (1834-1917) was an important painter of the Impressionists. Edgar Degas was born into a family of financial capitalists, Degas's grandfather was a painter, so Degas grew up in a family that cared deeply about art.

After graduating from high school, Edgar Degas enrolled in art school, where he studied Italian art, especially Renaissance art. At the same time, Degas studied painting in the studio of Louis-Lamott, a protégé of Jean-Suguste Dominique Ingres (1780-1867). Degas copied many paintings and drawings from the 15th and 16th centuries; By the time he returned to Paris, he was already a master of the Ingres School.

Sketches Zhang Feng can only record with a camera, but he can't see much, but he can be sure that this kind of sketch is a kind of classicist drawing, a kind of drawing studied in the academy (academic), so Edouard Manet (1832-1883), Pierre-Auguste-Renoir (1841-1919), Paul Cezanne (Paul Cezanne). (1839-1906) soon rose up against this kind of drawing, but Degas had a different attitude towards it, and he greatly admired the classicist drawing.

Degas had a natural penchant for sketching, and he liked slender, coherent and clear lines, which he considered to be the guarantee of a refined style and the only way to achieve the kind of beauty he admired. The line became his desire. In the use of the line, Degas reached a point where none of Ingres's disciples and his followers could achieve it.

But soon, Degas's keen intellect made him aware of a new artistic current, that is, "realism".

But this theory advocates abandoning the ancient Greek ideal of beauty and replacing it with a simple, sincere representation of what is seen. In order to approach the ideal of beauty without detaching himself from reality, Degas's approach is to use clean lines and use the technique of light and shade. If you want to depict reality, you must subordinate the technique to the individuality of the image, which is to paint portraiture. Degas's portraits in his youth accurately represent his belief in drawing, his excellent technique, and his excessive conformity to delicate sensibilities.