印象派绘画在西方美术史上的地位基本和文艺复兴一样,成为西洋油画发展的分水岭之一。无论中西,绘画集团中都有官方与民间之分,当然多数矢志成为官方宫廷画家的艺术家们在靠近官方失利后选择隐遁民间,这在中国文人山水绘画中表现透彻。而少数失意的画家会组成与官方“对立”的集团组织,在绘画主旨和表现上走着完全异于官方的路子,西洋印象派算是一列。本文将粗浅地探讨以马奈为代表的印象派靠近官方失利后另寻出路,最后活跃画坛的状态。 Impressionist painting in the history of Western art and basic status of the Renaissance, as one of the watershed in the development of Western painting. Both the Chinese and the West, the painting groups have both official and non-governmental points. Of course, most artists who aspire to become official palace painters have opted to reclaim their own folk after their official defeat. This is a clear manifestation of the Chinese literati’s landscape painting. However, a handful of frustrated painters would form a group organization with the official “opposition” and walk completely different from the official ones in the main thrust and performance of the painting. The Western impressionists count as one column. This article will be superficial to explore Impressionism represented by Manet another way after the official defeat, and finally the status of active painting.