Koptseva, N.P., Reznikova, K.V. Philosophical Grounds of Albert-Charles Lebourg’s Creative Work (‘Rouen School’ of French Impressionism)

Abstract: The subject matter of this research article is the conceptual grounds and creative ideas of a French impressionist Ablert-Charles Lebourg, the follower of the so called ‘Rouen School’ of French impressionism who did landscapes. Impressionism in art and other forms of art presented the new paradigm of European culture depicting the creator and his activity in the artwork. Philosophy of impressionism shown in Albert-Charles Lebour’s creative work is reflected not only in his creative ideas but also in a special painting technique that visualizes the process of creating the art image by the artist. The article presents the results of the philosophical and cultural analysis of Albert-Charles Lebour’s three masterpieces. The authors of the article describe how Lebour’s creative thinking related to the basic philosophical ideas representing the paradigm shift in culture. The main method of research is the philosophical and cultural analysis developed by D. Pivovarny, V. Zhukovsky and tested in a number of scientific works published by N. Koptseva, A. Semenova, K. Reznikova and other researchers. The authors also carried out the conceptual analysis and used the elements of historical and philosophical research. 1. The authors offers a hypothesis that impressionism was the first European branch of art and intellectual tradition to demonstrate the new paradigm that overcame the different between the internal and external realities. 2. The authors provides the description of the three paintings of a great French impressionist Albert-Charles Lebourg’ in terms of art history. These paintings include: ‘The Snow in the Auvergne’, ‘Two Boats in Rouen Sun’ and ‘Banks of Siene’. The authors define the basic creative ideas of the artist reflected in these three paintings. 3. The authors reveal the profound conceptual bond between the aforesaid three paintings by Albert-Charles Lebour, on one hand, and between Buddhism and psychologism in art as cultural concepts of European intellectual lie before the First World War. The authors show that impressionistic landscapes painted by the artist construct and convey powerful visual impressions modeling not only the visual reality but the entire psychophysical reality.

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