{"id":3998,"date":"2016-06-28T10:20:03","date_gmt":"2016-06-28T09:20:03","guid":{"rendered":"http:\/\/www.fjala.info\/?p=3998"},"modified":"2021-03-18T00:13:13","modified_gmt":"2021-03-17T23:13:13","slug":"impresionistet-kur-piktura-e-djeshme-jep-leksione-per-te-sotmen","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/impresionistet-kur-piktura-e-djeshme-jep-leksione-per-te-sotmen\/","title":{"rendered":"Impresionist\u00ebt, kur piktura e djeshme jep leksione p\u00ebr t\u00eb sotmen"},"content":{"rendered":"

Nga Joleza Koka<\/strong><\/p>\n

Nuk ka nevoj\u00eb t\u00eb \u201cvjedh\u00ebsh\u201d nj\u00eb pjes\u00eb t\u00eb tekstit t\u00eb Gladwell, pasi aft\u00ebsia e tij p\u00ebr t\u00eb t\u00eb mbajtur peng para letr\u00ebs \u00ebsht\u00eb aq e fort\u00eb, sa p\u00ebr ta dashuruar autorin. Megjithat\u00eb ndonj\u00ebher\u00eb disa pjes\u00eb na b\u00ebjn\u00eb p\u00ebrshtypje m\u00eb shum\u00eb se t\u00eb tjerat, sepse duket sikur na flasin ne, ose koh\u00ebs t\u00eb cil\u00ebn po jetojm\u00eb. Mua m\u00eb ka r\u00ebn\u00eb rasti n\u00eb k\u00ebto koh\u00eb jo t\u00eb gjat\u00eb t\u00eb jet\u00ebs time, p\u00ebr arsye ndonj\u00ebher\u00eb t\u00eb rast\u00ebsishme dhe ndonj\u00ebher\u00eb t\u00eb q\u00ebllimshme, t\u00eb jem pjes\u00eb e organizimeve t\u00eb m\u00ebdha si Partit\u00eb Politike, fushatat civile etj, por mbi t\u00eb gjitha t\u00eb jem n\u00eb kontakt t\u00eb vazhduesh\u00ebm me t\u00eb rinjt\u00eb, (duke qen\u00eb dhe vet\u00eb pjes\u00eb e k\u00ebsaj kategorie). Kjo pjes\u00eb e Gladwell m\u00eb goditit n\u00eb vecanti n\u00eb librin e tij \u201cDavidi dhe Goliath<\/em>\u201d sepse m’u duk sikur pash\u00eb \u201cmund\u00ebsit\u00eb e humbura<\/em>\u201d t\u00eb shum\u00eb t\u00eb rinjve (ndonj\u00ebher\u00eb p\u00ebrfshir\u00eb dhe veten) q\u00eb kam par\u00eb gjat\u00eb gjith\u00eb k\u00ebsaj kohe t\u00eb aktivizmit politik.<\/p>\n

N\u00eb epok\u00ebn e world wide web, \u00ebsht\u00eb e leht\u00eb t\u00eb ndjehesh individ kur n\u00eb fakt je turm\u00eb, \u00ebsht\u00eb e thjesht\u00eb t\u00eb mendosh q\u00eb je unik kur n\u00eb fakt sillesh n\u00eb m\u00ebnyr\u00eb uniforme. Problemi q\u00eb kam par\u00eb dhe q\u00eb po mundohem ta ilustroj duke vjedhur fjal\u00ebt e Gladwell \u00ebsht\u00eb pik\u00ebrisht si rrug\u00ebt e parrahura jan\u00eb ato q\u00eb jo vet\u00ebm garantojn\u00eb nj\u00eb sukses autentik, por mbi t\u00eb gjitha q\u00eb zhvillojn\u00eb at\u00eb q\u00eb quajm\u00eb progres shoq\u00ebror, n\u00eb Parti, Sport, Shkoll\u00eb apo kudo t\u00eb rinjt\u00eb identifikojn\u00eb modele suksesi \u201cliderin ekcentrik, burrin babaxhan fjal\u00eb pak e t\u00eb pushtetsh\u00ebm, biznesmenin arrogant apo dhe gruan apo vajz\u00ebn q\u00eb duhet t\u00eb b\u00ebj\u00eb dyfishin e sakrificave p\u00ebr t\u00eb qen\u00eb \u201cpjes\u00eb e loj\u00ebs\u201d. Esht\u00eb pik\u00ebrisht kjo \u201cloj\u00eb\u201d q\u00eb ka neveritur k\u00ebdo dhe q\u00eb kushdo e imiton n\u00eb menyren ekzakte sic e kan\u00eb b\u00ebr\u00eb brezat e kaluar.<\/p>\n

Impresionist\u00ebt vendos\u00ebn q\u00eb t\u00eb \u201ckrijojn\u00eb bot\u00ebn e tyre\u201d dhe jo t\u00eb kopjojn\u00eb suksesin e nj\u00eb bote t\u00eb shkuar, p\u00ebr k\u00ebt\u00eb arsye t\u00eb gjith\u00eb \u201cbashk\u00ebkoh\u00ebsit e tyre t\u00eb suksessh\u00ebm\u201d nuk i njeh sot askush me em\u00ebr nd\u00ebrkoh\u00eb impresionist\u00ebt jan\u00eb t\u00eb ekspozuar n\u00eb t\u00eb gjith\u00eb muzet\u00eb e r\u00ebnd\u00ebsish\u00ebm t\u00eb artit n\u00eb t\u00eb gjith\u00eb bot\u00ebn. Ndonj\u00ebher\u00eb kur dukemi m\u00eb t\u00eb pafuqish\u00ebm, m\u00eb jasht\u00eb \u201csistemit\u201d e m\u00eb t\u00eb p\u00ebrbuzur, jemi po ashtu dhe m\u00eb t\u00eb fort\u00eb e m\u00eb kreativ\u00eb, \u201dp\u00ebrjashtimi\u201d q\u00eb na b\u00ebhet ne t\u00eb rinjve nga jeta e p\u00ebrditshme ose si\u00e7\u00a0e thoshte Sennet nj\u00eb shekull m\u00eb par\u00eb \u201cbrezi q\u00eb i mungon narrativa e adulthood, \u00ebsht\u00eb mbase vendi ku q\u00ebndron mund\u00ebsia, p\u00ebr t\u00eb ndryshuar realisht gj\u00ebrat n\u00eb vend. Impresionist\u00ebt jan\u00eb nj\u00eb shembull p\u00ebr k\u00ebt\u00eb. Na duhet nj\u00eb narrativ\u00eb origjinale, p\u00ebr t\u00eb treguar ne historit\u00eb tona e jo t\u00eb degjojm\u00eb nga nj\u00eb \u201cgjenerat\u00eb e kaluar\u201d se cfar\u00eb do t\u00eb jet\u00eb \u201cgjenerata e re\u201d.<\/p>\n

Para 150 vitesh, kur Parisi ishte n\u00eb qend\u00ebr t\u00eb bot\u00ebs s\u00eb artit, nj\u00eb grup piktor\u00ebsh mblidheshin darkave n\u00eb Caf\u00e9 Guerbois, n\u00eb lagjen Batignolles. Lider i grupit ishte Edouard Manet. Ai ishte nj\u00eb nga t\u00eb par\u00ebt aty: nj\u00eb burr\u00eb i pash\u00ebm rreth t\u00eb tridhjetave, veshur n\u00eb kulmin e mod\u00ebs, magjep\u00ebs p\u00ebr t\u00eb gjith\u00eb njer\u00ebzit p\u00ebrreth me energjin\u00eb dhe humorin q\u00eb p\u00ebr\u00e7onte. Miku m\u00eb i mir\u00eb i Manet ishte Edgar Degas. Ai ishte nd\u00ebr t\u00eb paktit po aq t\u00eb lajthitur sa Manet. Duke q\u00ebn\u00eb t\u00eb dy t\u00eb mbrujtur me temperament t\u00eb zjarrt\u00eb dhe gjuh\u00eb t\u00eb mpreht\u00eb, shpesh p\u00ebrfundonin n\u00eb debate t\u00eb hidhura.<\/p>\n

Paul Cezanne, nj\u00eb burr\u00eb i gjat\u00eb dhe i ashp\u00ebr me pantallona t\u00eb lidhura me ushkur, shkonte dhe ulej i vet\u00ebm n\u00eb nj\u00eb cep.<\/p>\n

\u201cNuk po ta jap dor\u00ebn,\u201d \u2013 i tha Cezanne Manetit duke u ngat\u00ebrruar me k\u00ebmb\u00ebt e veta. \u201cNuk jam lar\u00eb prej tet\u00eb dit\u00ebsh.\u201d Claude Monet, djal\u00eb i nj\u00eb shit\u00ebsi, ishte nj\u00eb njeri me vullnet t\u00eb fort\u00eb por i mungonte edukimi i disa t\u00eb tjer\u00ebve. Shoku i tij i ngusht\u00eb ishte Pierre-Auguste Renoir, “nj\u00eb iriq i but\u00eb\u2019\u2019 i cili gjat\u00eb viteve t\u00eb miq\u00ebsis\u00eb s\u00eb tyre do t\u00eb pikturonte nj\u00ebmb\u00ebdhjet\u00eb portrete t\u00eb Monet. Busulla morale e grupit ishte Camille Pissarro: politikisht i ashp\u00ebr, besnik dhe parimor. Madje dhe Cezanne \u2013 njeriu m\u00eb i zakonsh\u00ebm dhe i alienuar nga t\u00eb tjer\u00ebt- e donte Pissarron. Vite m\u00eb von\u00eb, ai do ta identifikonte veten si \u2018\u2019Cezanne, nx\u00ebn\u00ebsi i Pissarro\u2019\u2019.<\/p>\n

Ky grup mbresl\u00ebn\u00ebs piktor\u00ebsh do t\u00eb shpiknin artin modern dhe levizjen q\u00eb njihet si Impresioniz\u00ebm. Ata pikturuan nj\u00ebri-tjetrin, pikturuan n\u00eb krah\u00eb t\u00eb nj\u00ebri-tjetrit dhe e mb\u00ebshtet\u00ebn nj\u00ebri-tjetrin emocionalisht e financiarisht. Sot, si\u00e7 dihet, pikturat e tyre jan\u00eb t\u00eb varura n\u00eb t\u00eb gjith\u00eb muzet\u00eb kryesor t\u00eb artit n\u00eb bot\u00eb. Por n\u00eb 1860 ata ishin duke u st\u00ebrmunduar. Monet ishte trok\u00eb. Nj\u00eb her\u00eb Renoirit iu desh t\u2019i sillte buk\u00eb q\u00eb t\u00eb mos vuante nga uria. Jo se Renoir ishte m\u00eb mir\u00eb p\u00ebr vete. Atij s\u2019i mjaftonin parat\u00eb as p\u00ebr t\u00eb bler\u00eb pulla poste p\u00ebr letrat e tij. Nuk kishte praktikisht asnj\u00eb tregtar shitjesh t\u00eb interesuar p\u00ebr pikturat e tyre. Kur kritik\u00ebt e artit p\u00ebrmendnin Impresionist\u00ebt (dhe ekzistonte nj\u00eb ushtri e vog\u00ebl kritik\u00ebsh arti n\u00eb Parisin e 1860-\u00ebs) zakonisht prireshin t\u2019i n\u00ebnvleft\u00ebsonin. Manet dhe miqt\u00eb e tij uleshin n\u00eb kafenen\u00eb me panele druri Caf\u00e9 Guerbois, n\u00eb tavolinat me suprin\u00eb mermeri, n\u00eb disa karrige metali fare pak serioze. Aty hanin, pinin e diskutonin p\u00ebr politik\u00eb, let\u00ebrsi, art e m\u00eb specifikisht p\u00ebr karrierrat e tyre \u2013 sepse t\u00eb gjith\u00eb Impresionist\u00ebt luftonin me nj\u00eb pyetje thelb\u00ebsore: Si do ia b\u00ebnin me \u2018Sallonin e Ekspozimit\u2019?<\/p>\n

Arti luante nj\u00eb rol t\u00eb pamas\u00eb n\u00eb jet\u00ebn kulturore t\u00eb Franc\u00ebs s\u00eb shekullit XIX. Piktura rregullohej nga nj\u00eb departament shtet\u00ebror q\u00eb quhet \u2018Ministria e Sht\u00ebpis\u00eb Mbret\u00ebrore dhe Arteve t\u00eb bukura\u2019. Piktura konsiderohej profesion, nj\u00ebsoj si\u00e7 ne quajm\u00eb sot profesion mjek\u00ebsin\u00eb apo drejt\u00ebsin\u00eb. Nj\u00eb piktor premtues do t\u00eb duhej t\u00eb fillonte studimet n\u00eb \u2018\u00c9cole Nationale Sup\u00e9rieure des Beaux-Arts\u2019 n\u00eb Paris, ku do t\u00eb merrte nj\u00eb edukim t\u00eb rrept\u00eb dhe formal, duke avancuar nga kopjimi i pikturave t\u00eb t\u00eb tjetr\u00ebve tek vizatimi i modeleve reale. N\u00eb \u00e7do etap\u00eb t\u00eb edukimit t\u00eb tij do t\u00eb kishte nj\u00eb konkurs. Ata q\u00eb kishin performac\u00eb t\u00eb dob\u00ebt flakeshin tutje. Ata q\u00eb dilnin mir\u00eb fitonin \u00e7mime dhe aksese prestigjoze, nd\u00ebrkoh\u00eb q\u00eb zeniti i profesionit ishte \u2018Salloni i Ekspozimit\u2019: vendi i ekspozimit t\u00eb artit m\u00eb i r\u00ebnd\u00ebsishmi n\u00eb Europ\u00eb.<\/p>\n

\u00c7do vit secili piktor n\u00eb Franc\u00eb ia dor\u00ebzonte dy ose tre telajot e tij m\u00eb t\u00eb mira nj\u00eb jurie ekspert\u00ebsh. Afati i fundit ishte 1 Prilli. Artist\u00eb nga e gjith\u00eb bota shtynin karrocat e dor\u00ebs t\u00eb tejmbushura me talajo, n\u00ebp\u00ebr rrug\u00ebt me kalldr\u00ebme t\u00eb Parisit, duke sjell\u00eb pun\u00ebt e tyre n\u00eb \u201cPalais de l\u2019Industrie\u201d, nj\u00eb sall\u00eb ekspozimi e nd\u00ebrtuar enkas p\u00ebr panairin bot\u00ebror t\u00eb Parisit midis Champs-\u00c9lys\u00e9es dhe Seine. Gjat\u00eb jav\u00ebve n\u00eb vijim juria votonte \u00e7do piktur\u00eb nj\u00eb m\u00eb nj\u00eb. Ata q\u00eb konsideroheshin si t\u00eb papranuesh\u00ebm do stampoheshin me t\u00eb kuqe me shkronj\u00ebn \u2018R\u2019 p\u00ebr refuzuar. Ata q\u00eb pranoheshin do t\u00eb vareshin n\u00eb muret e Palais, dhe p\u00ebrgjat\u00eb gjasht\u00eb jav\u00ebve duke filluar nga fillimi i Majit, pothuajse nj\u00eb milion njer\u00ebz do t\u00eb dyndeshin n\u00eb ekspozit\u00eb, duke u ngjeshur p\u00ebr t\u00eb kapur nj\u00eb vend p\u00ebrball\u00eb punimeve t\u00eb artist\u00ebve m\u00eb t\u00eb mir\u00ebnjohur apo p\u00ebr t\u2019u tallur me pun\u00ebt q\u00eb nuk iu p\u00eblqenin. Pikturave m\u00eb t\u00eb mira iu jepeshin medalje. Fituesit p\u00ebrg\u00ebzoheshin nd\u00ebrkoh\u00eb q\u00eb shikonin edhe vler\u00ebn e pikturave t\u00eb tyre t\u00eb ngrihej n\u00eb qiell. Humb\u00ebsit ktheheshin \u00e7al\u00eb-\u00e7al\u00eb n\u00eb sht\u00ebpit\u00eb e tyre p\u00ebr t\u2019iu rikthyer pun\u00ebs edhe nj\u00eb her\u00eb nga fillimi.<\/p>\n

\u201cN\u00eb Paris nuk gjen as 15 dashamir\u00ebs arti n\u00eb gjendje q\u00eb t\u00eb p\u00eblqejn\u00eb piktura t\u00eb pa aprovuara nga \u2018Salloni i Ekspozit\u00ebs\u2019 \u2018\u2019 \u2013 ka th\u00ebn\u00eb nj\u00eb her\u00eb Renoir. \u201cNd\u00ebrkoh\u00eb jan\u00eb 80,000 q\u00eb nuk do t\u00eb blinin as edhe nj\u00eb hund\u00eb t\u00eb pikturuar nga nj\u00eb piktor q\u00eb nuk ka ekspozuar tek \u2018Salloni i Ekspozimit\u2019 \u201d. Salloni i fuste aq shum\u00eb ankthin Renoirit saq\u00eb nj\u00eb vit shkoi tek Palais dhe q\u00ebndronte duke pritur tek dera nd\u00ebrkoh\u00eb q\u00eb juria b\u00ebnte shqyrtimet, me shpres\u00eb p\u00ebr t\u00eb marr\u00eb vesh n\u00ebse ishte aprovuar apo jo. E pastaj ngaq\u00eb i erdhi turp, e prezantoi veten si \u201cnj\u00eb shok i Renoirit\u201d. Nj\u00eb nga frekuentuesit e rregullt t\u00eb Guerbois, Fr\u00e9d\u00e9ric Bazille, nj\u00eb her\u00eb rr\u00ebfeu: \u201cKam patur nj\u00eb frik\u00eb t\u00eb tmerrshme q\u00eb mund t\u00eb refuzohesha\u201d. Kur artisti Jules Holtzapffel nuk u pranua n\u00eb Sallon n\u00eb 1866-\u00ebn, e q\u00eblloi vet\u00ebn p\u00ebr vdekje n\u00eb kok\u00eb. \u201cAntar\u00ebt e juris\u00eb m\u00eb refuzuan. Rrjedhimisht un\u00eb nuk kam talent dhe duhet t\u00eb vdes.\u201d shkruhej n\u00eb letr\u00ebn e tij t\u00eb fundit. P\u00ebr nj\u00eb piktor n\u00eb shekullin e XIX-t\u00eb n\u00eb Franc\u00eb, Salloni ishte gjith\u00e7ka. Arsyeja p\u00ebrse Salloni ishte nj\u00eb \u00e7\u00ebshtje kaq e r\u00ebnd\u00ebsishme p\u00ebr grupin e Impresionist\u00ebve ishte se juria e Sallonit i refuzonte ata vazhdimisht.<\/p>\n

Q\u00ebndrimi i Sallonit ishte tradicional: \u201cPunimet priteshin q\u00eb t\u00eb ishin t\u00eb sakta deri n\u00eb detaj, t\u00eb mbaruara ashtu si\u00e7 duhet dhe t\u00eb kornizuara formalisht, me perspektiv\u00ebn e duhur e t\u00eb gjith\u00eb konvesionet artistike me t\u00eb cilat syri publik ishte m\u00ebsuar\u201d, \u2013 shkruan historiani i artit Sue Roe. \u201cDrita transmetonte shum\u00eb dram\u00eb, err\u00ebsira sugjeronte pesh\u00eb. Me pak fjal\u00eb, piktura jo vet\u00ebm q\u00eb duhet t\u00eb ishte \u2018e sakt\u00eb\u2019 por duhet t\u00eb ishte dhe moralisht e pranueshme. Nj\u00eb pasdite n\u00eb Sallon ishte si nj\u00eb nat\u00eb n\u00eb Operan e Parisit. Audienca priste t\u00eb lart\u00ebsohej e t\u00eb arg\u00ebtohej. N\u00eb shumic\u00ebn e rasteve, ata e dinin se \u00e7far\u00eb ju p\u00eblqente dhe prisnin t\u00eb shikonin at\u00eb q\u00eb njihnin. \u201cLloji i pikturave q\u00eb fituan medalje,\u201d thot\u00eb Roe, \u201cishin gjigande, telajo t\u00eb pikturuara me p\u00ebrpikm\u00ebri t\u00eb cilat tregonin skena nga historia dhe mitologjia franceze, me kuaj e me ushtri ose gra t\u00eb bukura me tituj si \u2018Nisja e Ushtar\u00ebve\u2019, \u2018Grua e re duke vajtuar mbi nj\u00eb let\u00ebr\u2019, \u2018Pafajsi e braktisur\u2019\u201d.<\/p>\n

Impresionist\u00ebt kishin nj\u00eb ide komplet t\u00eb ndryshme rreth asaj q\u00eb p\u00ebrb\u00ebnte art. Ata pikturonin p\u00ebrditshm\u00ebrin\u00eb. Shenjat e fur\u00e7ave t\u00eb tyre n\u00eb telajo ishin t\u00eb dukshme. Figurat e tyre ishin t\u00eb paqarta. P\u00ebr jurin\u00eb e Sallonit dhe p\u00ebr turmat q\u00eb derdheshin n\u00eb Palais, puna e tyre dukej amatore, madje shokuese. N\u00eb 1865 Salloni, p\u00ebr habi t\u00eb t\u00eb gjith\u00ebve pranoi nje piktur\u00eb nga Eduard Manet, ku shfaqej nj\u00eb prostitute, q\u00eb quhej Olympia<\/em>; piktur\u00eb q\u00eb \u00e7akordoi gjith\u00eb Parisin. U detyruan t\u00eb vendosnin roje rreth piktur\u00ebs p\u00ebr t\u00eb ruajtur distanc\u00ebn nga turmat e vizitor\u00ebve. \u201cDominonte nj\u00eb atmosfer\u00eb histerie e madje edhe frike\u201d \u2013 shkruante historian Ross King. \u201cDisa spektator\u00eb shembeshin n\u00eb \u2018histeri t\u00eb qeshurash t\u00eb cmendura\u2019 nd\u00ebrkoh\u00eb q\u00eb t\u00eb tjer\u00eb, kryesisht gra, e largonin v\u00ebshtrimin me frik\u00eb.\u201d N\u00eb 1968, piktura t\u00eb Renoir, Bazille dhe Monet arrit\u00ebn t\u00eb pranoheshin nga Salloni. Por n\u00eb mes t\u00eb gjasht\u00eb-jav\u00ebshit t\u00eb ekspozimit, pun\u00ebt e tyre u hoq\u00ebn nga hap\u00ebsira kryesore e ekspozimit, p\u00ebr t\u2019i degdisur tek d\u00e9potoir- nj\u00eb dhom\u00eb e err\u00ebt pas nd\u00ebrtes\u00ebs, ku d\u00ebrgonin pikturat q\u00eb zhvendoseshin. Ishte po aq keq sa edhe sikur t\u00eb mos ishin pranuar fare.<\/p>\n

\"\"Olympia nga Edouard Manet<\/em><\/span><\/p>\n

Salloni ishte spektaktli i artit m\u00eb i r\u00ebnd\u00ebsish\u00ebm n\u00eb bot\u00eb. T\u00eb gjith\u00eb n\u00eb kafenen\u00eb Caf\u00e9 Guerbois binin dakort p\u00ebr k\u00ebt\u00eb. Pranimi nga Salloni vinte me nj\u00eb kosto; duhet t\u00eb krijonin nj\u00eb lloj arti q\u00eb atyre u dukej pa kuptim dhe rrezikonin t\u00eb humbisnin n\u00eb rr\u00ebmuj\u00eb midis pun\u00ebve t\u00eb artist\u00ebve t\u00eb tjer\u00eb. A ia vlente? \u00c7do nat\u00eb, Impresionist\u00ebt diskutonin n\u00ebse duhet t\u00eb vazhdonin t\u00eb trokisnin n\u00eb der\u00ebn e Sallonit apo t\u2019ia mbathnin n\u00eb hesapin e tyre dhe t\u00eb nd\u00ebrtonin nj\u00eb sken\u00eb vet\u00ebm p\u00ebr vete. A donin ata t\u00eb ishin Peshq t\u00eb Vegj\u00ebl n\u00eb Liqenin e Madh t\u00eb Sallonit apo Peshq t\u00eb M\u00ebdhenj n\u00eb Liqenin e tyre t\u00eb Vog\u00ebl q\u00eb mund ta zgjidhnin vet\u00eb?<\/p>\n

N\u00eb fund, Imerialist\u00ebt b\u00ebn\u00eb zgjedhjen e duhur, q\u00eb \u00ebsht\u00eb dhe nj\u00eb prej arsyeve pse sot pikturat e tyre varen n\u00eb \u00e7do muze kryesor arti n\u00eb bot\u00eb. Ata mund t\u00eb pikturonin cfar\u00eb t\u00eb donin. Dhe nuk do t\u00eb humbisnin brenda turm\u00ebs sepse (tek ekspozita e tyre) nuk do t\u00eb kishte nj\u00eb turm\u00eb.<\/p>\n

N\u00eb 1873, Pissarro dhe Monet propozuan q\u00eb Impresionist\u00ebt t\u00eb ngrinin nj\u00eb kolektiv q\u00eb do t\u00eb quhej \u2018Soci\u00e9t\u00e9 Anonyme Coop\u00e9rative des Artistes Peintres, Sclupteurs, Graveurs\u2019. Nuk do t\u00eb kishte konkurse, as juri dhe as medalje. \u00c7do artist do t\u00eb trajtohet si i barabart\u00eb. N\u00eb shfaqjen e tyre, Impresionist\u00ebt mund t\u00eb ekspozonin sa telajo t\u00eb donin dhe t\u2019i varnin ato n\u00eb m\u00ebnyr\u00eb q\u00eb njer\u00ebzit t\u00eb kishin realisht mund\u00ebsi t\u2019i shikonin. \u201cImpresionist\u00ebt humbisnin brenda masivitetit t\u00eb Sallonit edhe kur arrinin t\u00eb pranoheshin.\u201d-shkruajn\u00eb historian\u00ebt e artit Harrison White and Cynthia White. \u201cMe\u2026 shfaqjen e pavarur ata mund t\u00eb t\u00ebrhiqnin vem\u00ebndjen e publikut.\u201d N\u00eb grupin e tyre t\u00eb vog\u00ebl ata kishin gjith\u00eb mb\u00ebshtetjen q\u00eb vinte nga komuniteti dhe miq\u00ebsit\u00eb \u2013 dhe krijuan nj\u00eb vend ku inovacioni dhe individualiteti nuk sulmohej, p\u00ebrkundrazi. \u201cNe kemi filluar ta b\u00ebjm\u00eb veten \u2018Niche\u2019 \u201c, \u2013 i shkruante gjith\u00eb shpres\u00eb nj\u00eb shoku Pissarro. \u201cNe ia arrit\u00ebm q\u00eb edhe duke i bezdistur t\u00eb nd\u00ebrhynim p\u00ebr t\u00eb ngritur k\u00ebt\u00eb flamurin ton\u00eb t\u00eb vog\u00ebl n\u00eb mes t\u00eb turm\u00ebs\u201d.<\/p>\n

Sfida e tyre ishte \u2018t\u00eb avanconin pa e vrar\u00eb m\u00ebndjen p\u00ebr mendimin e t\u00eb tjer\u00ebve\u2019.
\nAta pat\u00ebn t\u00eb drejt\u00eb. Krejt t\u00eb vet\u00ebm Impresionist\u00ebt themeluan nj\u00eb identitet t\u00eb ri. Ata ndjen\u00eb nj\u00eb liri t\u00eb re n\u00eb kreativitet, e nuk kaloi shum\u00eb derisa bota e jashtme filloi t\u00eb ulej dhe t\u00eb mbante sh\u00ebnime.
\nN\u00eb historin\u00eb e artit modern nuk ka patur kurr\u00eb nje ekspozit\u00eb m\u00eb t\u00eb r\u00ebnd\u00ebsishme apo m\u00eb t\u00eb famshme.
\nLeksionet q\u00eb na japin Impresionist\u00ebt \u00ebsht\u00eb q\u00eb ka momente ku disavantazhi i duksh\u00ebm i t\u00eb mos qenit pjes\u00eb e di\u00e7kaje, n\u00eb nj\u00eb bot\u00eb t\u00eb marxhinalizuar na rezulton t\u00eb mos jet\u00eb aspak nj\u00eb disavantazh.<\/p>\n

Pik\u00ebrisht kjo lloj dileme na parashtrohet vazhdimisht, e jo gjithmon\u00eb b\u00ebjm\u00eb zgjedhjet e duhura. Ka shum\u00eb teori q\u00eb na kujtojn\u00eb se ekziston nj\u00eb pik\u00eb ku parat\u00eb rreshtin s\u00eb na i p\u00ebrmir\u00ebsuari jet\u00ebn dhe fillojn\u00eb t\u00eb na e b\u00ebjn\u00eb at\u00eb m\u00eb keq. Historia e Imperialist\u00ebve na sugjeron paralelisht nj\u00eb problem tjet\u00ebr. Ne p\u00ebrpiqemi p\u00ebr m\u00eb t\u00eb mir\u00ebn dhe b\u00ebhemi copash q\u00eb t\u00eb mund t\u00eb hyjm\u00eb n\u00eb institucionet m\u00eb t\u00eb mira. Por shum\u00eb rrall\u00eb ndalojm\u00eb p\u00ebr t\u00eb reflektuar \u2013 ashtu si b\u00ebn\u00eb Impresionist\u00ebt – n\u00ebse institucionet m\u00eb prestigjoze jan\u00eb gjithmon\u00eb n\u00eb interesin ton\u00eb m\u00eb t\u00eb mir\u00eb. Ka shum\u00eb shembuj rreth k\u00ebsaj, p\u00ebr t\u00eb na qart\u00ebsuar m\u00ebnyr\u00ebn se si zgjedhim universitetet, vendet e pun\u00ebs apo partit\u00eb.<\/p>\n","protected":false},"excerpt":{"rendered":"

Nga Joleza Koka Nuk ka nevoj\u00eb t\u00eb \u201cvjedh\u00ebsh\u201d nj\u00eb pjes\u00eb t\u00eb tekstit t\u00eb Gladwell, pasi aft\u00ebsia e tij p\u00ebr t\u00eb t\u00eb mbajtur peng para letr\u00ebs \u00ebsht\u00eb aq e fort\u00eb, sa p\u00ebr ta dashuruar autorin. Megjithat\u00eb ndonj\u00ebher\u00eb disa pjes\u00eb na b\u00ebjn\u00eb p\u00ebrshtypje m\u00eb shum\u00eb se t\u00eb tjerat, sepse duket sikur na flasin ne, ose koh\u00ebs t\u00eb […]<\/p>\n","protected":false},"author":1,"featured_media":65855,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-3998","post","type-post","status-publish","format-standard","has-post-thumbnail","category-artikuj"],"yoast_head":"\nImpresionist\u00ebt, kur piktura e djeshme jep leksione p\u00ebr t\u00eb sotmen - FJALA e LIR\u00cb<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jehonashqiptare.al\/fjala\/impresionistet-kur-piktura-e-djeshme-jep-leksione-per-te-sotmen\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Impresionist\u00ebt, kur piktura e djeshme jep leksione p\u00ebr t\u00eb sotmen - FJALA e LIR\u00cb\" \/>\n<meta property=\"og:description\" content=\"Nga Joleza Koka Nuk ka nevoj\u00eb t\u00eb \u201cvjedh\u00ebsh\u201d nj\u00eb pjes\u00eb t\u00eb tekstit t\u00eb Gladwell, pasi aft\u00ebsia e tij p\u00ebr t\u00eb t\u00eb mbajtur peng para letr\u00ebs \u00ebsht\u00eb aq e fort\u00eb, sa p\u00ebr ta dashuruar autorin. 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