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[continued]

‘Other qualities that Baudelaire in 1846[ce] had specified as the qualities of modern art — the spirituality * and the aspiration towards the infinite – evolved quite apart from Impressionism.’

**

* (eg Bresdin, Moreau)

{

	C
	/	/
R~	/
	r~

}

** – ibid [(Encyclopaedia Britannica 25:367-368)]

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19910512.1718

[continued]

‘Though the figurative aims of Impressionism can be regarded as the conclusion of 19th-century realism,* the method, which openly displayed the intrinsic means of painting, was an original one. Brushstrokes carried their chromatic message without naturalistic disguise; they pretended to be nothing but dashes of paint.** It was in this respect and in the all-embracing unity*** of colour**** and handling that resulted, rather than in its realism,# that Impressionism founded the new tradition of modern art. Other qualities that emerged in the 1860's had no immediate sequels in Impressionism.’#*

#**

*(See E[ncyclopaedia of ]V[isual] A[rt] 5)

**{R~?}

***C

****{R~}

#{S~}

#*(eg blank backgrounds)

#* – ibid [(Encyclopaedia Britannica 25:367)]

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[continued]

‘The reliance on the separate, undisguised touch of the brush in the form that became characteristic of Impressionism is perhaps first apparent in sketches of the sea* at Dieppe painted by Delacroix in 1852[ce].** The economy of Manet's touch in the 1860s[ce]*** was affected by Spanish and Dutch examples as well as by Delacroix, but his seascapes**** and racecourse pictures of 1864[ce] are significant. It was in painting the sunlit # ripples of the Seine river at La Grenouillère in 1869[ce]#* that Monet and Renoir developed the full impressionist style, and many of the most characteristic of Monet's later pictures represent light on water.#**

#***

*R~

**64R~1848|C1856[ce]

***64r~|S~1864[ce]

****R~

#

		C
	/
R~

#*64g~|M~1872[ce]

#**

	C
	/	/
R~	/
	{r~}

#*** [– ibid (Encyclopaedia Britannica 25:367)]

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[continued]

‘… The suggestion* of an art based on the notion of pure colour was suggested* by several sources. The example of Delacroix had a deep significance for the 19th century in France, but it is possible that knowledge of painting in England – “that home of fanatical colourists,”** as Baudelaire had called it – was also a stimulus. The description of Théophile Gautier, a friend of Manet, of the prismatic color of the English painter William Holman Hunt’s “Strayed Sheep” when it was shown at the Exposition Universelle in 1855[ce] reads like an anticipation of the new style.

***

*[sic]

**J~-G~?

(cf Romanesque/Gothic cathedral windows)

*** [– ibid (Encyclopaedia Britannica 25:367)]

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[continued]

‘… From this time* onward modernity and the necessity for a manner that is specifically of the artists' time, that is to say sharply differentiated from his predecessors’, have been the recurrent concerns of artists and critics.’

**

*(c[irca]1885[ce])

** – ibid [Encyclopaedia Britannica 25:367]

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[continued]

‘In 1846[ce]* the qualities proper to a specifically modern art were discussed by the French writer Baudelaire in his essay on the French Salon. He discerned that colour** would be foremost among these modern qualities, but he still imagined the new art in the context of the Romantic movement. *** In the decades that followed, after 100 years of historicism, the need for modernity was seen to involve not only a new style but contemporary subject matter, and in 1863 Baudelaire praised the draftsman Constantin Guys as “le peintre de la vie moderne” (“the painter of modern life”).

****

*{64G~1848[ce]}

**{R~?}

***{

		R~
	/
G~

}

**** – ibid [Encyclopaedia Britannica 25:367]

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[continued]

(19^th-century[ce] origins)

‘The idea that some current types of painting are more properly of their time than others, and for that reason preferable, developed during the second half of the 19th century.

*

* – ibid [Encyclopaedia Britannica 25]:367

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[continued]

‘The evolution of abstract painting corresponded to architecture's reversion to first principles, but while modern architecture found some coherence, modern painting continued to be the reflection of unfettered individualism; in its energetic, teeming creativeness, eloquent and significant expressions mingle with those that are obscure, impatient or tentative. Modern art is the sum of its greatest exponents, a record of outstanding individual artists.’*

*

*C

** – E[ncyclopaedia] B[ritannica] 25:366

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[continued]

**

*

***

****

*[Source text continues:] ‘… later development as Action Painting, tend to confirm it as the characteristic expression of the modern movement.’

****

**[‘This development’ – see last previous ts journal entry]

***[Marginal notes above:]

[Emphasis mark] {|}

2048RC~1920[ce]

{

		C
	↑/↑
R~

}

64C1920|g~M~1936[ce]

64j~U~1944A~1952[ce]

**** – E[ncyclopaedia] B[ritannica] 25:366

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[continued]

*

**

*[‘Similar confusion’ – see last previous ts journal entry]

** – E[ncyclopaedia] B[ritannica] 25:366

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[continued]

*

* – E[ncyclopaedia] B[ritannica] 25:366

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[continued]

*

* – E[ncyclopaedia] B[ritannica] 25:366

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