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‘For the next 15 years Symbolism was the effective avant-garde, and one of a quite new kind which explicitly influenced not only the arts but also the thought and spirit of an epoch.’

*

* * – ibid [Encyclopaedia Britannica 25:369]

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{ – Symbolist Painting}

‘Symbolism. The new aims had been foreshadowed by Odilon Redon, who moved from the some starting point as the Impressionists – the landscape style of the Barbizon* school – in precisely the opposite direction. Redon's visionary charcoal drawings (which he called his black pictures) led to successive series of lithographs that explored the evocative, irrational ** & fantastic orders of creation that Impressionism excluded. “Nothing in art,” Redon wrote later, “can be done by will alone. *** Everything is done by docile submission to the coming of the unconscious... for every act of creation, the unconscious sets us a different problem.”
‘Redon established one of the characteristic standpoints of modern art, and his significance to the younger Symbolists was profound.’

****

*?=

**r~, g~, j~?

***

		C
	/↓/		\↓\
r~				s~

**** – E[ncyclopaedia] B[ritannica] 25:369

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[continued]

(I have absolutely no regrets about having copied the whole of this article* out by hand.)

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[continued]

‘Impressionism, in one aspect, continued the main direction of 19th-century [ce] art, and after 1880[ce] the movement was an international one, taking on in each country independent national characteristics. Russia produced an exponent, Isaak Ilich Levitan, and Scotland one in William McTaggart. In Italy, Telemaco Signorini and in the United States such painters as Childe Hassam developed modified forms of the style. In France and, to some extent, in Germany with Max Liebermann, Impressionism threw up qualities that provided a basis for the styles that followed.

*

* – [ibid (Encyclopaedia Britannica 25:369)]

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‘In 1882[ce], after the Salon jury had been particularly harsh, the Société des Artistes Indépendants was formed. The last Impressionist group show was held in 1886[ce].* Only Monet & Armand Guillaumin, to whose efforts the group owed much of its eventual recognition, were now in the strict sense Impressionists; the group, as such, had virtually ceased to exist. Monet, who had exhibited only once since 1879[ce], continued to build on the original foundation of the style, the rendering of visual impression through colour in a series of paintings that studied a single motif in varying lights. For him the formlessness and the homogeneity of Impressionism were its ultimate virtues. In his last series of “Les Nymphéas” (“water lilies”), painted between 1906 & 1926[ce], the shimmering of light eventually lost its last descriptive content, & only the colour and ** curling movement of his brush carried a general all-pervading sense of equivalence with the visual world.

Renoir's later work was equally expansive; his sympathetic vision of humanity revealed its own inherent breadth & grandeur.

***

*64A~|32C1888[ce]

**

– but also, consider the origins of

Creation (ref earlier Vol[ume]s…)

– light transformed into/through

colour (Soul-qualities),

& spin (matter);

& that the end of the circle or wheel

of Creation is as its beginning,

Unity/Uniformity….

*** – [ibid (Encyclopaedia Britannica 25:369)]

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‘The appearance of a new generation seeking recognition posed the question* in another way. Georges Seurat was moving away from the empirical** standpoint of Impressionism towards a technique (Pointellism) and a form that were increasingly deliberately designed. Paul Gauguin, taking his starting point *** from Cezanne's style of about 1880[ce], passed from a capricious personal type of Impressionism to a type of painting that was symbolic in method and often in subject. He exhibited with the Impressionists from 1880[ce]**** onward, and it was soon evident that the group shows could no longer accommodate all the divergent trends.

#

*[See presumably last previous ts entries above]

**U~

***(sic)

****64j~|U~||32m~|G~1880[ce]

# – [ibid (Encyclopaedia Britannica 25:369)]

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‘The style of the 1870's[ce]* was formless from the traditional standpoint, and at the beginning** of the next decade Renoir decided that he had gone to the limit with Impressionism and “did not know either how to paint or draw.”*** Struck by experiences of painting in Italy, he set about teaching himself a wiry, linear style that was apparently at the opposite extreme to his relaxed, freely brushed manner of earlier years.’

****

*2048R~|s~|C|1920[ce] →*

└→**

***[sic]

**** – [ibid (Encyclopaedia Britannica 25:369)]

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[continued]

--------

‘But the block-like shapes in Cézanne's pictures, such as the portraits of his patron Victor Chocquet (c.1877[ce];* Columbus Gallery of Fine Arts, Columbus, Ohio) and of his mistress that he painted in 1877[ce] suggests that for him the relationship between the colour patches on his canvas were of equal importance. In the years that followed, he systematised his technique into patterns of parallel brushstrokes that gave a new significance to the pictorial surface. An unassuming series of still lifes and self-portraits by Cézanne painted in 1870-80[ce],** which, when they became known, impressed his contemporaries profoundly and were clearly as monumental as the great art of the past had been, yet in a subtly different way that was inherent in the actual manner of painting.***

****

*32u~|J~1876[ce]

**32u~|J~1876||m~|G~1880[ce]

***(sic)

**** – [ibid (Encyclopaedia Britannica 25:368-369)]

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[continued]

‘Divergent trends began to appear in the work of the major figures, while disputes about whether to continue with the independent exhibition further divided them. Cézanne, who did not exhibit with the Impressionists again, was perhaps the first to realize the critical stage that had been reached.

For the first time, a style had been based on an undisguised characteristic of technique, rather than on the form or formulation of a subject. A style that confesses so openly that painting is nothing but paint raises the old question of how far the qualities of art are intrinsic[,] in a particularly acute form. The qualities of Impressionism in the 1870s[ce] were inseparable from the heightened visual experience of a sensuously satisfying world.

*

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

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‘Although the first exhibition attracted much public ridicule, the experiment of an independent exhibition was repeated in 1876[ce],* with fewer participants. Monet now began to make studies of the Gare Saint-Lazare. Renoir used effects of dappled light and shadow to explore genre subjects (see Plate 23)** such as "Moulin de Galette" (1876[ce]; Louvre, Paris).

In 1877[ce]*** only 18 artists exhibited.

****

*32u~|J~1876[ce]

**[Not reproduced in ms]

***{(}64j~|U~1880[ce]{)}

{(}32u~|J~1876[ce]{)}

{16A~1880[ce]}

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

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[continued]

‘Back in the environs of Paris after the Franco-Prussian War, the painters developed the fully formed landscape style that remains the most generally popular achievement of modern art. The exhibition, held in the studio of the photographer Nadar (Gaspard Félix Tournachon) in 1874[ce],* included Monet's picture “Impression: Sunrise” (Musée Marmottan, Paris), which drew the criticism that gained the group the name Impressionists (see Plate 23).**

The show revealed three main trends.

The Parisian circle around Monet and Renoir, who had been painting in close association in the city and its suburbs, had developed furthest the evanescent*** & sketch-like style.

The vision of these working near to Pissarro in Pontoise & Auvers was in general less transitory & more firmly rooted in the country scene.

A relatively urbane, genre-like**** trend was represented by Degas' picture of Paul Valpinçon & his family at the races called "Carriage at the Races" (1870-73[ce]; Museum of Fine Arts, Boston) and Berthee Morisot’s “Le Berceau" (“The Cradle”; 1873; Louvre, Paris).

Manet himself was absent, hoping for academic success; his "Gare Saint-Lazare" (1873[ce]; National Gallery of Art, Washington, D.C.) influenced by the impressionist palette, was accepted at the Salon.

Modelling himself on Pissarro, Cézanne had sublimated the turbulent emotions of his earlier work in pictures that were studied directly and closely from nature; he followed the method for the rest of his life.

#

*64g~|M~||32A~||1872[ce]

**[Not reproduced in ms]

***(of impression, appearance &c quickly fading (– C[oncise] O[xford] D[ictionary]))

****genre 1. style, type

2. painting of scenes of daily life, popularised by 17th-century [ce] Dutch painters

(E[ncyclopaedia of ]V[isual] A[rt] 9:753)

# – [ibid (Encyclopaedia Britannica 25:368)]

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‘Impressionism. The first steps towards the systematic impressionist style were taken in France in Monet's coast scenes from 1866[ce]* onwards, notably "The Terrace" (1866[ce]; Metropolitan Museum of Art, New York), in which he chose a subject that allowed a full palette of primary colour.

The decisive development took place in 1869[ce],** when Monet & Renoir painted together at the riverside resort of La Grenouillère. On the evidence of the resulting pictures, it would appear that Monet contributed the style, the pattern of brush strokes, the light tonality, and the brilliance of colour; Renoir's versions show, by contrast, the overall iridescence,*** as well as the urbane social comment, that were his alone.

Working at Louveciennes from 1869[ce],**** Pisarro evolved the drier & more flexible handling of crumbly paint that was also to be a common feature of Impressionist painting.

#

*64r~|S~||32g~|M~||1864[ce]

**64g~|M~||32A~||1872[ce]

***( – showing colours like those of a rainbow; changing colour with position – C[oncise] O[xford] D[ictionary])

****64g~|M~||32A~||1872[ce]

#– [ibid (Encyclopaedia Britannica 25:368)]

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