[Redbook10:114][19910516:0930la]{Modern Art [continued (159)]}{Cézanne’s Bathers [continued]}[Extracts from source text with ms notes][16th May 1991]
19910516:(0930c)
[continued]
*
*[ibid (T[imes] L[iterary] S[upplement] 4585, 19910215:12-13) (continued)]
[continued]
[PostedBlogger04for17102026]
[Redbook10:114][19910516:0930kz]{Modern Art [continued (158)]}{Cézanne’s Bathers [continued]}[Extracts from source text with ms notes][16th May 1991]
19910516:(0930c)
[continued]
*[Footnote above:]
16m~|G~1900[ce]
**[ibid (T[imes] L[iterary] S[upplement] 4585, 19910215:12-13) (continued)]
[continued]
[PostedBlogger04for16102026]
[Redbook10:114][19910516:0930ky]{Modern Art [continued (157)]}{Cézanne’s Bathers [continued]}[Extracts from source text with ms notes][16th May 1991]
19910516:(0930c)
[continued]
*
*[Marginal note above:]
{!}
**[ibid (T[imes] L[iterary] S[upplement] 4585, 19910215:12-13) (continued)]
[continued]
[PostedBlogger04for15102026]
[Redbook10:114][19910516:0930kx]{Modern Art [continued (156)]}{Cézanne’s Bathers [continued]}[Extracts from source text with ms notes][16th May 1991]
19910516:(0930c)
[continued]
**
*[Marginal note above:]
16C1872[ce]
64g~|M~1872[ce]
**[ibid (T[imes] L[iterary] S[upplement] 4585, 19910215:12-13) (continued)]
[continued]
[PostedBlogger04for14102026]
[Redbook10:114][19910516:0930kw]{Modern Art [continued (155)]}{Cézanne’s Bathers [continued]}[Extracts from source text with ms notes][16th May 1991]
19910516:(0930c)
[continued]
*[ibid (T[imes] L[iterary] S[upplement] 4585, 19910215:12-13) (continued)]
[continued]
[PostedBlogger04for13102026]
[Redbook10:114][19910516:0930kv]{Modern Art [continued (154)]}{Cézanne’s Bathers}[Extracts from source text with ms notes][16th May 1991]
19910516:(0930c)
[continued]
*
**
*[Marginal note above:]
{I} [Marginal emphasis]
**T[imes] L[iterary] S[upplement] 4585, 19910215:12-13
[The following article from the Times Literary Supplement is photocopied over two pages of the ms, along with another, shorter article on Seurat, with marginal notes to much of the text. The pages have been reduced to fit the journal pages, and cannot be legibly reproduced as pages for the ts. The text is densely written, and difficult if not impossible meaningfully to select from. After some thought it has been decided to reproduce in the ts the whole of the article, in legible sections, not least as a mark of respect for the author, who had died in the week prior to publication of the article.]
[continued]
[PostedBlogger04for12102026]
[Redbook10:113][19910516:0930ku]{Modern Art [continued (153)]}{– Colour and Line (1)}[Extracts from source text with ms notes][16th May 1991]
19910516:(0930c)
[continued]
The movement from linear outlines to colour forms is equivalent to the movement from material to spiritual existence – that is, from the life of the body to the life of the Soul, which is the colour of the Spirit.*
**
*ref earlier Vol[ume]s []
**{Really? Well, maybe, but if the outline represents the physical form unfilled by the Soul-colour of ‘inheritance’ & experience, the colour represents the nature & experience which individuates its personality.}***
***{cf [[Redbook10:121][19910517:1400]{Modern Art [continued (#)]}{– Colour and Line (2)}[Extracts from source text with ms notes][17th May 1991],] 121}
[continued]
[PostedBlogger04for11102026]
[Redbook10:113][19910516:0930kt]{Modern Art [continued (152)]}{Impressionism [continued]}[Extracts from source text with ms notes][16th May 1991]
19910516:(0930c)
[continued]
‘Impressionism itself was essentially a French phenomenon, with its concentration on freshness, informally, detachment, and modernity, and it could only appear as a coherent artistic movement in France.’
*
(In haste <910518>)
* – ibid [(Encyclopaedia of Visual Art 5:802)]
(The whole chapter** may be read again & again – also the entry in E[ncyclopedia] B[ritannica] 25)
**[Encyclopaedia of Visual Art 5, Chapter 42, ‘Impressionism’]
(See [[Redbook10:116-117][19910517:1400]{Modern Art [continued (#)]}[Extracts from source text with ms notes][17th May 1991],] p 116-117)
[continued]
[PostedBlogger04for10102026]
[Redbook10:113][19910516:0930ks]{Modern Art [continued (151)]}{Impressionism [continued]}[Extracts from source text with ms notes][16th May 1991]
19910516:(0930c)
[continued]
‘In France in the 1880s[ce]and all over Europe and the United States in the 1890s, Impressionism became the dominant influence on avant-garde art, and its superficial characteristics gradually became the accepted conventions of the next generation of artists.’
*
* – ibid [(Encyclopaedia of Visual Art 5:)] 802
[continued]
[PostedBlogger04for09102026]
[Redbook10:113][19910516:0930kr]{Modern Art [continued (150)]}{Impressionism [continued]}[Extracts from source text with ms notes][16th May 1991]
19910516:(0930c)
[continued]
‘Comparisons with literary, social, and philosophical thought are necessary to understand Impressionism in its context, as an art movement that belonged to the period c1860-90[ce].*
**
*[Source text continues] ‘However, the nature of Impressionism itself cannot be explained in terms of any other discipline…. Each artist’s painting was the result of his own explorations of the problem of translating these sensations and impressions into pictorial form.’ <910517>
**
**ibid [(Encyclopaedia of Visual Art 5:801)]
[continued]
[PostedBlogger04for08102026]
[Redbook10:113][19910516:0930kq]{Modern Art [continued (149a)]}{Impressionism [continued]}[Extracts from source text with ms notes][16th May 1991]
19910516:(0930c)
[continued]
*|(The article** {broadly} compares Impressionism to Positivist philosophy – the interest in modern man in his every day environment, and in modes of perceiving the world.***
****
*|{[Marginal emphasis]}|*
**[Encyclopaedia of Visual Art 5, Chapter 42; extracts [Redbook10:101][19910516:0930jq]{Modern Art [continued (123)]}{Impressionism [continued]}[Extracts from source text with ms notes][16th May 1991]ff]
***{‘[The Positivists]*** used the terms “sensation” and “impression” to describe the stimuli received by the senses from the outside world, a vocabulary adopted by the Impressionists.’}|*
#
****per ibid [(Encyclopaedia of Visual Art 5:801)]
#{– ibid [(Encyclopaedia of Visual Art 5:801)]}
[continued]
[PostedBlogger04for07102026]
[Redbook10:113][19910516:0930kq]{Modern Art [continued (149)]}{Impressionism [continued]}[Extracts from source text with ms notes][16th May 1991]
19910516:(0930c)
[continued]
*|‘The role adopted by the artist was the traditional one of the Bohemian at odds with a materialistic society, not that of the revolutionary at war with capitalism.’|*
**
*|{[Marginal emphasis]}|*
**[ibid (Encyclopaedia of Visual Art 5:801)]
[continued]
[PostedBloggero4for06102026]
[Redbook10:112][19910516:0930kp]{Modern Art [continued (148)]}{Impressionism [continued]}[Extracts from source text with ms notes][16th May 1991]
19910516:(0930c)
[continued]
*|‘In the context of the conventions of the day, Impressionism appeared as a radical and revolutionary form of art, both in technique and subject matter; but this is not to say that the artists held revolutionary political views.’|*
**
*|{[Marginal emphasis]}|*
**ibid [(Encyclopaedia of Visual Art 5:] 801
[continued]
[PostedBlogger04for05102026]
[Redbook10:112][19910516:0930ko]{Modern Art [continued (147)]}{Impressionism [continued]}[Extracts from source text with ms notes][16th May 1991]
19910516:(0930c)
[continued]
*|‘The modem scenes the Impressionists painted are precisely these described by Naturalist novelists & writers, such as Emile Zola, the Goncourt brothers and Guy de Maupassant, though strictly working-class themes are rare in Impressionist painting.|* Both writers and painters frequented the same social circles – Zola in particular was at the time a close friend of several of the Impressionists – and they were trying, in their own media, to create works of art which would be truly characteristic of the milieu in which they lived.’
**
*|{[Marginal emphasis]}|*
**ibid [(Encyclopaedia of Visual Art 5:] 797-801
[Source text continues from last previous ts journal entry]
[continued]
[PostedBlogger04102026]
