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[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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*

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

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*

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

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[continued]

*

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

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{Modern Art Cycles}[12th May 1991]

[Redbook10:63][19910512:1718es]{Modern Art Cycles}[12th May 1991]

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[continued]

<910713>

--------

<910714>

{(This page filled over a period of several weeks)}

Modern Art

*

I hope that abstraction will be relatively easy for this period, at least until c[irca]1945[ce], given that the major movements have already been identified.**

(Chart amended subsequently)

(From p3)*

							Neoclassicism ends c[irca]1850
							Romanticism ends c[irca]1850
	/	A~	1848		\
	/	m~|G~	1852		>		Pre-Raphaelite Brotherhood 1848-c[irca]1856
	/	C	1856	C	/ \		1855[ce] Courbet’s exhibition: “Realism G. Courbet[“].
	/	g~M~	1860		\		{Intellection?}
16		A~	1864	r~S~	>		REALISM/NATURALISM c[irca]1855(-c[irca]1874ff?)[ce] {Cézanne….}
	\	m~G~	1868		/		1866ff 1st steps to Impressionism in Monet’s coast scenes (EB)
	\ /	C	1872	g~M~	\		1869 Monet & Renoir painting together at La Grenouillère – the decisive development of Impressionism (EB). {...Impressionism founded the new tradition of modern art…. (EB)}(Rodin from c1870s)
	/	g~M~	1876		\		1874 Monet’s ‘Impression: Sunrise’ exhibited & gives rise to title ‘Impressionists’ (EVA)
16	<	A~	1880	j~U~	\ >	\	{Implementation? (Empirical)} IMPRESSIONISM. After 1880 Impressionist movement became international (EB) but the Impressionists began to go their own ways artistically (EVA)
	\	m~G~	1884		/ \	>	?1880-c1890?Post-Impressionists↓ Seurat,Gauguin,VanGogh (this is disputed)(EVA)(/→1918ff (EB↓)
	\ /	C	1888	A~	/ \	/	1886 Last Impressionist group show (EB); the group as such had virtually ceased to exist (EB) (at which also 1st Neo-Impressionist work was shown). 1886 Symbolist Manifest launched. 1889 Cafe Volpini exhibition of Symbolism ‘Synthetism’ starts spread of movement (EB) {‘Modern’ painting began as a reaction to … Impressionism’ (EB)}
	/	g~M~	1892		\		Beardsley’s ‘Japonesque’ style (EB) +Seurat (EB) +Neo-impressionism (EB) c[irca]1886?ff
16	<	A~	1896	u~J~	>		{Innovation? (Creative)} For the next 15 years Symbolism was the effective avant-garde (EB)
	\	m~G~	1900		/		{SYMBOLISM} + Art Nouveau / Jugendstill spread across Europe & the Americas in the 1890s (EB) until c1910ff(EB)
	\ /	C	1904	m~G~	/	\	By 1903 the impetus of Symbolism was expended (EB) {?}1905{/1911} (Expressionism) ‘Die Brucke’ (The Bridge) group founded (EB); also Fauvism, 1905 {–} Transitional style
	/	g~M~	1908			\	1907\ Picasso’s ‘Les Demoiselles d’Avignon’ initiates cubism (EB) 1909/ 1st phase of Cubism – accentuation & disruption of planes(EB) 1909 Futurist manifest (by poets)
16	<	A~	1912	s~R~		>	{Intuition??} {CUBISM} 1911 Blue Rider [group] 1909-20 Avant-garde sculpture (EB) 1910\ 2nd phase of Cubism – irrelevance of the subject (EB) 1912/ 1st completely Abstract paintings 1912-14 Emergence of Constructivist ‘sculptors’ (EB)
	\	m~G~	1916			/	1914 3rd phase of Cubism – Synthetic Cubism – collage (EB). 1914 Abstract painting increases 1914 Dadaism (on the outbreak of war) attacks art artistically (EB). 1916 Dadaist manifesto 1915 End of Futurism in visual arts
2048	\ /	m~R~C	1920	C	\	/	1917 Piet Mondrian’s de Stijl movement (EB) 1918 Malevich paints ‘White Square on a White Backgound’ & stops painting. 1918ff End of Post-Impressionism (EB) (disputed)
	/		1924		\		c1922 International Style of architecture begins. In the years after 1918, a mood of classical consolidation affected European painting (EB) 1922 All experimental Soviet art suppressed; ‘Socialist Realism’ In the 1920s modern art underwent a conservative reaction (EB). 1922 End of Dada (→ Surrealism) 1924 André Breton’s manifesto for the Surrealist movement (EB) (not primarily visual)
{16}	/		1928	r~S~	>		1928 Breton’s ‘Surrealism & Painting’. 1928, 1929 Internal strife is Surrealism 1929 Breton’s ‘2nd Surrealist Manifesto’.
	/		1932		/		{SURREALISM} c1932 End of International Style of Architecture. 1930, 1932 Abstract groups formed in Paris. 1933 Hitler prohibits Abstract Art. Early 1930s: German Bauhaus & Russian non-figurative movement extinguished.
	/		1936	g~M~	/		1930s Surrealism successful & notorious; new recruits less rigorous or daring. 1936 De Stihl breaks up.
	/		1940		↓		Metamorphism in Paris. 1939 Outbreak of war splits up Surrealist groups in Paris.
{16}	/		1944	j~U~			{(War disrupts pattern?)} 1942 Surrealist-oriented review ‘VVV’ starts in new York. New York development of Abstract Art into Abstract Expressionism & Action Painting.
	/		1948			\	1945 onwards: Metamorphism in Britain. Post-war Europe: informal Abstraction; Constructivism, 1948 Art Brut.
64	<		1952	A~	┘	\
	\		1956			>	{Informal ABSTRACTION} Informal Abstraction (+Metamorphism in Britain)
{16}	\		1960	u~J~		/	1960 Abstract art begins to win public acceptance. 1960 situational Abstraction in GB.
	\		1964			/	1960s New idioms eg Pop art, Photo-realism, environmental sculpture, &c in USA. 1960s Neo-Dada; Pop art. 1964 ‘Post-Painterly Abstraction; in USA.
	\		1968	m~G~	\		2nd half 20th century: existence of Abstract Art is accepted; considered viable.
(16)	\		1972		>		{CONCEPTUALISM:(+ Performance art & Minimalism, Environmental scuplture, Photorealism, (Pop art) &c.
	\		1976	s~R~	/
	\		1980		↓
			1984	C

*[[Redbook10:(1-)3][19910511:2115] Visual Art continued {Art Cycles}[11th May 1991]]

**{Some hope!}

[Not all of the marginal symbols in the ms have been included in the ts]

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