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*|‘In the broadest sense, the Impressionists belonged to the period of Naturalism in their concern for making a record of their experiences and of the characteristic scenes of the world around them. At this level, their interests can be paralleled with contemporary developments outside the field of painting, with trends in literature, political thought, and philosophy.|* However, the value of such comparisons lies as much in their limitations as in their overall validity: they show both the importance of a shared intellectual background and the uniqueness of the defining characteristics of Impressionism as a pictorial style.

**

*|{[Marginal emphasis]}|*

**[ibid (Encyclopaedia of Visual Art 5:797)]

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‘...[Monet] and Cézanne came to concentrate on single images in long sequences of canvases, which gave some of their subjects an almost metaphysical force, such as Cézanne's views of Mont Sainte-Victoire (for example, the one in Philadelphia Museum of Art), and Monet’s of Rouen Cathedral (five in Musée du Jeu de Paume, Paris). Though Pissarro & Sisley also came to paint such series of related canvases, they remained more specific in their recording of the varied play of light and weather, while Monet used his series as the basis for elaborate and integrated color harmonies, and Cézanne his for exploring the play of colored planes on the picture-surface.’

*

*[ibid (Encyclopaedia of Visual Art 5:)797]

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(The article* then mentions the Neo-Impressionists’ systematic approach to color, “enthusiastically espoused by Pissarro between 1886-1888[ce]”,** eg optical mixture, the juxtaposition of two colours in dots to produce a third colour; and the Neo-Impressionist Paul Signac’s criticism of Impressionist painting for its failure to organize and arrange its forms on the canvas.)

***

*[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]

**per ibid [(Encyclopaedia of Visual Art 5:794)]

***(See also ibid**** 796 re viewpoints in landscapes, esp[ecially] influence of Cezanne’s overlapping planes on Picasso’s and Braque’s Cubist paintings of 1908-11[ce])

****[Encyclopaedia of Visual Art 5:796]

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‘This* changing attitude to color was, in general terms, another symptom of the Impressionists' gradual realization of the impossibility of making a literal record of nature, and of the importance of composing these scenes in terms of the two dimensions of the paint surface.’

**

*[‘This…’ – see last previous ts journal entry, &ant]

**ibid [(Encyclopaedia of Visual Art 5:] 794

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‘In some later works, from the mid 1880s[ce]* onwards, Monet, Renoir & Sisley keyed up their color still further, emphasizing broad contrasts of complementary colors over the whole picture-surface, by mixing their paints with white to heighten the overall luminosity of the scene. In Monet's and Renoir's work, this was, in part, caused by their attempts to paint the light of the Mediterranean…. The effect of these adjustments is to emphasize the overall color structure of the picture, and in Monet’s later work, such as the “Rouen Cathedral” series (1892-4[ce];** five examples in the Musée du Jeu de Paume, Paris), integrated color-harmonies became predominant. Renoir's later work, too, achieved a new warmness of luminosity, seen in “The Bathers” (1918-19[ce];*** Musée du Jeu de Paume, Paris).

****

*16G~m~1884|C1888[ce]

**16g~M~1892 subsequent cycle

64u~J~1896[ce]

***64C|2048R~C1920[ce]

****[ibid (Encyclopaedia of Visual Art 5:794)]

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‘In the late 1870s,* as the brushwork became more complex, the Impressionists began to introduce a greater range of small coloured touches to their paint-surfaces, even in less brightly-lit scenes, for instance Pissarro's “The Côte des Bœufs at the Hermitage, Pontoise” (1877[ce];** National Gallery, London). In part this was an attempt to refine their rendering of the effects of nature, but it also served to accentuate the internal color-relationships on the picture-surface, and in Monet's work of the early 1880’s (for example, “The Douanier’s cottage at Varengeville”, 1882[ce];*** Museum of Fine Arts, Boston) sequences of small color-oppositions give the whole painting a structure of contrasts, of pinks and oranges set against greens & blues.

****

*16g~M~1876|A~1880[ce]

**16g~M~1876[ce]

***16A~1880|G~m~1884[ce]

****[ibid (Encyclopaedia of Visual Art 5:)794]

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‘However, this use of color only evolved gradually. ...It was Monet who began to introduce a wider range of colour into his work, introducing into pictures such as “Terrace at Sainte-Adresse” (1867[ce]; Metropolitan Museum, New York) strong color contrasts and some soft blue shadows. Effects such as these, though, initially appear only in some sunlit effects,* and many Impressionist paintings of the early 1870s [ce],** for instance Pissarro's “Penge Station” (1871[ce]; Courtauld Institute Galleries, London), remain dominantly tonal in their structure. Throughout the 1870s,*** indeed, the color range of individual paintings depended closely on the subject and type of weather shown).’

****

*(sic)

**16C1872[ce]

***16C1872|g~M~1876|A~1880[ce]

****[ibid (Encyclopaedia of Visual Art 5:793)]

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‘Most Impressionist outdoor scenes, from the 1870s[ce]* onwards, were quite unlike the previous French landscape paintings in their use of color. Whereas paintings of the Barbizon school were modeled by clear contrasts of dark & light tones with a restricted range of subdued color and a few small accents of stronger color, the archetypal Impressionist landscape (for example Monet’s “Sailing at Argenteuil”, 1874[ce]; private collection) was predominantly modeled by contrasts and nuances of clear color which suggest the forms and spaces within the picture. Yellow is used for sunlit highlights in foliage, blue often for shadows; the sharper contrasts in the foreground stand out from the softer colors in the distance. It was such an approach to color that Pissarro taught Cézanne in the early 1870s,** to “replace modeling by the study of colors” and “justify this by reference to nature”, in the belief that it was a more truthful way to present the varied play of light and color out of doors.’

***

*16C1872[ce]

**16C1872[ce]

***[ibid (Encyclopaedia of Visual Art 5:793)]

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‘The bulk of the Impressionists’ work was executed in oils on canvas; this was the standard medium for their salon exhibits and for the smaller landscapes they painted out of doors.’

*

*[ibid (Encyclopaedia of Visual Art 5:793)]

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‘The different directions the Impressionists took in their handling after c[irca]1880[ce]* were in all cases attempts to emphasize certain qualities in their brushwork. But their painting retained one of the most important innovations Manet and the others had made in the 1860s: to leave the individual strokes of the brush distinct and visible on the paint-surface. This had two basic results: first, to undermine the demands for smooth finish which dominated the Neo-classical tradition in French painting, and second, to establish the appearance of spontaneity and directness as a positive aesthetic value in the final appearance of a painting.’

**

*16A~1880[ce]

**[ibid (Encyclopaedia of Visual Art 5:)793]

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‘From the later 1870s[ce],* all the Impressionist landscapists began to refine their brushwork, both to give a fuller rendering of the variety of nature and at the same time to organize more tightly the patterns of the brush on the picture-surface. Pissarro & Cézanne came to use small parallel brushstrokes which imposed a structure on the picture-surface more rigid than any found in nature (as in, for example, Pissarro's “Landscape at Chepouval”, 1880[ce],** Musée de Jeu de Paume, Paris). From this preoccupation with surface, Pissarro in 1886[ce]*** adopted the even greater systematization of the Neo-Impressionist “petit point”. Cézanne's “constructive stroke” of c[irca]1877-83[ce]**** (used in, for example, “Zola's House at Médan”, c[irca]1880[ce],# Burrell Collection, Glasgow) developed into the networked coloured planes of his late works (as in “Mont Sainte-Victoire”, c[irca]1904/6[ce];#* Philadelphia Museum of Art). Sisley and especially Monet began c[irca]1880[ce]#**to establish flowing patterns of brushstrokes across the canvas, not rigid like Pissarro’s, but free and calligraphic.’

#***

*16(g~|M~1876[ce])||A~||64j~U~|1880[ce]

**16A~||64j~|U~||1880[ce]

***16s~|R~1884||C1888[ce] – end of cycle – ||64A~

****16g~|M~1876||A~1880||m~|G~1884[ce]

#16A~1880[ce]

#* 16C1904[ce] – end of subsequent cycle||64m~|G~

#**16A~||64j~|U~1880[ce]

#***[ibid (Encyclopaedia of Visual Art 5:791)]

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‘The chief characteristic of Impressionist brushwork until c[irca]1877[ce]* was its flexibility. Pissarro, Sisley, and Renoir adapted their touch to convey natural textures of all sorts – compare, for example, Pissarro’s “Hoar-frost”, 1873[ce], and Sisley’s “The Road to Sevres”, 1873 (both Musée de Jeu de Paume, Paris). Monet’s treatment was equally varied, and in his treatment of reflections in water, in particular, he began to adopt emphatic, separate brushstrokes which create fragmented paint-surfaces quite unlike those of previous French landscape painting, as in his sketches of La Grenouillère of 1869[ce] (for example, that in the Metropolitan Museum, New York} and in “Regatta at Argenteuil” (1872/3[ce]; Musée du Jeu de Paume, Paris).’

**

*16C||64g~|M~1872[ce]

**[ibid (Encyclopaedia of Visual Art 5:}791]

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‘Allied to the Impressionists' outdoor work came a free, spontaneous handling of paint, used as a notation for the various textures of nature. In part, this freedom arose simply from the demands of outdoor working, but an emphasis on the value of the individual brushstroke became a deliberate part of their aims, one that owed much to Manet.’

*

*[ibid (Encyclopaedia of Visual Art 5:790)]

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‘[Monet], like Pissarro, came to look for a new sort of unity in his work, for “more serious qualities,” he said in 1892[ce];* than could be obtained in a simple outdoor sketch. No art movement before or since Impressionism has set such store by outdoor work, but paradoxically it was through their experience of it that the Impressionists came to see that making a picture, on a two-dimensional surface, imposed demands that could not be met simply by making quick sketches of transitory natural effects.’

**

*As above [last previous ts journal entry, fn=*]

**[ibid (Encyclopaedia of Visual Art 5:790)]

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