{Modern Art [continued (136)]}{Impressionism [continued]}[Extracts from source text with ms notes][16th May 1991]

[Redbook10:107][19910516:0930kd]{Modern Art [continued (136)]}{Impressionism [continued]}[Extracts from source text with ms notes][16th May 1991]

19910516:(0930c)

[continued]

‘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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