{Modern Art [continued (139)]}{Impressionism [continued]}[Extracts from source text with ms notes][16th May 1991]

[Redbook10:108-109][19910516:0930kg]{Modern Art [continued (139)]}{Impressionism [continued]}[Extracts from source text with ms notes][16th May 1991]

19910516:(0930c)

[continued]

‘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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