{Modern Art [continued (141)]}{Impressionism [continued]}[Extracts from source text with ms notes][16th May 1991]

[Redbook10:109-110][19910516:0930ki]{Modern Art [continued (141)]}{Impressionism [continued]}[Extracts from source text with ms notes][16th May 1991]

19910516:(0930c)

[continued]

‘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]

[Source text continues in next ts journal entry]

[continued]

[PostedBlogger16for28092026]