{Modern Art [continued (142)]}{Impressionism [continued]}[Extracts from source text with ms notes][16th May 1991]

[Redbook10:110][19910516:0930kj]{Modern Art [continued (142)]}{Impressionism [continued]}[Extracts from source text with ms notes][16th May 1991]

19910516:(0930c)

[continued]

‘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).

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*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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