Moreover, Vincent van Gogh (1822-1885) is shown in museums with the Impressionists, although he is often referred to as a Realist, Expressionist, or Symbolist. Paul Cézanne (1839-1906), who exhibits with the Impressionists, criticizes their lack of intellectual rigor, or color “order,” as he chooses to structure his landscapes with directional brushstrokes. Pierre-Auguste Renoir (1841-1919), after traveling widely - particularly in Italy - reacts against the apparent “formlessness” of Monet. Edgar Degas (1834-1917) and some Neo-Impressionists like Georges Seurat (1859-1891) had academic training that they valued (see entry on Pointillism). Today, this may seem strange, but many collectors at the time stipulated that commissioned paintings be “toned down” (i.e., given a coat of colored varnish in order to fit with older paintings in their collections.) Constable was criticized for using the greens he saw around him in his landscapes.Īlthough a certain group of painters is commonly referred to as “Impressionists,” their aims were not always congruent. Although a few perceptive collectors, sometimes the color merchants who supplied them, are quick to buy their works, many of these artists did suffer financial hardship. They also paint on white, or very lightly tinted gounds, all of which add to brilliance of color and luminosity. Likewise, they depart from the norm with their uniform “loading” of the paint surface, when it is accepted tradition to paint shadows thinly. The broken brushstrokes, often just “dabs” of paint, and the high key of color, due in part to colored shadows, also provoke criticism. In order to capture the ever-changing effects of light on the canvas, the artists paint rapidly, analyzing tone and color at the expense of composition and drawing - held sacred by the Academy.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |