What Impressionism Sought to Achiev

What Impressionism Sought to Achieve

By the year 1863 the sentry which allows the visual messages transmitted by the eye to penetrate to the brain only after a rigorous censorship, had admitted most aspects of visual truth, but there were two that had not yet officially passed the censor. They were (1) the colour and vibration of light and (2) the density of air. No one had ever painted the true colour of sunshine and shadow, and hardly anyone had thought it worthwhile to suggest that the density of the air is not always constant, that a picture could be painted, for instance, of a landscape seen through a heavy mist or fog.

But both these visual discoveries were, fundamentally, subheadings of a larger discovery. What the Impressionists did, almost without knowing it, was to realize the phenomenon of transitoriness. The artist who carries his canvas out into the open air and attempts to record every nuance of what his eye sees is in a very different frame of mind from the artist who constructs his picture in his studio from a series of preparatory sketches or studies. His eye may not be more searching but it becomes conscious of a different set of visual data. He becomes less and less concerned with the nature of the object - figure or landscape - he happens to be painting, and more and more conscious of the appearance of the object at a particular moment of time.

For Monet, at work on a picture of Rouen Cathedral, what his eyes encountered was not a Gothic structure but an envelope of air of a certain density through which the Cathedral could be seen and by which its appearance was modified with every shift of light. For him, therefore, his very subject matter was altering its nature at each hour of the day. Since therefore, the emphasis in every Impressionist painting, is on the moment of time, it was natural that Impressionists should deliberately seek out momentary effects. In a painting by Monet of the entrance to the Gare St Lazare, the most arresting features are not the iron bridge and the building behind it, but the steam that drifts under the bridge and the locomotive, deliberately placed on the extreme left in order to give the impression that it is on its way out of the picture.

Such selected moments in time are the keynote of those landscapes by Monet, Pissaro, and Sisley in which one is always aware of the time of day, the season of the year, the precise strength of sunlight or the density of the atmosphere, AND also of the figure compositions of Degas and the later work of Monet, in which the true 'subject' of the painting is the sudden turn of the head of a waitress in a cafe, the momentary gesture of a dancer or a woman ironing or trying on a hat in a milliner's shop. These problems were tackled by Claude Monet and Camille Pissarro to the exclusion of a great many of the qualities which previous artists had considered essential.

The Impressionism movement furnishes the clearest instance in the history of art of a new visual discovery, made in a spirit of pure research, which produced in the long run a new kind of beauty. In its purest form it painted solely what the eye saw. "Monet is only an eye. But what an eye!" said Cezanne, inadvertently capturing the virtues and weaknesses of the whole school.

Kết quả (Anh) 1:

What Impressionism Sought to AchieveBy the year 1863 the sentry which allows the visual messages transmitted by the eye to penetrate to the brain only after a rigorous censorship, had admitted most aspects of visual truth, but there were two that had not yet officially passed the censor. They were (1) the colour and vibration of light and (2) the density of air. No one had ever painted the true colour of sunshine and shadow, and hardly anyone had thought it worthwhile to suggest that the density of the air is not always constant, that a picture could be painted, for instance, of a landscape seen through a heavy mist or fog.But both these visual discoveries were, fundamentally, subheadings of a larger discovery. What the Impressionists did, almost without knowing it, was to realize the phenomenon of transitoriness. The artist who carries his canvas out into the open air and attempts to record every nuance of what his eye sees is in a very different frame of mind from the artist who constructs his picture in his studio from a series of preparatory sketches or studies. His eye may not be more searching but it becomes conscious of a different set of visual data. He becomes less and less concerned with the nature of the object figure or landscape-he happens to be painting, and more and more conscious of the appearance of the object at a particular moment of time.For Monet, at work on a picture of Rouen Cathedral, what his eyes encountered was not a Gothic structure but an envelope of air of a certain density through which the Cathedral could be seen and by which its appearance was modified with every shift of light. For him, therefore, his very subject matter was altering its nature at each hour of the day. Since, therefore, the emphasis in every Impressionist painting, is on the moment of time, it was natural that the Impressionists should deliberately seek out momentary effects. In a painting by Monet of the entrance to the Gare St Lazare, the most arresting features are not the iron bridge and the building behind it, but the steam that drifts under the bridge and the locomotive, deliberately placed on the extreme left in order to give the impression that it is on its way out of the picture.Such selected moments in time are the keynote of those landscapes by Monet, Pissaro, Sisley and in which one is always aware of the time of day, the season of the year, the precise strength of sunlight or the density of the atmosphere, AND also of the figure compositions of Degas and the later work of Monet, in which the true ' subject ' of the painting is the sudden turn of the head of a waitress in a cafe , the momentary gesture of a dancer or a woman ironing or trying on a hat in a milliner's shop. These problems were tackled by Claude Monet and Camille Pissarro to the exclusion of a great many of the qualities which previous artists had considered essential.The Impressionism movement furnishes the clearest instance in the history of art of a new visual discovery, made in a spirit of pure research, which produced in the long run a new kind of beauty. In its purest form it painted solely what the eye saw. "Monet is only an eye. But what an eye! "said Cezanne, inadvertently capturing the virtues and weaknesses of the whole school.

Kết quả (Anh) 2:

What to Achieve Impressionism Sought By the year 1863 the sentry mà cho phép the visual messages Transmitted by the eye to the brain to Penetrate only after a rigorous censorship, aspects of visual hda nhất admitted truth, but There were two có có Officially not yet passed the censor. They were (1) the color and vibration of light and (2) the density of air. No One Ever Had painted the true color of sunshine and shadow, and hardly anyone thought it worthwhile to đề hda rằng density of the air is not always constant, that a picture could be painted, for instance, of a landscape seen through a heavy mist or fog. But cả này là visual Discoveries, fundamentally, Subheadings of a larger discovery. What the Impressionists did, almost without Knowing it, was to Realize The Phenomenon of transitoriness. The artist who carries out his canvas vào open air and attempts to record his every nuance of what is in a very eye SEES frame of mind from the khác artist who constructs his studio picture from a series In His sketches or studies of Preparatory. His eye not be more searching but unfortunately it Becomes conscious of a different set of visual data. He Becomes less and less Concerned with the nature of the object - figure or landscape - Summer Happens to be painting, and more and more conscious of the appearance of the object at một moment of time. For Monet, at work on a picture of Rouen Cathedral, what his eyes was not a Gothic structure gặp but an envelope of air density of A Certain through đó Cathedral could be seen and modified by mà its appearance was with every shift of light. For him, therefore, his subject matter was Altering its very nature at each hour of the day. Since therefore, the emphasis in every impressionist painting, is on the moment of time, it was natural mà Impressionists deliberately seek out momentary effects shouldnt. In a painting by Monet of the Gare St Lazare to the entrance, The Most arresting are not the iron bridge features and the building behind it, but the steam drifts under the bridge mà and the locomotive, on the extreme left deliberately đặt để give the impression it is on its way mà out of the picture. Such moments selected in time are the keynote of những Landscapes by Monet, Pissaro, Sisley and one is always aware chứa of the time of day, the season of the year, the precise strength of sunlight or the density of the atmosphere, AND am also of the figure compositions of Degas and the later work of Monet, chứa true 'subject' of the painting is the sudden turn of the head of a waitress in a cafe , the momentary gesture of a dancer or a woman or thử Ironing on a hat in a milliner's shop. These problems tackled by Claude Monet là and to the exclusion of Camille Pissarro a great many of the qualities previous mà hda Considered essential artists. The Impressionism movement furnishes the clearest instance in the history of visual art of a new discovery, made ​​in a spirit of pure research, mà Produced in the dragon trembled a new kind of beauty. In its purest form it what the eye saw painted solely. "Monet is only an eye. But what an eye!" Cezanne said, inadvertently capturing the virtues and weaknesses of the whole school.