HIGHLCRES COLLEGMN THE ART OF IMPRES:7IONISM (Contoluad from lt.st issue.) ....Lighter, purer blues g-ve skies cf new brillinct; s stryng reds z-nd erauges evoked the sunset, and combinations of many colors gave the reflecting surface of water in pond or river e f,r more active pert in the drama of light than we afforded by the ZuCt. treaktAo4. Ocrot hrd enticiprtet:i this lutter possibility, fur number of hi 6 lnnd• scopes from the 1630's heve cleerly divided strokes in the weter pessuges. The ply of light in the new style :.yes most fuscineting where it was most complex, in trues, fields, enC ripples where e thousend, u million, frcets challenged the eye to see whet I:l , de them look the w2y they did under tho sum7ier sun. The mirecle of Impression tam wes the feet thet Sisley, Renoir, T - 'ssrro end, 7bove ell, Y,onet were .b 71.1 to solve this mystery so success. fula-Y• But the secret of leuves nd vtA,(, , r end hey wus not the seine es thut of the shrdcmed side of e building 1:or the light one distunt hill. Flashing bits of paint did for the one, but certeinly not or the other, The question of hox: the Impressionists • saw nAure remnins. .0 know they looked !A it directly -All intensely, but we ourselves do not ordinrily see in the ::me wcy. Only when we use their eyes does the outdoor werlo take on this wgnificent freshness. •Strain as , r4ll, the visitor to Rouen ‘All not ice th.a. cr , thedrti z - s I;onet paints it, aor will the river vt have ',7or him the look it 11,0 for Sisley. :veryone egrees thut Impressionism is form of realism, ecknowledt;es its debt to Gourbet &:nd possibly even to the introduction of photogrvphy, but cnnot get - around the fact that its wor/d is very different in many respects from whvt re:Aly do find Aen we gaze on water, boats, n trees. If wict* they give us is indeed retlity, it is surely of very specialized kind. man we svy th , t if we were to look as 7Atiently, we would see the slme? It is to believe. !?iereover, , ye now their oxvm4e to help us, but `onet's anti te:noir's looking viivs 3.one pith no previous pietoriLl trt.dition to guide the.. There .;ere suggestions hereflc.l there, but essentially whrt they found Choy found for themselves-- tnd for the first time in the history of estern srt. The nature of the sketch or "sketchi ness" as en aspect of modern hts not roceive the vttention it richly ft , serves. The development of style from the irte eighteenth century to the end of the nineteenth chLr- ucterized by the gro=l emergenco of the rough stroke fro::, conee!Jed position founza only in the -rtist's infermvl or pro , iminry effrts to !I position of dmin!Jnee in tho fl.nished vork. 4 ninet, nth century observer lookin -t peintirws such vs the ones considered mould hrve said, indeed critics did sli t that they looked mgiiliehed ?nd thus ought not to be presented for public inspection. Thus, color was introduced into the stream of art so forcefully thA the general yppearance of European paint ing altered fr,m th7 - t d... 7 to this. The bright hue, the gay, even violent canvas were to become riot only accep t:-ble, but unbelievably !)opulvr. The supremacy of the artist's et first n , Auralistic but liter increasingly abstrct, was so firmly rooted that a resentful public came in the end to sit at the feet of dozens of more difficult masters to learn quite humbly viivt style really was, and hot;: to look -t pictures unaccompanied by dramatic or anecdotal content. 80-. yozi all this, Impressionism set the pattern for the fables battle of modern nrt;the innovator pitted against the serried ranks of the Philistines. The oft-repented contrrst between the strong, vivid painting of the rebels and the niggling pallor of the academ ics hrs become pLrt of the leend of modernism. Pissarrols poverty, Monet's struggle for recognition have lent a romantic air to the story of their trio umph! (Fromtßomantic ,rts Yearbook 2) FR;DAY. : _pECEMB4R_I2 4
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