The Technique of Impressionism: A Reappraisal

Webster, J. Carson

doi:10.2307/773614

Cited by 7 publications

(3 citation statements)

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“…It started developing in France around the 1870s and 1880s. The Impressionists came up with an innovative idea to create artworks by separately depositing each colour of paint on canvas (Webster, 1944). They brightened palettes, abandoned the traditional linear perspective in favour of colour perspective, and started creating paintings faster, in a kind of sketchy, soft way.…”

Section: Art Movements and Their Characteristicsmentioning

confidence: 99%

Database of Expressionist, Impressionist, and Post-Impressionist paintings: Affective norms for 60 art pieces

Imbir,

Wielgopolan,

Stępniewska

et al. 2023

Quarterly Journal of Experimental Psychology

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Modern painters’ art not only is different to canvas created earlier, but also shows high internal variability. Aware of the conditions arising from art history, we used paintings from three art movements - impressionism, post-impressionism and expressionism to see if we are able to respond to claims made by art theorists by using methods specific to social sciences and validate the paintings as stimuli which might evoke different emotional reaction based on the movement they were created in; we wanted to conduct an exploratory analysis comparing the mean assessment of valence, arousal and dominance amongst the three art movements. 60 different paintings were selected (20 for each art movement) showing figurative works and visible human figures. They were assessed on five different affective scales: valence, arousal, dominance, origin, and subjective significance with use of Self-Assessment Manikins. Results showed expected differences in affective reactions to expressionists’ paintings compared with impressionists’ and post-impressionists’. Therefore, we provided the very first dataset of emotional stimuli with validated affective norms, categorized by the art movement that they were created in and ready to be used in future experimental studies.

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Section: Art Movements and Their Characteristicsmentioning

confidence: 99%

Database of Expressionist, Impressionist, and Post-Impressionist paintings: Affective norms for 60 art pieces

Imbir,

Wielgopolan,

Stępniewska

et al. 2023

Quarterly Journal of Experimental Psychology

View full text Add to dashboard Cite

show abstract

“…It could be thought that critics were just trying to find a way to give a scientific legitimacy to a young movement highly criticized, arguing that their way of painting was "scientific," which in fact is not true [6]. However, besides similar comments made by other critics, there is a more precise text based on conversations with Pissarro and that the painter never disowned:…”

Section: Optical Mixturementioning

confidence: 99%

Impressionism

Roque¹

2020

Encyclopedia of Color Science and Technology

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Impressionism is considered as the first vanguard movement of Occidental art history; it opens modernity in art. Its starting point is a group of artists who had in common a rejection of academic art. They organized eight collective exhibitions between 1874 and 1886. Most of the artists only took part in some of these exhibitions, like Cézanne. The painters considered as more "typically" impressionist are above all Claude Monet, Pierre-Auguste Renoir, and Camille Pissarro. Georges Roque has retired.

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“…Así las cosas, ¿cómo podrían hacer mella en la coraza del mito los testimonios indirectos y los contados mentís expresos provenientes de críticos y ensayistas bien informados? El historiador del arte J. Carson Webster (1944) llevó a cabo un intento tan serio como infructuoso por desligar la mezcla óptica de la técnica pictórica impresionista, trabajo al que R. Arnheim (1999, p. 343) se agarró para emitir su propia impugnación en su obra clásica Arte y percepción visual. El gran historiador del arte P. Francastel tampoco desaprovechará la ocasión en su Historia de la pintura francesa (1955) para lanzar su propio dardo contra los crédulos que repiten como un eco lo que oyen decir sin más comprobación.…”

Section: La Fragua Del Mitounclassified

El mito de la mezcla óptica impresionista.

Sánchez

2014

BRAC

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<p>La aparición en la escena artística parisina de las obras de Seurat y Signac en la octava exposición impresionista (1886) dio pie a una errónea equiparación entre algunos planteamientos técnicos divisionistas con los de los impresionistas puros, especialmente el que atribuye a éstos el uso de la mezcla óptica del color, es decir, la fragmentación del color en sus componentes y la reconstrucción del tono en la retina del espectador. Este artículo trata de indagar en las causas, antecedentes, génesis y evolución del mito, que ha confundido a eminentes historiadores, críticos y artistas y que persiste hasta nuestros días respaldado por el principio de autoridad.</p>

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The Technique of Impressionism: A Reappraisal

Cited by 7 publications

References 0 publications

Database of Expressionist, Impressionist, and Post-Impressionist paintings: Affective norms for 60 art pieces

Database of Expressionist, Impressionist, and Post-Impressionist paintings: Affective norms for 60 art pieces

Impressionism

El mito de la mezcla óptica impresionista.

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