Claude MONET. Impression, soleil levant. 1873. 48 X 63. Paris, Musée Marmottan physiological origins of Impressionism - The bias of the design. Recognising that if the pictorial is the brain, mind, it does so only through the eye and the eye is first, just as the ear in music. The Impressionist is a modernist painter who, endowed with extraordinary sensitivity, forgetting the paintings collected by the centuries in museums, forgetting the context of school education (drawing and perspective, colors), by dint to live and see frankly and primitively in the outdoor light show, that is to say outside the shop at 45 ˚ enlightened, whether the street campaign, interiors, has managed to rebuild a natural eye, to see naturally and to paint as he naively voit.Primitivement the eye, knowing that white light, with shadows undecomposed, so his experiences in helping develop the resource by staining discernible S'Aida tactile experiences. So by mutual aid associations usual and then by inheritance of acquired modifications between faculty members the tactile and the visual organ, the sense of form has spent his fingers in the eye. Forms are not originally arrested in the eye and the eye through inheritance and refinement fired for comfortable experience a sense of contours, and hence this childish illusion of translation of the living reality and without plans by the contour-drawing and perspective dessinée.Essentiellement eye should know that light vibrations as acoustic nerve knows that the sound vibrations. This is because the eye, after beginning with appropriate, refine and systematize impaired tactile lived and educated, spoke in delusion by centuries of evolution that his comic works as luminous body vibration has been so delayed relative to that of the ear for example, and the color is still a rudimentary intelligence, and that while the ear in general harmonic analysis easily, like a prism ear, the eye sees only synthetically and coarsely light and has only vague powers to decompose in the spectacles of nature despite its three fibrils Young are facets of the prism. So a natural eye (or refined since, for this body, before going, he should pitch again by getting rid Tactile illusions), a natural eye forgets tactile illusions and their convenient dead language: drawing and contour-only acts in its capacity prismatic sensitivity. It comes to see reality in the atmosphere of living forms, broken, refracted, reflected by the people and things in endless variations. This is the first characteristic of the impressionist eye.
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ACADEMIC AND EYE EYE COLOR IMPRESSIONNISTE.-POLYPHONY .- In a landscape bathed in light, in which beings are modeled as colored grays; where academic sees only white light, applied to the state, the impressionist sees bathing while not dead white, but a thousand battles vibrant, rich prismatic decompositions. Where the academic sees only the exterior design enclosing the modeling, he sees the real live lines without geometry but built a thousand keys irregular, the distance, lay life. Academic sees where things are placed in their respective planes in a regular frame reduced to a pure design theory, he sees the perspective established by the thousand nothings of tones and keys by the varieties statements of the air according to their plan but still not remuant.En sum impressionist eye in human evolution is the most advanced eye, he who has so far seized and made combinations shades more complicated connues.L impressionist sees and renders nature as it is, that is to say only colored vibrations. Or drawing, no light, no modeling or perspective or chiaroscuro, these classifications Children: all this resolves itself into reality colorful vibrations and must be obtained on the web only by vibration colorées.Dans this small and close exposure to home Guslitt, the formula is especially sensitive in the Monet ... and Pissarro ... where everything is produced by Menu key in miles in all directions like straw color - competition is vital for the overall impression. More melody, alone, the whole is a symphony which is living life and alternatively as "the voice of the forest" of competing theories of Wagner vital to the great voice of the forest, like the unconscious law of the world , is the great melodic track, resulting in the symphony of the consciences of individuals and races. This is the principle of the school's outdoor impressionist. And the master's eye is the one who will discern and degradation, most sensitive decompositions, that on a single canvas flat. This principle was not systematically applied engineering but in poetry and the novel here.
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FALSE EDUCATION OF OUR EYES .- But everyone knows that we do not see the colors of the palette in themselves, but as illusions related to the education we have given tables for centuries, and above all for light that can give us the palette. (Compare the photometrically most dazzling sun Turner to the flame of the candle sadder.) Trial reflex innate harmonic convention as it is between the visual sensation of the landscape and the feeling of resources spread over the pallet. It is the language of proportional painter, he enriched in proportion to the wealth of the development of its optical sensitivity. Similarly for the magnitudes and perspective. Dare I say that in this sense the painter's palette is the real light and its color games on the realities reflected and refracted, that the perspective on a flat canvas is the depth and reality of actual plans in space? Both Conventions are the resources of the painter.
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MOBILITY AND MOBILITY OF LANDSCAPE PAINTER'S IMPRESSIONS. - Reviews that codifies the beautiful art and guide, here is a painter who has just planted his easel before a landscape fairly stable as light, a state of the afternoon, for example. Suppose that instead of painting the landscape in several sessions, he has the good sense to establish the tone of life in fifteen minutes, that is to say that it is impressionistic. He arrives there with his own sensitivity to light. This sensitivity is at this time, according to statements tiring or households that comes through, dazzled or awake, and not the sensitivity of a single organ, but the three competing sensitivities of the three vital febrile Young. In these fifteen minutes the lighting of the landscape: the living sky, land, greens, all in the network of the intangible atmosphere rich with life constantly wave his invisible particles reflected or refracted, landscape lighting has infinitely varied, lived in one word.
In these fifteen minutes, the optical sensitivity of the painter and varied revarié, was upset in his assessment of the proportional constant and the relativity of tones in the landscape them. Imponderables mergers tones, conflicting perceptions, priceless entertainment, domination and subordination, power variations of febrile reaction of the three optical and outside them, fighting infinite and infinitesimal.
One example among billions. I see it as purple, I lower my eyes to my palette to combine them, my eye is involuntarily drawn by the whiteness of my sleeve, my eye has changed, my purple sulfur, etc.. Etc ...
So in the end, even staying only fifteen minutes before a landscape, the work will never be equivalent to the fleeting reality, but the minutes of a certain optical sensitivity without identical to a time that does happen again in the same individual, under the excitation of a landscape to a bright moment in his life that no longer have the same state of this time. Note
basically three periods of state before a landscape: the growing acuteness of the optical sensitivity in the excitement of this new spectacle, the ultimate sharpness, then the decay of nervous fatigue. Add
atmosphere infinitely variable, the best gallery where the painting will be exposed, and careful daily life tones of this painting is wearing off and fighting. And finally for spectators sensitivities without much identical in each of the infinite moments sensitivities.
The subject and object are moving permanently, and elusive uncomprehended. The flashes of identity between subject and object, it is the nature of genius. Seek to codify the lightning is a joke school.
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Claude MONET. Rouen Cathedral. 1893: 3 versions of the series.
DOUBLE ILLUSION OF BEAUTY AND ABSOLUTE RIGHTS ABSOLUTE .- KEYBOARDS COUNTLESS HUMANS. - The old aesthetic alternately to drool on these two illusions: the Beau absolute goal - the absolute man, subjective taste.
was now a more accurate sense of life in us and outside us.
Each man is by his moment in time, the middle of race and social status, its moment of individual evolution, a keyboard on which the outside world plays a certain way. My keyboard is perpetually changing and there is not another identical to mine. All keypads are legitimate.
Each man is by his moment in time, the middle of race and social status, its moment of individual evolution, a keyboard on which the outside world plays a certain way. My keyboard is perpetually changing and there is not another identical to mine. All keypads are legitimate.
Similarly, the outside world is perpetually changing a symphony (the law of Feschner, the perception of differences decreasing in inverse intensities). Optical art within the eye and the eye only.
There are no two eyes in the world as identical and as a faculty member.
All our vital organs are in competition: the painter's eye dominant, in the musician's ear, some faculty at the metaphysician, etc. ...
All our vital organs are in competition: the painter's eye dominant, in the musician's ear, some faculty at the metaphysician, etc. ...
eye as worthy of admiration is the one who went furthest in the evolution of this body, and therefore the paint will be the most admirable, not one where there will be those of chimeras schools in Hellenic beauty, "" the colors Venetian, "" the thought of Cornelius, "etc.. but one that will reveal that eye by refined nuances or complicated lines.
The condition is most favorable to the freedom of this development is the abolition of schools, jurors, medals, this furniture childish of state patronage, the art critics of riding without eye; dilettantism nihilistic anarchy open to all influences, as it prevails among the French artists at the moment: "Laissez faire, laissez passer." Above mankind, the Act following its development reflex Unconscious and blows where he wills.
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DEFINITION OF OUTDOOR. -The open-air formula that was used first and foremost landscape painters of the Barbizon school (village near the forest of Fontainebleau), does not mean that. This open-air impressionist landscape, he commanded their whole painting and means of painting people or things in their atmosphere: landscape, shows the candle or simple interiors, streets, gas-lit scenes, factories, markets, hospitals, etc. .
Claude MONET. Camille Monet on his deathbed. 1879. 90 X 78. Paris, Musée d'Orsay EXPLANATION OF RELATED IMPRESSIONISTS HYPE. -The eye of the common public and non-critical artist, raised to see the reality in harmony established and fixed by the crowd of mediocre painters such as eye, that eye has no law against these sharp eyes of artists more sensitive to variations in light will notice on their web course grades, reports of rare shades, unexpected, unknown who will scream the blind due to the eccentricity, and even had to be done from the incoherence of a eye course voluntarily if you will, in the rush of exasperated these works of impressions recorded in the first sensory intoxication of a reality already selected rare and unexpected, all of this, the language of the range compared to reality is a language conventional and new seasonings may, all this is not it more artistic, more alive and thus more fruitful for the future than the sad and immutable revenues academic colors?
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FUTURE PROGRAMME OF PAINTERS. - The group of painters, the liveliest, boldest that ever seen, and most sincere (they live in the laughter or indifference, that is to say, almost in poverty), with the voice of a certain media in the minority, demand that the state continues to s' deal with art, we sell the School of Rome (Villa Medici), you close the Institute, there are more medal or other reward that artists live in anarchy , which is life, everyone is left to its own strengths and not nullified or impaired by the Academic life of the past. More beautiful official, the public will learn to see without a guide in itself and will naturally go to the painters who are interested in a way modern living, not Greek or Renaissance. No more official salons and medals than there are for writers. As they work for themselves and seek to place their work in the windows of publishers, as they work to their liking and will seek to place the windows of dealers. This will be their living room.
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FRAMES IN CONNECTION WITH THE WORK. - Exhibitions of the Independent substituted variety of intelligent and sophisticated frameworks in perpetual fantasy gold frame moldings to store part of academic cliches. A green landscape sun, a blonde page Winter, an interior flickering chandeliers and toilet require different settings than their respective authors will only make, like a woman knows better than anyone what shades of fabrics and what powders and What boudoir curtains will argue her complexion, the expression on his face, his ways. We've seen managers flat, white, pale pink, green, yellow daffodil, other excessively colorful tones of a thousand and a thousand ways. This fashion-cons had his shot in the state rooms, but no new product bourgeois kind plush and others.
Jules Laforgue. 'The Impressionist Art " Complete Works Mixtures posthumous. Paris, Éditions du Mercure de France, 1903
Jules Laforgue. 'The Impressionist Art " Complete Works Mixtures posthumous. Paris, Éditions du Mercure de France, 1903
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