Art in California: 1880 to 1930

by Jean Stern

 



 

Among the many color theories that influenced art in the late nineteenth century, the most popular were those of Eugene Chevreul, originally published in French in 1839, with an English translation appearing in 1872. Chevreul was a consulting chemist who was asked to improve the quality of dyes used in a tapestry factory. He conducted many experiments, looking for ways to produce colors that were more vivid. He deduced that the role of the chemist was not as important as the role of the artist, and that more potent dye formulations would not significantly improve results as effectively as proper color placement. Thus evolved Chevreul's Law of Simultaneous Contrast of Colors. It states, in part, "The apparent intensity of color does not depend as much on the inherent pigmentation. " as it does on the hue of the neighboring color." Furthermore, Chevreul states, "When two colored objects are scrutinized together, the color of each will be influenced by the complementary color of its neighbor." Moreover, "In the case where the eye sees at the same time two contiguous colors, they will appear as dissimilar as possible, both in their optical composition and in the height of their tone."

Chevreul's work was truly revolutionary because it was based on recent advancements in the scientific study of physiological optics. His law explores the role of color as a stimulus on the human eye, not necessarily on its role in nature. He advised the artist to realize that, "There are colors inherent to the model which the painter cannot change without being unfaithful to nature (and) there are others at his disposal which must be chosen so as to harmonize with the first." In addition, he cautioned, "The greater the difference between the colors, the more they mutually beautify each other; and inversely, the less the difference there is, the more they will tend to injure one another."

A variety of scientific theories of color were quickly accepted and systematized by the Impressionists in the early 1870s and to a greater degree by the Neo-Impressionists, followers of Georges Seurat (1859-1891), in the 1880s. The immediate outcome of this scientific infusion in art was the appearance of intensely bright paintings, particularly in sunlit outdoor scenes. The utilization of the previously discussed laws of color contrast and color harmony enabled the artist to present the effect of intense sunlight and, at the same time, the effect of cool, lively shade without arbitrarily darkening the shadow. Overall, the impressionist painting was designed to create movement on the optical plane by the juxtaposition of selected color patches, a movement which closely approximated the natural fluidity of light.

The concerns of artistic methodology and preference of subject matter caused the Impressionists to part company with the Realists. Technically speaking, the Realism of Courbet and the Romantic-Realism of Daubigny were, in effect, academic approaches, differing only in subject matter and objective content. Like Realism, its immediate predecessor, Impressionism repudiated most of the tenets of the Academy. The time consuming, over-worked method of painting which required days or weeks to produce a painting was spurned by the Impressionists. They lamented the artificiality of light and color which often characterized an academic canvas, a consequence of painting in the studio. Impressionists preferred instead to paint directly on primed canvas and to set the easel out-of-doors.

Philosophically, Impressionists sought more relevance in subject matter, turning to everyday life for artistic motivation. They aspired for art that reflected the people as they were, and that necessitated acceptance of the urban setting and rejection of the false ideal of peasant life as simply another artistic convention not based on reality. Reluctant to pose a composition, Impressionists explored the "fleeting moment" or the "temporal fragment" in ordinary life. Where the Realists yearned for a contemporary view of history, the Impressionists sought an instantaneous view.

 

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