The Art of Impressionism: Painting Technique & the Making of Modernity

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Yale University Press, 2000 - Art - 245 pages
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This magnificent book is the first full-scale exploration of Impressionist technique. Focusing on the easel-painted work of Monet, Pissarro, Renoir, CÚzanne, Cassatt, Morisot, Caillebotte, Sisley, and Degas in the period before 1900, it places their methods and materials in a historical perspective and evaluates their origins, novelty, and meanings within the visual formation of urban modernity.

Drawing on scientific studies of pigments and materials, artists’ treatises, colormens’ archives, and contemporary and modern accounts, Anthea Callen demonstrates how raw materials and paintings are profoundly interdependent. She analyzes the material constituents of oil painting and the complex processes of “making” entailed in all aspects of artistic production, discussing in particular oil painting methods for landscapists and the impact of plein air light on figure painting, studio practice, and display. Insisting that the meanings of paintings are constituted by and within the cultural matrices that produced them, Callen argues that the real “modernity” of the Impressionist enterprise lies in the painters’ material practices. Bold brushwork, unpolished, sketchy surfaces, and bright, “primitive” colors were combined with their subject matter—the effects of light, the individual sensation made visible—to establish the modern as visual.
 

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THIS BOOK IS AWOSOME I READ IT DURING SCIENCE WHENEVER I DIDNT HAVE NOTHING ELSE TO DO
-LOVE SHANIA DANIELS

Contents

Landscape art plein airisme
5
Standardised support sizes a question
18
Prepared paper
25
Canvas weaves weights and textures
31
Twill weaves
37
Basket weaves
44
FIVE
62
Identifying and analysing the Impressionists1
68
from Tonal to Spectral
136
14I Green pigments
145
Painting cut premier coup
157
The coloured cbauche
163
coloured laches scumble and pleine pate
174
Composition space and flatness viewpoint
182
TWELVE
191
Painting frames
201

White grounds and bright plein air light
82
Clairobscur and the politics of genius
88
Lustre
94
Impressionism and modern paint technology
98
The matter of painting
105
from gas to glass
122
layers of meaning
209
Glossary
217
Bibliography
232
Index
238
Picture Credits
245
Copyright

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About the author (2000)

Anthea Callen, professor-elect in the department of the history of art, University of Nottingham, was formerly research professor in the history of art, De Montfort University, Leicester. She is also the author of The Spectacular Body: Science, Method, and Meaning in the Work of Degas, published by Yale University Press.

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