Okay, I’LL HANG IT SOMEWHERE ELSE – IMPRESSIONISTS part 2

…more artistic musings

IMPRESSIONISTS of the 1860’s CHALLENGE the PREVIOUSLY ACCEPTED COLOR PALETTE

AS PREVIOUSLY discussed, the world of the artist in the 1860’s was changing radically after four hundred long years of enforced artistic regulations. The major difference between the Old Masters and the Impressionists is the illusion of brightness reflected from the paintings by the independent artists.

It is doubtful most museum attendees would be able to recognize the difference between Romanesque or Gothic, Neoclassicism or Romanticism or Fauves and Expressionism. However, unless you’ve been in a coma most of your life the same could not be farther from the truth regarding the paintings of the Impressionists. The museum galleries that contain these works of art are never lacking knowledgeable informed and appreciative viewers.

The major difference between the Old Masters and the Impressionists is the illusion of brightness reflected from the paintings by the independent artists. The Old Masters used a triad color combination that included semi-transparent, subtle mixtures.The burnt sienna or burnt umber would equal red; yellow ochre for yellow ánd Payne’s grey and ivory black represented the blue; all somber toned grayed pigments. Painters of this period focused on the value of a color rather than the color itself.

IMPRESSIONIST color palette (left) – RENASSIANCE color palette (right)

Renaissance artists created their color values by mixing the various pigments with each other; thus, breaking down the potency, strength and clarity of the individual colors. Paintings that are created using these particular pigments and mixing them in this fashion lack the brilliant vibrancy reflected in the works by the Impressionists. Also, it must be noted that it did not matter if the painting to be painted was landscape, still life or portrait the Old Masters always worked on a toned canvas.

The Impressionists of the 1860’s re-established the previously accepted color palette. As they began to relocate their easels out-of-doors their selection of painting pigments evolved as well. These artists began to study color theory, effects of light along with color and observed the effects of color within shadows. Independent artists brightened their palettes by choosing pure yellows, rich reds and clear blues. They applied these pigments directly on the canvas with minimal mixing of the colors on the palette unlike their predecessors who premixed pigments together before applied to the canvas itself. Using the white of the canvas without toning it helped keep the pigments crisp and clear. Additionally, the study of shadows was a major concern of the Impressionists. Unlike the Renaissance artists who painted their shadows using black paint the Impressionists exchanged the dark dull color for blue. This helped add vibrancy to the tonality of these paintings.

It is hard to believe that these masterpieces, painted in luscious jewel colors that have been executed with spontaneity were considered radical and revolutionary during their time.

IMPRESSIONIST COLOR PALETTE

After we are exposed and become knowledgeable about the paintings of the 1860’s artists who were once considered radicals with revolutionary concepts. When we chose paintings for our environments, whether the choice is a landscape, portrait or still life we now have the option of the Impressionist’s legacy of luscious jewel colors that are most assuredly not considered radical or revolutionary by today’s standards.

Cynthia

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