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Incidents and Accidents in Plein Air Painting: One Path Towards Post-impressionism

Incidents and Accidents in Plein Air Painting: One Path Towards Post-impressionism
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摘要 A method for placing oil paint in metal tubes occurred in the early 1840s, which facilitated artists taking their materials out of doors to paint nature directly. In France in the 1860s, we know of painters like Claude Monet were working on beaches and port cities to capture the effect of scenes under natural light. By 1874 the Anonymous Society of Painters, Sculptors, Engravers, etc. (Impressionists) offered their first public exhibition to much criticism. A common complaint of the new work was that it lacked finish to be considered as a completed work for sale. It is the view of this paper that outdoor, or plein air painting, developed because of the circumstances this type of work developed in the artist naturally. I focus on two areas that outdoor painting forced the artist to consider: incidents and accidents. The incidents refer to the varied weather the painter had to deal with and the accidents identify the intuitive methods the plein air painters fell practice to when confronted by difficult passages or situations in nature. These experiences would shift the focus of the Impressionists from recording nature in a naturalistic way to self-expression, which would become a key idea in early modem painting. The finish the detractors of Impressionism called for would be replaced by an appreciation for the personal in painting as exacting images of landscape became predictable and lacked the vitality of the intuitive picture that could offer something new to art.
作者 Lloyd Bennett
出处 《Journal of Literature and Art Studies》 2017年第10期1290-1298,共9页 文学与艺术研究(英文版)
关键词 plein air impressionists PAINTING GESTURES accidents 事故鉴定 印象派 绘画 空气 艺术家 自然光 港口城市 销售工作
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