. Art in France. oured a face with blue ororange reflections, and experimented onthe human figure with those luminousfantasies which had hitherto been reservedfor clouds and water, because these bodieshave only borrowed colours. Finally, asthe painter does not represent objects intheir materiality, but only in their luminousappearance, the Impressionist brush does not define forms; the re-flections in which the light isdispersed must not appear to im-itate the actual colour of things ; itmust float, as it were, in the atmos-phere, and vibrate like luminousatoms. Design, in the ordinarysense of
. Art in France. oured a face with blue ororange reflections, and experimented onthe human figure with those luminousfantasies which had hitherto been reservedfor clouds and water, because these bodieshave only borrowed colours. Finally, asthe painter does not represent objects intheir materiality, but only in their luminousappearance, the Impressionist brush does not define forms; the re-flections in which the light isdispersed must not appear to im-itate the actual colour of things ; itmust float, as it were, in the atmos-phere, and vibrate like luminousatoms. Design, in the ordinarysense of the term, is good Impressionist landscapeextinguishes everything near it;its light is so subtle and so brilliantthat it has been accounted a suf-ficient motive for the Impressionist does not repre-sent a tree, a lake, or a house,but the shade of the tree, piercedby a few rays of light, or theappearance of a wall at differenttimes of the day. A stack ofcorn, a mist, the carved fagade 424. 885. — PfVIS DE OF SAINT (PantWon, Paris.) NATURALISM
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Keywords: ., bookcentury1900, bookdecade1910, bookpublishernew, booksubjectart
