Impressionism
印象主義 / 1860s–1880s / Style / Painting Techniques
A movement that went outdoors and caught light itself with rapid strokes. It abandoned the contour line, laid shadows in complementary colors rather than black, and painted the same subject differently at each hour of the day. Nearly every avant-garde that followed defined itself by agreeing or disagreeing with it.
Short, divided touches of paint / Shadows made without black / Natural light outdoors / Composition that catches an instant
Dictionary entry
- Best used for
- Building an image whose subject is light and the passage of time · Raising form from adjacent colors instead of contour
- Type
- Keep the lightness of the hand and do not tighten the page with a rigid face.
- Composition
- Move off center and let the edge of the frame cut the subject.
- Material
- Set unmixed colors side by side and leave white ground to make the light.
- Caution
- Imitating the brushwork alone produces nothing but blur. The real decision is which color goes into the shadow.
- Further study
- The first exhibition of 1874 and Impression, Sunrise / Painting outdoors as made possible by paint in tubes and the railway / The reception of ukiyo-e composition