By Professor Charles Edward Gauss
This learn is a modest try to hint a number of the connections among paintings and different branches of human undertaking and tradition within the heritage of rules. Its thesis is that one should still study the heritage of rules because it is manifested in artwork.
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New The painters make not the old imitation theory That the impressionists came to realize as they artistic synthesis. of art. their analysis for the sake of a This is continued their course. The method of the impressionists is analogous to that of the physicists of the seventeenth century. The latter in defining the world of physics chose those qualities from their experience of the world which were sufficient and necessary for that physics: shape, motion, solidity, exten- . FROM REALISM TO NEO-IMPRESSIONISM sion, number.
I subject as I want it, then I go ahead and paint is a child. ^^ seize the rich multiplicity of natural forms and translate the life of the organic world to his The flesh on his canvas must be alive. In his concern with spontaneity Renoir never once considers the realist's problem of the relation of the picture to the model. It is a false problem to one who denies that the canvas. artist should follow the suppositions and techniques of the positivist aesthetic. to do with art as The world of the intuition has nothing an imitation of outward natural forms.
Paul Signac in his book, D' Eugene Delacroix au neoimpressionnisme, defines the neo-impressionist painters as " those who have revived and since 1886 developed the . " ^° have been drawn to this manner of painting ture of tones and colors as a These painters because through it they can obtain greater luminosity than by any other means. On this supposition the book is an exposition of painting as a scientific technique. Signac is concerned to show that the method of the neo-impressionists is a realization of the theories of Delacroix and the impressionists.