Тематический сборник текстов для чтения (английский язык). Соснина Е.П - 82 стр.

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82
conservative colors. They wanted highly refined images that could be carefully examined up
close for their faithfulness to "reality," and they encouraged artists to eliminate all traces of
their brush strokes from view. Thus, the painting itself was isolated from the artist's
personality, emotions, and working techniques. The Academy thought it crude for the
artist's identity to creep into the work. Art at that time was considered to be a conservative
enterprise whose innovations should always fall within the Academy's carefully defined
borders.
The Impressionists changed all that:
• They painted with s hort, thick strokes of paint in a sketchy way that allowed them to
capture and emphasize the essence of their subject rather than in details.
• They us ed colors with as little mixing on the pallet as poss ible, believing that it was
better to allow the eye to mix the colors as it viewed them upon the canvas . This provided a
much more vibrant experience for the viewer.
• They stopped tinting their colors (mixing in black) in order to obtain darker
pigments, but instead, if mixing was absolutely necessary, they obtained darker colors by
mixing complementary colors. (Black could still be used, but only as a color in its own
right.)
• They left their brush strokes on the canvas to be visible to all, adding a new
dimension of familiarity with the artist's personality for the viewer to enjoy. They
discovered or emphasized new aspects of the play of natural light, including an acute
awareness of how colors reflect from object to object within the painting.
• In outdoor paintings , they boldly painted s hadows as being filled with the blue of the
sky as it was reflected onto surfaces, thus giving a new sense of freshness and openness that
had never been captured in painting before. (It was the blue shadow areas on snow which
tipped them off to this phenomenon.)
• They painted wet paint into the wet paint already on the canvas instead of waiting for
successive applications to dry. This produced softer edges and more exciting intermingling
of color.
• They avoided the us e of thin paints to create glazes which earlier artis ts would build
up carefully to produce their effect. Instead, the Impress ionis ts put the paint down thickly
and did not rely upon layering.

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