James
Lumley
American
Painter
- Monograph -
Beyond Impressionism
I. Introduction
This monograph is about the connection between creating
a painting and viewing one. It is for connoisseurs as well as creators
of paintings -- those who appreciate, as well as those who want to paint
better. It is about similarities both painter and viewer share in understanding
beauty.
The monograph was conceived as a prelude to a larger,
definitive book on the technical approach to painting; here, philosophy
(or perhaps opinion) lays a foundation for the "how to do."
In a practical sense the monograph is about understanding (1) the differences
in the overall cast of color between one scene and another when struck
by different effects of light, and (2) the different colors within a
scene when a single light strikes different objects. To accomplish these
understandings I urge special attention to a fundamental truth: the
colors of objects change in different conditions of light. Light, then,
changes the way we see, and the exploration of this phenomenon is one
of the fundamental keys to creating beauty in painting.
In this monograph I will also explore the spiritual/emotional
elements of painting vital to any art form. By omitting to mention these
elements, one is lead to believe that technique is all there is to it;
that Is why the "how to" books are often so deadly.
Since the time of the Impressionists, people have
had difficulty considering distinctive a landscape painted in a restricted
range of green. They know that the quality of light striking a scene
changes its color. An early morning dawn or the warmth of an evening
sunset each define different conditions of light. People are looking
for something that describes nature in all her mysterious beauty --
a vitality that cannot be achieved by painting in an average, or "generalized,"
light.
The method described in this monograph is not meant
to interpret all art -- many beautiful works have been done that do
not rely on these principles. The method described here cannot be classified
into a particular style. It is a language, a fundamental vocabulary
that underlies my personal definition of good painting. It is, however,
a grammar to express a vision that has freshness and meaning.
Although painters concentrate on judging color in
different lighting, they also pay careful attention to form. Light gives
them a different color sensation as it strikes different parts of a
surface. We perceive variations of form as different colors, not shades
of the same color, to show each part of the form in its respective space.
These variations of colors will show planes receding, as well as roundness
-- the three-dimensionality of objects.
Even by the late 1880's the Impressionists themselves
began to edge away from depicting the transience of life and to lean
toward bringing structure back into composition. For example, both Renoir,
influenced by Ingres, and the American William Paxton, began to hark
back to the more classical form in their depictions of sensuous young
women. While I am strongly guided by Impressionist principles, in particular
the need to capture the fleeting nature of light, I know that it is
essential not to sacrifice form or underlying structure.
What the connoisseur and creator will find here will
allow them an understanding of a broader range of expression, a greater
psychological depth, and bolder use of shape and light, hence form and
color, than seen in Impressionists' work.
It is often said I paint in an Impressionist manner.
I reject that characterization. Although I strive to depict a scene
in a particular light -- something the Impressionists stood for -- impressionism
often lacked the harmony of that light and frequently used decorative
color harmonies that relied on a single note of color running through
the work. Further, impressionists frequently concerned themselves too
much with factual depiction rather than rendering the rhythmic relationship
of form and thus failed to capture their subject's beauty.
As painters we must reject any names, however endearing,
others may impose on our work. Stylistic classification is a concept
art historians use in order to group painters' works for easy reference.
No true painter can be bothered with labels; he or she can only paint
at the level of his or her knowledge.
A painter is an individual. Only work that stands
apart from that of others has a value unto itself. It can never be so
when It Is an extension of the work of others.
Painting has standards. In this monograph we
will explore those standards.
Next: Concept
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