French Impressionism, the earliest vital and progressive modern art movement, was developed in France between 1870 and 1890. It was soon recognized as revolutionary, and the number of its followers grew as the style developed and became known. Paris, then the art center of the world, attracted many students, among whom were Canadian artists. In 1878 William Brymner sailed for Europe, to return in 1882, the year of the seventh Impressionist Exhibition and the year that J.M. Barnsley and Horatio Walker arrived in Paris. Homer Watson, already an established artist, first travelled in Europe in 1887. A growing facility in the use of color marked the evolution in the art of the nineteenth century. The painters John Constable, and Eugene Delacroix, the scientific color technicians M.E. Chevreul, James Maxwell, Ogden Rood, and Robert Henri, opened up new fields of interest. The progression from late Baroque and early English landscapes to the French experiments with color, culminated in Impressionist landscapes filled with sun and atmosphere. The major Impressionist masters Pissarro, Monet, Renoir, and Sisley concerned themselves with the visual effects of light reflecting from the surfaces of objects. Newly invented pigments supplied their palettes with almost unlimited color, which they applied empirically, searching for the most brilliant effect The decade from 1880 to 1890 marked the period when the established Canadian artists came in contact with French Impressionism. They returned home to teach and to paint, and became the Pre-Impressionist painters in Canada. Their work exhibited an intermediary style corresponding to that of the Pre-Impressionist painters in Europe. A survey of the growing Impressionist tendencies in their art led to the first consistent Impressionist style of Maurice Cullen and Marc Suzor-Côté after 1895. By 1900 the influence of Impressionist color technique had reached all art forms. Impressionism was an historically established style which had fostered other newer art forms, and many artists in Canada painted "Impressionist" pictures. Impressionism continued to be seen in Canadian painting together with Post-Impressionism, Fauvism, Art Nouveau, Cubism, Expressionism, and finally Abstraction. The term Abstract Impressionism is applied to some recent paintings to indicate the presence of a style which freed art from formulas by introducing individuality, expression, and color, and then became almost a formula itself. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

 This thesis explores the various roles of food in Impressionism by examining paintings of food so as to sort out their relationship with one another and their linkage to modern life in Paris in the 19th century. Food was related to spectacle, class reconfiguration, gender relations, consumerism and capitalism, and leisure, all of which were part of the revolution of modernity in Paris. By analyzing Impressionist images of food production, display and consumption in relation to these modern social and historical developments, the thesis explores the relationship between food and people, meaning the social dimension of food culture. In addition to standard art historical approaches, two research methods are especially important. First is to understand the general historical context of food imagery by examining 19th-century cookbooks, novels and treatises related to food, and popular visual culture including posters, menus, and prints. Second is to identify and analyze particular food motifs by studying recipes, statistics, and dictionaries of food. Five chapters deal with five aspects of food. Chapter one talks about the crystallization of food into spectacle as a result of the conspicuous consumption facilitated by the construction of Les Halles, the central food market. Chapter two examines two different kinds of food production – rural agriculture and urban artisan cuisine – as expressions of two dissimilar attitudes towards labor, linked to competing conceptions of time as continuous and discontinuous. Chapter three raises the issue of sociability, where the pleasure of eating can only be obtained through the engendering of a semi-private space linking private eating to public identity. Chapter four shows how the coalescing of food and women in Impressionism intensifies the pleasures of visually and physically consuming the female body, while paradoxically entrapping male viewers in desire. Whereas these first four chapters emphasize social aspects of food, chapter five shows how food affected the interiority of particular artists, demonstrating the embodiment of psychological traits in Impressionist still lifes of food. Overall, the thesis shows that Impressionist paintings of food actively interpreted and defined modern food culture as a continuous process of spectacularization and systemization, and that they consciously draw parallels between food consumption and visual consumption as similar processes of pleasurable consumption. By revealing that Impressionist food imagery sometimes does not comply with other Impressionist genres in interpreting modernity, the thesis opens new ways of thinking about both food culture and Impressionism. / published_or_final_version / Fine Arts / Master / Master of Philosophy

No description available.

Thesis (Ph. D.)--Yale University, 1973. / Typescript (photocopy). Ann Arbor, Mich. : University Microfilms International, 1981. 21 cm. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 217-239).

I. Statement of Research Problem. The research was an exploration into the broken color technique within the paintings of the Impressionists and Neo-Impressionists and the application of their techniques within the painting experiences of the adolescent student. II. Resume of the Data. The application of pure pigment directly, without blending, constitutes one of the major aims of the Impressionists and Neo-Impressionists. The breaking of color was done in many methods by juxtaposition of hues and values in various combinations to give the desired effect; it was applied through a wide range of brush techniques such as comma-shaped, spots, hatchings, and a multitude of undefinable forms. Historical Data. The emphasis upon color in painting has a heritage stemming from the city of Venice during the Renaissance. The Venetian artists began what is known today as the painterly direction of painting. Many artists thereafter portrayed this painterly mode such as Caravaggio, Rubens, Constable, and Delacroix. It was, however, during the latter half of the nineteenth century in France that the painterly style reached new heights through the art of the Impressionists. The Impressionists sought to capture the momentary effect of light upon their canvases through many diverse methods of broken color. The Neo-Impressionists felt Impressionism was too unstructured; therefore, they based their method on a scientific approach. Colors were broken into small dots and placed contiguous to one another. Through optical fusion, these dots would fuse into a new and more vibrant hue. Painting Data. Data was gained from the involvement into actual painting where the broken color techniques were explored. Some of the factors are that media having a rapid drying quality (such as acrylics or casein) are superior to the slower drying oils; that the various methods of brush strokes used in the application of pigment created a varied broken effect; and the use of pure hues aids in the freshness of color passages. Educational Data. Within art education a knowledge of the aspects of broken color will aid the art educator in presenting a painting program in which the student will become involved in exploring new dimensions in color perception. III. Data Obtained. The data was obtained in three principle ways: the readings relevant to the subject, the involvement into specifically related paintings, and the application of broken color techniques within the adolescent art program. Readings. The readings involved the general history of the period, biographies, and texts relating to aspects of color. Paintings. Several large paintings were undertaken with specific objectives. Four major paintings were done in the divisionalist method, each with selected subject and light conditions. Others were painted by the direct application of pure pigment with landscape and figures as the motif. Classroom application. The techniques of breaking color were presented to several groups of adolescent art students. They were encouraged to explore divided color utilizing various media. IV. Summary. Research in the broken color technique should create a greater visual awareness of the richness of color. Through the juxtaposition of color the eye would be put to work mixing colors; the observer, therefore, will take a more active role in the perception of all images on the retina of the eye. The emphasis upon color in painting had a long heritage; it was fully exposed in the broken color style of the Impressionists. Neo-Impressionism also added new vistas in the perception of color. This period of painting contributed greatly to the contemporary arts. Therefore, it is an important era to be explored by art students today to develop more insight into the nature of color within painting.

Illustrations not reproduced. The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 25, 2010). Thesis advisor: Dr. Kristin Schwain. Includes bibliographical references.

Thesis (Ph. D.)--Princeton University, 1988. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 325-380).

Thesis (Ph. D.)--University of Gothenburg, 1979. / Errata slip inserted. Summary in English. Includes bibliographical references (p. 187-208).

Thesis (Ph.D.)--University of Delaware, 2009. / Principal faculty advisor: Nina Athanassoglou-Kallmyer, Dept. of Art History. Includes bibliographical references.

Thesis (Ph. D.)--Boston University, 1981. / Includes bibliographical references (p).