(The)art of impressionism : painting technique & the making of modernity

목차 (Table of Contents)

• CONTENTS
• Acknowledgements = ⅷ
• Preface = ⅸ
• ONE Tradition and Innovation = 1
• Technical innovation, modernity and the 'history of styles' = 1
• Originality, modernity and facture = 1
• Artisan, professional and amateur = 3
• Landscape art, plein airisme and the oil-painted $$\acute e$$tude = 5
• Plein air and modernity = 7
• Urban modernity and the rise of landscape painting = 9
• New methods for old = 10
• The $$\acute e$$tude and the modern public : the aesthetics of non fini = 11
• Languages of modern painting : technique and the critics = 12
• TWO The Blank Canvas = 15
• Stretchers or strainers = 15
• Standardised support sizes - a question of economics? = 18
• Loom-widths = 19
• Non-standard canvases - square and double-square = 21
• Prepared paper = 25
• Academy board or carton = 27
• THREE Canvas, Texture and Materiality = 30
• Canvas fabrics = 30
• Canvas weaves, weights and textures = 31
• Etude and pochade canvas = 35
• Twill weaves = 37
• Basket weaves = 44
• FOUR Grounds for Oil Painting = 50
• Size = 50
• Absorbent grounds = 52
• The revival of absorbent grounds = 52
• Oil grounds = 57
• FIVE Ground Colours and the Paint Layer = 62
• AN INTRODUCTION TO GROUND COLOURS
• White versus coloured grounds = 62
• Grounds and the palette = 65
• Tinted and coloured grounds = 66
• Tinted commercial primings = 66
• Unprimed canvas = 67
• IMPRESSIONIST GROUNDS AND THE PAINT LAYER
• Identifying and analysing the Impressionists' grounds = 68
• Grounds and pictorial luminosity = 70
• Tinted grounds and colouristic effects = 70
• White grounds and bright plein air light = 82
• SIX Light of Reason, Shades of Meaning = 86
• Clair-obscur and tonal values = 86
• Clair-obscur and the politics of genius = 88
• Technical problems of clair-obscur handling = 89
• The sauce = 91
• Loading the shadows = 91
• Lustre = 94
• SEVEN The Matter of Impressionism = 98
• Impressionism and modern paint technology = 98
• Colour grinding = 98
• Additives and extenders = 100
• Oil binders and painting media = 100
• Impressionist colours and colourmen = 103
• Modern paint containers = 105
• The matter of painting = 107
• EIGHT Making Light Modern = 111
• Studios : wall colours and lighting = 111
• Industrial lights : from gas to glass = 117
• Rendering light modern = 122
• Affecting outdoor light = 124
• Parasols and plein air painting = 126
• Outdoor lights : visual effects and pictorial meaning = 130
• Side light = 131
• Contrejour, full-face and midday light = 131
• Gris-clair light = 132
• NINE The Palette : from Tonal to Spectral = 136
• Towards a peinture claire = 136
• Artists' palettes before 1850 = 137
• Palette layout and pre-mixing = 138
• The limited palette = 141
• Green pigments = 146
• Yellows, oranges, reds, violets and blues = 147
• Blacks and whites = 149
• Earth colours and 'broken' colours ; 'coloured' greys = 150
• The spectral palette = 151
• TEN 'Artless' Simplicity = 156
• Painting au premier coup = 157
• Palettes and paintings = 161
• The coloured $$\acute e$$bauche = 163
• Brushwork : coloured taches, scumble and pleine p$$\hat a$$te = 169
• Brushes = 174
• ELEVEN The Colour of Modernity = 177
• Modernity, plein air light and the Impressionist palette = 177
• Opacity and transparency : 'film' colour = 177
• Composition, space and flatness ; viewpoint and point of distance = 182
• Local colour, light and colour temperature = 186
• Atmosphere, light and air : pictorial unity and the enveloppe = 186
• TWELVE Framing the Debate = 191
• Picture frames : setting the parameters = 191
• Disrupting the boundaries = 193
• Painting frames = 201
• Viewing distance = 201
• Setting the scene : frames and gallery installation = 202
• Varnish : layers of meaning = 209
• Varnish effects = 210
• Tinted varnishes and waxes = 211
• The politics of varnish = 212
• Glass versus varnish = 212
• 'Primitivism', mattness and modernity = 214
• Glossary = 217
• Notes = 220
• Bibliography = 232
• Index = 238
• Picture Credits = 245