Perceptual Analysis of Impressionist Art
The colour interactions exploited by impressionists are most closely related to the Goethe-Hering theory of colour opponency. These results were explored by other artists, and they created their own principles. An important precursor to impressionism was Romantic colourist Eugène Delacroix’s studies on the optical effects of colour and the separation of elements. The publication of Michel-Eugène Chevreul’s Principles of Harmony and Contrast of Colours in 1839 was also influential in a more general manner. The concepts that he addressed, however, are much simpler in their application in impressionist art.
Separation of Elements
Delacroix advocated that separate brushstrokes are needed for:
- The local surface colour
- The colour of direct light
- The colour of indirect light, and its inter reflections and “liaisons”
He said that there is no need to fuse actual brush-strokes, because from a distance, it can be viewed as such – the colours will appear much fresher and be more energetic. By understanding the laws of contrast, Delacroix emphasized that the methodical separation of elements will give a painting an appropriate balance and harmony.
Claude Monet
The Stroll, Camille Monet and Her Son Jean (Woman with a Parasol)
1875
Oil on canvas
100 x 81 cm (39 3/8 x 31 7/8 in.)
National Gallery of Art, Washington
Return to Top
Principles of Harmony and Contrast of Colours
Harmony of Contrast:
1. Simultaneous colour contrast
Simultaneous colour contrast affects how we perceive colours. When two colours border each other, they help to modify one another, and our perception of these colours will change. This effect is the most intense with complementary colours, as putting complementary colours like blue and yellow, or red and green, side by side will help to enhance the brightness and luminance of the individual colours.
Pierre-Auguste Renoir
Oarsmen at Chatou
1879
Oil on canvas
32 x 39 1/2" (81.3 x 100.3 cm)
National Gallery of Art, Washington
2. Chromatic Induction
Chromatic induction is when a colour induces a tinge of its complementary colour in the neighbouring patch. Colours that are the same may now appear to be different, or else colours that are different may now appear to be the same. Notice how in the example below, all the red circles are the same colour, but they appear to be tinged either red or green depending on the colour that surrounds them.
Alfred Sisley
L'automne: Bords de la Seine pres Bougival
1873
Oil on canvas
46 x 62 cm (18 1/4 x 24 5/16")
Museum of Fine Arts, Montreal
Harmony of Analogy:
1. Gradation of local colour
The gradation of local colour is the painting of tones side by side in order to enhance the vibrancy of the colours used. The colours used are generally adjacent to each other on the colour wheel, so that they have a similar luminance. It is a very subtle effect.
Berthe Morisot
Peasant Hanging out the Washing
1881
Oil on canvas
18 x 26 1/4" (46 x 67 cm)
Ny Carlsberg Glyptotek, Copenhagen
2. Colour Assimilation or “colour spreading”
Colour assimilation is when it appears as if one colour takes on the tinge of the surrounding colour. This phenomenon is the opposite of the effects of colour contrast, where surrounding colours help to accentuate the colour differences between adjacent areas.
Camille Pissarro
View of l'Hermitage, Jallais Hills, Pontoise
c. 1867
Oil on canvas
27 1/4 x 39 in (70 x 100 cm)
Fondation Rau pour le Tiers-Monde, Zurich