feelings and sensations, the reception of the work in the nineteenth.
Feeling: emotional state associated with certain emotions sustainable or representations.
Sensations: impressions received through the senses.
The issue of receiving the nineteenth century by the salons and the proliferation of critical hires a sociological function of the table. The impact on the viewer engages the paint to express visually and intellectually a principle of communication. The nineteenth century definitively breaks with the prevailing ideology of the past since the Counter-Reformation. The work will be less and less demonstrative and didactic purpose. She does not qualify, nor persuade or educate. It arises in autonomous social phenomenon no longer subject to specific institutions and which by its very existence and willingness of communication, finds itself the object and its justification. Movement came as a reaction to major academic principles and traditional patterns. We observe a secularization of the artwork. Yet modern artists do not reject some important distinctions like art, so between the filter between nature and capacity for invention of the painter.
they belong to the neoclassical or to Impressionism, artists seek to represent and include the feelings and sensations an elevation of the viewer.
part of academic painting, neoclassical him a political and moral principle leads painting a feeling that might be defined as almost patriotic. The relationship with a certain nostalgia for the painting of the Grand Century recalls a permanent entity. Attacks against Jacques Louis David painting of small genera, according to the most erotic historical assesses and encourages a lifetime of work in a functional problem. Large feelings resulting from the study of great stories and great examples. The table gives the idealization of the role of media discourse that always engages the viewer in a link with the story. This reading external tables limits the visual dialogue between viewer and work. The dramatic and feelings are those of a story, different characters in the staging of the academic artist, seem to omit the viewer. The resulting cold aesthetic is covered with a sterile appearance. The feeling here seems to be denied to an intellectual work much more successful. Tymoléon the Syracusan who bring foreigners develops this distancing of the spectator. The attention of the main character hands head tilted eyes closed invites the viewer itself has become engulfed by a world that sensitive innermost. Morality can only come in reference to his own culture, the principle is not sentimental but emotional feelings.
We are witnessing a negation of the viewer by the collective will of the reception table. The political stakes may explain why the work is for the nation and not for everyone. Common sense, denial of the sensory, the work can be defined as a mass communication to be effective is by no means an object of sensory absorption, but intellectual evocations. Classical culture colors the picture of the coldness of religiosity. The common feeling is for the core audience.
The pictorial program defined by Jacques Louis David opposes the emergence and use of sensitive principles that gave rise to large-scale painting of the second and third quarter of the eighteenth century. The neoclassical ideal lies in both its classical models but also in its political function, the work must address the nation showing examples.
The model provides a high image ancient civilization. These developments are accompanied by a work that should and wants to be the most perfect image of his time. Even if the artist keeps his subjectivity in the choice of subject and in the assembly of its composition, instructional and educational nature leads him to annihilate the viewer. We emphasize that the large size of the table presents a paradox: the characters are found to be virtually represented at scale 1, allowing the viewer closer to the action. Yet, by effects of distancing or even of parapet scene closes the viewer. In the table Taillasson the two steps seem to differentiate the main action of the rest. Some compositions suggest a moral distance as if to press the size of the feelings of this great painting. Their size gives them a physical impact and dominance of the spectator.
The term, however, is not banished. Emily Signol in its ancient scene shows a soldier dying agony shows man arms outstretched in a gesture that we can not even see his face show his feelings. The dying soldiers belong to the great models of ancient sculpture, position and tension physical agony they can express pain.
neoclassical painting suggests the evocation of great feelings giving the performance a character retained, where the spectator following dialogue but simply a function empathic moral and historical. The table calls to non-sensitive knowledge, but historical.
We find other versions much more empirical and expressive in Emile Signol. The folly of the bride Lamermoor represents the young woman in a position tortured, deformed. By entering the image madness, the painter seeks an immediate visual impact with the viewer. This causes a proximity between subject and viewer. Therefore the composition is no longer to the remote observer. Decorative elements in the foreground away to allow better light penetrated the darkness until the young woman at the center of the composition. Framing effects by the mantelpiece are a spectator's absorption in the table. The original literary and expressive constructs an image where the empathy comes from a dialogue between the natural tensions of the young woman and feel of the viewer. The image wants to be closer, the subject more accessible and more theatrical composition. The obvious issue of creating a theatrical where absorption is no longer a hero to distance the viewer, but rather a sharing of feelings. Emile Signol changes registers and sources for this table. It departs from religious iconography subjects more human. This empathetic dialogue between subject and viewer can be considered as an awareness of its existence. The success of the bride as Lamermoor issue demonstrates this issue to the romantic picture of an object absorbing the viewer, the more kept at a distance, it is specifically invited to browse through and penetrate the canvas by feelings rather than empirical and moral.
This change occurs in the context of a more independent artists vis-à-vis the authorities. If we summarize chronologically this link:
1791 - 1827: works on show at the artists are almost completely dependent on power.
1830 - 1879: we are seeing a growing revolt of artists when the scheme state of painting.
1880 1914: the birth Rival demonstrations that offer 1 + long battery life for artists.
The birth of modern painting is done in a reintegration of the viewer. Patients become more "realistic" for instant recognition and accessibility to the work. The table starts to the human scale. By the refusal of the myth there is a feeling of abandonment to sensation. The work is intended to be sized so that perception becomes one too. The design of the work and artistic work became more experimental and tends toward self-expression.
The two views of the forum Sarrazin Josephine Louise Belmont offer their format that the viewer gets closer to embrace at one glance the entire composition. Unlike large tables where the body itself is invited to browse the surface of the painting, her smaller canvases allow absorption of the spectator. We could almost define the reduction in size to the immediate quality and eye work. The artist represents both a ruin at the same time a variation of light. These two paintings are on the phenomenon of the sublime, the historical evidence he offers sensory aspect. The representation of the solar disk and the glare that it should play in providing this. Academic dogmas are not so far away they are made more accessible.
The painter becomes the first observer of the object and its pictorial transcriber. Theories of Buffon and accidental color is found in the writings of German philosopher Goethe. The spectator who had been sidelined with a painting that was meant purely objective is physiologically reinserted as maker of the object as it looks. This contrast between colors "Natural" colors and "accidental" profoundly transformed the communication principle of painting. The presence of a philosophical and scientific changes the act of perception and the act of representation. Opposition to the principle of the color Newton began to distance the viewer and the reality is accompanied by an empirical definition of the decomposition of light. Theories of Buffon's arms become available to scholars and artists to oppose the academic principles based on Newton.
Goethe referred to as physiological colors "because they belong to the eye, and because we see in them the conditions necessary for vision. "The color theory published in 1810 is based solely on the experiences of the philosopher. The "screen" is Goethe's own retina.
The combination of art and nature is through color. The representation of nature is considered the primary function of painting since antiquity. Theatricality and stage design must free itself from the pictorial representation of a simple subject. It is through research of the chromatic composition as the table gets its character sensitive.
The Goethe color theory is built on an empirical principle, for him the fact is already theory. The eye and its properties are the first makers of table that leads to fullness of the visual experience as an art and a technique. In his theory of German philosopher makes this the more visible art and I must be exercised as a result of the control eyes. Goethe advocated daily mental exercises, a longer observation time on the table, the color as a conscious visual experience, the view that as meaning can be developed. The transcript is no copying where a simple transcription but elevation: "We were saying that all nature is reflected in the sense of sight by color. We affirm now, although it may appear somewhat strange that the eye sees no form, light, darkness and color together constituting the body to distinguish an object from another, and parts of the object between them. So we are building with these three items the visible world and give the paint stroke possible, which is able to produce on the canvas a visible world much more perfect than the real world. "
Artists, legitimized in a subjective work, offer a work more independently and sensitive. Principles become an eye because of the work and observation.
The key is sensitive to emotion. Assemblage composition and accessibility of the subject can provide a picture painted above the eyes of simple nature. The artificial nature of painting the landscape that is played perfectly in this direction. The eye is the engine of sensation, perception of the world. He can do and undo things. The painting is naturalistic because it proposes to look at, analyze the phenomena that underlie its existence. Based on a principle eye and sensory, the painter is no longer bound to the principles ideals of great painting. The observation of reality is sufficient to feed the artistic research. The newspaper is the subject of the modern painter. The newspaper is the subject of the modern viewer.
These words and his works may in fact exist if the public is receptive. Just as images of postcards of a campaign of idealized Millet or a Lambinet, artists offer viewers a work where the sensation is the only possibility and ease of observation of a world where everyone recomposes his universe. Warming palette and the ability synesthetic cross a work which is a concentrate of the experimental life. The modern painter is that of life.
This compared with physiological data led artists to break with the academic rules of composition. If we consider the Impressionists as the first modern movement is that it takes more account of any rule. The key is the symptom of a composition sensitive, the tactile aspect and decomposition is a quest for the real world. Painters rely on theories of Hermann von Helmholtz states in 1878 in the optical and painting :
"I have designated representation that painting must provide lights and colors of these objects as a translation, I highlighted that in general it could be a true copy of all the details. The modified scale that the artist is obliged to employ in many cases, already opposed. It must reproduce, not the actual color of objects, but the impression it has produced or occur on sight, so as to create a visible image of these objects as clean and as vibrant as possible. "
The living image is a moving image, subjective. The idealization of the work or its raison d'être is a function of the real sublime, to make all the details and all structures. The work becomes a sensitive interface between two subjectivities. The feeling is generated by the color, press, assembly, composition. The dissolution of the subject by the Impressionists led to a painting phenomenological and empirical. The spectator in the second half of the nineteenth century visual search experience. The art continues to convey a superior image reality.
The feeling is always present in Impressionist painting, it just depends on the feel and visual absorption of the spectator. The work becomes an autonomous object with which compliance is the access key. The moral principle is replaced by a rise in senses.
The table is self-narrative, the subject, it is a concentrated dramatic reality. This questioning of feeling and sensation in the nineteenth painting captures the evolution of painting, these questions and answers between modern and classical. There is no opposition, just research a willingness to transcription and communication. The phenomenon is the emergence of the background which I still today is a criterion in the implementation of works.
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