American Drawings and Watercolors in the Robert Lehman by C. W. Clark

By C. W. Clark

The 5 sketchbooks and twenty-two unmarried drawings catalogued during this quantity, a lot of them for the 1st time, are one of the greater than 2000 artistic endeavors accumulated through Robert Lehman and his father, Philip Lehman, that seeing that 1975 were housed within the Robert Lehman Wing of The Metropolitan Museum of artwork.

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Bois-Colombes. Opus 13 1886 Oil on canvas, 33 x 46 cm City Art Gallery, Leeds 44 45 he can do nothing but once more follow DelacroixÊs teaching. Here, the master thought of the considerable element of beauty, much neglected by many of todayÊs painters: „All this arranged with the harmony of lines and colour. ‰ Although the Neo-Impressionists strive to express the splendours of light and colour which nature offers, and to draw the elements of their works from this source of all beauty, they think that an artist should choose and Gasometers at Clinchy 1886 Oil on canvas, 65 x 81 cm National Gallery of Victoria, Melbourne 46 47 arrange these elements, and that a painting which is linearly and chromatically composed will be of a superior order than that which offers the chance to directly copy nature.

Furthermore, Delacroix noted the excellent results of this process: „That which gives so much finesse and lustre to paint on white paper; it is without doubt this transparency which comes from the basic white nature of paper. ‰ The Neo-Impressionists renounced the use of gilded frames, the bright garishness of which alters or destroys the agreement of the painting. They generally use white Snow in Montmartre 1887 Oil on canvas, 15 x 25 cm Private collection, USA 52 53 frames which offer an excellent link between paint and background, and which highlight colour saturation without disturbing the overall harmony.

It is curious to note that even in the smallest details of their technique, the Neo-Impressionists put DelacroixÊs advice into practice. They only paint on substrates of white undercoats, which cause light to pass across the The Dining Room. Opus 152 1886-1887 Oil on canvas, 89 x 115 cm Museum Kröller-Müller, Otterlo 50 51 coloured brushstrokes by giving them more brilliance and freshness. Furthermore, Delacroix noted the excellent results of this process: „That which gives so much finesse and lustre to paint on white paper; it is without doubt this transparency which comes from the basic white nature of paper.

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