Impressionism with Kant, Tolstoy, and Collingwood

Interpreting Impressionism through the Great Philosophers.

Impressionism was recognized as a movement in 1874 after a collection of artists broke from established tradition and formed their own art exhibitions.  The images were heavily criticized as they appeared as unfinished sketches.  The name itself, Impressionism, was named after Claude Monet's paint Sunrise, as the image appeared to be only a mere impression (Chilvers 308-309).

Sunrise. Claude Monet. 1872 - PD 1923.

Impressionism was characterized by short brush strokes, minimalistic forms, bright colors and emphasizes the effects of light.  Although the initial reaction was one of scoff, Impressionism quickly became recognized as a modern technique to depict real life.  

Sunrise is an excellent example to interpret Immanuel Kant’s view of beauty, meaning and the processes of freeplay.   The viewer gains emotive feeling and meaning through the experience of shapes, forms and colors.  Appreciation of the work is derived from the experience of the senses without need of cognitive awareness or the need to intellectualize the work.   

  

Starry Night. Vincent Van Gogh. PD 1923.

Post-Impressionism flourished in the late 1880s.  These artists used their style to express emotions and deeper meanings through symbolism (Chilvers 495).  Notable painters include Vincent Van Gogh and Paul Cezanne.

R.G. Collingwood suggested that art serves as a conduit to reproduce the artist’s intent or message in the viewers mind.  The energy and peacefulness of Van Gogh’s Starry Night reflects Collingwood’s view of using one’s imaginative processes to reproduce the artist’s experience.  Collingwood would argue that art resides in the artist’s mind.  However, the experience of Starry Night strongly suggests that the art lies in Van Gogh’s craft.  His genius lies in his ability to give abstract ideas form and color in a fashion that others can experience.

Below are impressionistic paintings by Paul Cezanne and George Seurat.  Both images reflect strong use of color and form.  Again, the artistic expression is clearly revealed and felt with minimal detail. The mind is allowed to roam and play without need of conscious effort.

Forest. Paul Cezanne. 1890. PD 1923

Sunday Afternoon. George Seurat. 1886. PD 1923

Impressionism had its impact with sculpting.  Auguste Rodin’s The Thinker is recognized as a great work with an impressionistic unfinished feel.

  

The Thinker. Auguste Rodin. 1879
Photo by David Stockman

The term “Impressionism” was initially presented as condescending, as the images appeared unfinished and incomplete.  However, Leo Tolstoy, a Realist, had strong notions about the standards of great works of art.  To him, great works contained the highest levels of content, they had to have master craftsmanship and they had to transcend the social standards of the time.  The Thinker is acknowledged as a great work with a significant theme.  The work was inspired by Dante’s Inferno, and it reflects man looking through the gates of Hell while contemplating human suffering.    The sculpture is associated with the impressionistic movement, and its universal theme is applicable to any time or place in human history.

The impressionistic movement was new and stimulated the imagination.  Philosophical views from Kant, Collingwood, Schiller and Bell all provide excellent resources for interpreting impressionistic art.  Their ideas revolved around form, color, line, semblance and the viewer’s imagination to evoke and derive meaning from these great works.

Works Cited

Bell, Clive. “The Aesthetic Hypothesis.” Art 623, Aesthetics. Tiffin University. N.d. Web.  Oct 28, 2013.

Chilvers, Ian. Oxford Dictionary of Art and Artists. Oxford: Oxford University Press, 2008. Print.

Collingwood, R.G. The Principles of Art.   Art 623, Aesthetics. Tiffin University. N.d. Web.  Nov 13, 2013

Kant, Immanuel. “Critique of Aesthetic Judgment.” Art 623, Aesthetics. Tiffin University. N.d. Web.  Sept 8, 2013

Schiller, Friedrich. “On the Aesthetic Education of Man.” Art 623, Aesthetics. Tiffin University. N.d. Web.  Sept 15, 2013

Tolstoy. "On Art." Art 623, Aesthetics. Tiffin University. N.d. Web. Oct 21, 2013.