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the church rites. they oppose to it the classical ideal of living form and proceed to model life from real nature. This process goes on and towards France; there, however, style and formality supersedes it with the discovery of the Greek remains; it is the romanticists who free art once more and life and nature again become models for new field of art, as landscape, genre; influenced by the pure realism of the Dutch. Lionardos problem of using all the facts of nature, form, light, air etc, is carried to a height by the impressionists: absolute values, instead of relative; or rather a lighter total tone of the relative scale of values; [[underline]] form [[/underline]] is attained by mere imitation of sculpture, finally, color being on a second level (the classicists). That is an increase of style (abstract) at the expense of Lionardo's larger use of form [[underline]] and color. [[/underline]] Delacroix returns to this. Manet, with lighter tone and color, however, reduces the complexity of form. The pictorial idea approaches now the early flat principle (of which Lionardo is aware) inspired, this time by Japan. Gaugain. Also Gogh who even adds outline drawing, as a means of characterization, confine to color, and expression of feeling; which Lionardo rejects as contrary to reality. The NeoImpressionists fall back on primitive principles to an extreme. The ugly, the incidental, the mystical (i.e. unknown, because of ignorance) become contents and subject, while
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