Impressionism and Color Theory

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Exploring the values and effects of color became central to Impressionism because it provided a new, unique experience for the viewer. The traditional use of color was replaced by works that appeared bright and luminous, incorporating color opposites to create a whole new dramatization of light and shadow. One of the main supporters of Goethe and experimentation of color was Claude Monet. In his works, we see colors replacing chiaroscuro and soon colors becoming the entire structure of a work. Monet also compliments these color changes with new brushstroke techniques that accentuated the effects of color opposites. When the new pigments were developed at the end of the 18th century, Monet was one of the first to utilize them.[16] He would use complex mixtures of blues, greens, reds, and yellows to create shadows and dark colors, instead of using blacks or browns.[17] His style of paint application served to brighten his colors, focusing on the colors over the subject matter. He painted in color spots and trusted his eyes for the colors that would appear.[18] Monet is noted for saying “when you go out to paint, try to forget what objects you have before you, a tree, a house, a field or whatever. Merely think here is a little square of blue, here a oblong of pink, here a streak of yellow, and paint it just as it looks to you…”[19] This idea of relying on colors rather than subjects reflects the gradual move from Impressionism to Post-Impressionism. Subjectivity takes a backseat as color becomes the strength behind the piece.

Monet’s technique and his attention to color theory is seen throughout his works, but I find it most prominent in his Haystacks collection. At the end of 18th century, Monet did a study on haystacks, with changing variables of season and time of day. In this works, Monet used a limited palette consisting of only nine colors including Lead White, Chrome Yellow, Cadmium Yellow, Viridian Green, Emerald Green, French Ultramarine, Cobalt Blue, Madder Red, and Vermillion.[20] He would capture the effects of lights and darks and of seasons on the haystacks through his color choice. Monet studied how colors related to each other, taking note from Goethe and choosing complementary colors to make his works more vivid. In his haystack painting, “Grainstack (Sunset)” created 1891, Monet depicts a Haystack at sunset during Winter. To depict the appearance of frost/snow during sunset, he uses complementary colors: orange and cyan blue.[21] These colors pop against each other and create a luminous dialogue. He perfectly balances warm and cool toned colors, emphasizing the effects of the warm hues of the sunset against the cold, frosty rural landscape. He further accentuates the painting through his painterly brush stroke, with obvious strokes of orange and blue in close proximity to each other.

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This piece, among many others by Monet and his fellow Impressionists, show the attention to color theory and the effects it could have if used properly. Monet eliminates his need for darker colors as shadows, and simply relies on his knowledge of complementary colors to create an even stronger effect. His use of juxtaposed colors accentuate lights and darks in a captivating and radiant manner. They truly exemplify the newfound power of color theory and how it had the capability of transforming a painting.

During the late 1800’s, Impressionism continued to develop and evolve as new artists emerged that took it to a new level. This period, known as Post-Impressionism sought to revamp Impressionism. They wanted to move beyond the representation of perception made famous by Monet, and to truly instill the artist’s unique and personal view of their surroundings.[22] A major influencer of Post-Impressionism was Georges Seurat who was against the impulsiveness of Impressionism and wanted more organization and meticulous planning. The Post-Impressionists modified the color theories used by the Impressionists. They saw the importance, but gave themselves more freedom when it came to color choices.[23] Seurat became known as the founder of Post-Impressionism, his technique and style influencing many. He would use 11 primitive colors, but would never mix them on his palette in order to keep the pigments completely saturated.[24] He used a limited amount of white paint, mixing it with his colors to give luminance.[25] His technique of pointilism also enhanced his colors, by using tiny juxtaposed colored dots in close proximity to each other. This created a spectra of colors up close but a bright overall color farther away.

This effect ties in with color theories of the time. Seurat and the Post-Impressionists followed the guidelines of color usage, which consisted of rules including: warm hues naturally appear closer while cool hues seem to recede. Tints, which are a lighter version of a hue, stand out more, as opposed to Shades, which are darker versions of a hue. Also, shadows of any color can be created when mixing pure hues with their opposite.[26] These rules were central to the Post-Impressionists’ works and overall style.

These rules, among others, can be accredited to the color theorists of the time, including Rood and Blanc. They took what Goethe had discovered, and brought it further. Michael Eugene Chevreul was one of the most influential color theorists and scientists of the time. He sought to explore the behaviors of colored light and pigments by focusing on pure-color juxtapositions and its’ luminous effect. Chevreul got his start by working at the Manufacture des Gobelins as the director of the dyeing department.[27] He first got interested in color theory when he faced complaints concerning the quality of some pigments and how his blacks lacked strength when used as shadows for blue draperies in a painting.[28] He was puzzled by this, but came to the conclusion that it was not a chemical problem, but of psychophysiology. From this, he created a theory based on the idea of contrasting colors and the influence of two adjacent colors.

He took this idea and started having experiments. He would put two strips of different tones of the same colors together, or two strips of the same tone with different colors together and see the effects on the eye. From this, stemmed his 74-color wheel that portrays the idea that how color looks to the eye is influenced by it’s surrounding colors.[29] He expands upon Goethe’s research, and shows the impact of placing complementary colors side by side and how it gives the effect of making a painting brighter.[30] He saw it necessary to eliminate the need for lights and darks, and that pure colors could have the same effect. Consistent with Goethe, Chevreul was also insistent upon the theory