Parker writes: «Constable in his sketches not only sought the truth of nature, but
the fleeting effects of light and shadow, the immediate here and now of the visual world.
Rejecting traditional methods of building paintings with layers of thin glazes, the Impressionists worked spontaneously to capture
the fleeting effects of light using bright pigments, large brushstrokes, and thick impasto.
Not exact matches
In her striking series
of photogravures, Dean captures the atmosphere
of the
light - flooded rehearsal space, and the
fleeting effects of shadow and
light in the former Ford Assembly plant overlooking San Francisco Bay.
Many
of the works on display here were created in the full flower
of Impressionism, when artists like Pierre Auguste Renoir and Childe Hassam devised a free, open painting technique and brilliant rainbow palette to capture the
fleeting effects of nature's color and
light.
Trained in France, Germany, Italy, and England, several generations
of American artists helped to bring Impressionism to our native shore, creating an abiding interest in spontaneity and furthering an interest in the capturing
of light's most
fleeting and spectacular
effects.
In the 1830s, Constable achieved more expressiveness in his work; he aimed less at the careful naturalistic depiction
of a scene and more at an immediate record
of the
light and atmosphere
of the moment and their
fleeting effect on the sky, foliage, and water.
Fleeting light effects migrate between the digital and analogue realms in Sarah Sands Phillips» and Katarina Riopel's works, while Liz Nielsen's arrangements
of layered and coloured transparencies produce vibrant and playful images.