impressionism

is a divergence from both positivism (i.e. Reality as in the object in the external world) and idealism (i.e. Reality in the internal world of the subject). Instead it mediates these extremes and posits the necessary existence of both subject and object, not from a dualist position, rather, the two merge such that their outlines blur.

In fact, impressionist representation lies neither solely with the subject nor solely with the object but rather in the space between the two.46 In this way, impressionism diverges from both positivism and idealism. Positivism saw reality in the object the external world. Idealism saw reality in the subject the internal world. Impressionism mediates these extremes and posits the necessary existence of both subject and object but not from a dualist position... rather, the two merge such that their outlines blur. In Conrad's ''Heart of Darkness,'' for example, Marlow transforms the space of the African wilderness into a dark and brooding expanse that holds the secret to the nature of human existence. At the same time, though, Marlow himself is transformed by his experience with that wilderness, and in this epistemological encounter it is impossible to tell for certain where Marlow's outlines end and those of the wilderness begin.

is a medium of feelings, a style of suggestion rather than of representation.

On the other hand, W. S. Sichel suggests that the impressionist's 'medium is the feelings, his method a style of suggestion rather than of representation. '

is a primitive way of looking at the world. The impressionist artist is one who, forgetting the pictures amassed through centuries in museums, forgetting his optical art school training line, perspective, color by dint of living and seeing frankly and primitively, paints as simply as he sees.

Two early commentators,Jules Laforgue and W. S. Sichel, illustrate these divergent views. Laforgue represents the objective end of the spectrum and argues that impressionism is a 'primitive' way of looking at the world. He suggests that the impressionist artist 'is one who, forgetting the pictures amassed through centuries in museums, forgetting his optical art school training line, perspective, color by dint of living and seeing frankly and primitively . . . [paints] as simply as he sees.'

is a way of seeing reality with a primitive eye, of seeing reality in the living atmosphere of forms, decomposed, refracted, reflected by beings and things, in incessant variation.

Laforgue goes on to say that this 'primitive eye' reaches 'a point where it can see reality in the living atmosphere of forms, decomposed, refracted, reflected by beings and things, in incessant variation. '

is objective, merely painting what one sees divorced from personal experience and cultural conventions.

In other words, impressionist merely paint what they see divorced from personal experience and cultural conventions. On the other hand, W. S. Sichel suggests that the impressionist's 'medium is the feelings, his method a style of suggestion rather than of representation. '42 He also argues, ' In the personal and plaintive is to be found the method of what we style 'lmpressionism.''4:1

He also argues, 'In the personal and plaintive is to be found the method of what we style 'Impressionism. ''43 Sichel concludes by saying, 'Let our modem impressionist bear in mind that what is vulgarly known as 'Realism' has indeed nothing necessarily in common with impressionism at all.'

aims at becoming the reproduction of one impression on the artist's eye, and through his eye on his mind.

See also Cecilia Waern's comment on impressionist: ''They aim at being the reproduction of one impression on the artist's eye, and through his eye on his mind'' and that they try ''to reproduce, as nearly as possible, the same kind of physical impression on the spectator's eye that was produced on the eye of the artist by the object seen in nature'' (''Some Notes on French Impressionism,' Atlantic Monthly [April 1892]: 536, 537).

Jules Laforgue, ''Impressionism: The Eye and the Poet'' (1883), trans. William Jay Smith, Art News 55.3 (May 1956): 43. Similarly, Theodore Duret writes that the impressionist ''only reproduces what he sees'' (''The Impressionist Painters'' [1878], in Impressionism and Post-Impressionism 18741904, ed. Nochlin, g-10).

impressionism, n.All

impressionism