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  1. 1 Estetyka i Krytyka

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  1. 1 Michna N. A.

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  1. 1 2015

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Apologeci światła, czyli o metodzie neoimpresjonistycznej w sztuce

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Michna N. A.
Estetyka i Krytyka
|
2015
|
issue 4(39)
27-42
EN
The art of neo-impressionists was primarily an aesthetic postulate of apotheosis of light in European painting. In retrospect, it seems however, that obsessive attachment to the scientistic approach to expose the nature of light in painting has not found recognition among successive generations of artists. Neo-impressionism was known as one of the artistic trends of post-impressionist works and dominated the last decades of the nineteenth century. Nevertheless after the untimely death of Georges Seurat in 1891, his successors and followers led to the ossification of the creative method to the dogma, which greatly weakened the significance of the artistic movement. Normative aesthetics of neo-impressionists – apologists of light in art – had passed with the peak of the development of the whole trend. An article provides an analysis of the scientistic approach to the nature of light in neo-impressionist art, which based on the famous postulate of “maximum brightness, colour and harmony”. This analysis refers to the work of the two main representatives of neo-impressionist art: Georges Seurat and Paul Signac and its purpose is: (1) to justify that neo-impressionist apotheosis of light was not only the result of scientifically established formal principles of artistic creation, but also resulted from the philosophical beliefs of artists that light is a major factor in both the creative act, as well as the aesthetic experience of the recipient, (2) to in-quire into the main reasons of the imminent exhaustion of neo-impressionist art which made the light a fundamental object of aesthetic experience, entering into the historical canon of the art of light.
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