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5: A sense of movement or metamorphosis in nature (the vibration and refraction of tones):
During a period in history when Darwin's theory of evolution was revolutionising science and challenging traditional beliefs, the Tonalist artists found inspiration in Darwinism, as well as the writings of transcendentalist authors Thoreau and Emerson.
They were captivated by the hidden aspects of nature and the constant process of evolution and change that occurs beneath the surface.
This process of transformation also influenced their own artistic creations.
The artists viewed atmosphere not only as a means to convey mood, but as an energetic field that came to life under their touch.
Advancements in techniques, adopted by American artists working in Europe, enabled them to capture the visual sensation of changing light in nature.
They achieved this by using paint marks of similar tones placed next to each other, layering brush marks over a complementary background tone, or by painting cool overtones onto warm undertones. This created a sense of vibration and refraction, with the undertones breaking through to the surface of the canvas.
An example of this technique can be seen in J. Francis Murphy's early 1885 work, Summertime.
J. Francis Murphy
Summertime, 1885
Summary
Summary
1. Tonalist artists were influenced by Darwinism and transcendentalist authors Thoreau and Emerson.
2. They were fascinated by the hidden aspects of nature and the process of evolution and change.
3. Tonalist artists saw 'atmosphere' as an energy field that came alive under their touch.
4. American artists adopted techniques in Europe to capture the visual sensation of changing light in nature.
5. This was achieved through paint marks of similar tones, layering brush marks, and painting cool overtones onto warm undertones.
6. Examples of this technique can be seen in the works of J. Francis Murphy, Charles Harold Davis, Charles Harry Eaton, and Ben Foster.
7. Critics commented on the sense of motion and the activated light and colour in these paintings.
8. The foreground gradually recedes, expressing the balance between distant mists and foreground interest.
9. J. Francis Murphy and other Tonalist artists used techniques such as glazing to create surfaces that reflected light in a kaleidoscope of colours.
10. Virtuosos of glazing techniques, such as George Inness and Dwight Tryon, created prismatic surfaces that changed and shimmered depending on the lighting conditions.
In the painting, the grass in the foreground on both sides of the old farm road is depicted with green paint marks of different tones, placed close together or layered over the warm neutral background. This creates a visual jitter or vibration, similar to the sound of cicadas on a late summer day.
In Autumn, c. 1910, Charles Harold Davis achieved a similar effect with more broken and active paint strokes, blurring the meadow under the fading light of fall.
Charles Harry Eaton's Reflections, c. 1910, showcases the effects of using a variety of green tones placed next to each other along the banks of a stream.
Charles Harry Eaton
Reflections, ca. 1910
Charles Harold Davis
Autumn, ca. 1910
This technique captures the scintillating (sparkling, light, brilliant) light of summer and creates a visual sense of pulsing movement, as if the landscape itself is alive. The reflected greens in the water add to this sensation, undergoing their own transformations.
Ben Foster's Golden Hills, 1910, demonstrates how a similar effect can be achieved using various tones of burnt sienna, sap green, and yellow brown.
Ben Foster
Golden Hill, ca. 1910
The rising slope of the hillside comes alive through the activated paint surface, with scattered bushes and small trees appearing to swim in lazy upward patterns. This gives the otherwise ordinary scene a fluid and vibrant beauty.
Critics of the time often commented on the sense of motion created by the activated light and colour in these paintings.
The light winds its way through the foliage, across the backs of sheep, and reflects in the surface of a pool. It plays a joyful role in this cosmic drama, bringing order and harmony to the colours in the landscape. The foreground gradually recedes, expressing the balance between distant mists and foreground interest.
One of the most daring and technically skilled examples of this method of tonal vibration and refraction can be found in J. Francis Murphy's late works, such as Flaming Trees, 1917.
J. Francis Murphy
Flaming Trees, 1917
The reds and scarlets in the foreground tree pulse with energy, while the sky behind is a textured surface of whites, greys, and yellows, activated by the interplay of colours and the angled paint strokes.
J. Francis Murphy, along with other Tonalist artists like Ralph Blakelock, was a master at creating multi-faceted surface textures that captured the transformative qualities of nature.
George Inness
Spirit of Autumn, 1891
Ralph Albert Blakelock
Russet Fall, ca. 1895
Dwight Tryon
Autumn Landscape, ca. 1887
They used techniques such as glazing to create surfaces that reflected light in a kaleidoscope of colours, responding to different lighting conditions, much like the landscape itself.
Virtuosos of glazing techniques, such as George Inness and Dwight Tryon, often used multiple layers of coloured pigments infused in varnish and oil to create prismatic (varied and brilliant colours) surfaces that emitted a dazzling array of colours.
These surfaces, like the landscape, changed and shimmered depending on the lighting conditions.
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