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Impressionist artists came to the fore during a period of dramatic change in patterns of artistic training, practice and patronage. The book begins with an essay that sets their techniques within a wider context of French nineteenth century painting practice. The authors discuss such subjects as open-air painting, the Impressionist use of colour, and the paint layers and surfaces of Impressionist paintings. Focusing in particular on the new pigments that became available already mixed in tubes - the synthetic ultramarine, vivid arsenical greens, and pure chrome yellows and oranges - the authors show how this development allowed artists to free themselves from traditional studio practice and to render their subject matter more vividly.
The core of the book is devoted to a detailed discussion of fifteen paintings from the National Gallery in London, which were examined using X-radiography, infra-red photography, and the analysis of pigments and paint media. The book is illustrated not only with these paintings and with comparative pictures but also with raking-light and infra-red photographs and X-rays and cross-sections of paint samples. An analysis of the artist's palette, a chronology, biographies of the artists discussed, a glossary and an extensive bibliography complete this interesting and valuable work.
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