Réflexions sur les manières de « saisir » et de « fixer » une impression en 1874 (notice n° 823255)

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000 -LEADER
fixed length control field 01475cam a2200157 4500500
005 - DATE AND TIME OF LATEST TRANSACTION
control field 20250123132940.0
041 ## - LANGUAGE CODE
Language code of text/sound track or separate title fre
042 ## - AUTHENTICATION CODE
Authentication code dc
100 10 - MAIN ENTRY--PERSONAL NAME
Personal name Dombrowski, André
Relator term author
245 00 - TITLE STATEMENT
Title Réflexions sur les manières de « saisir » et de « fixer » une impression en 1874
260 ## - PUBLICATION, DISTRIBUTION, ETC.
Date of publication, distribution, etc. 2024.<br/>
500 ## - GENERAL NOTE
General note 90
520 ## - SUMMARY, ETC.
Summary, etc. Around the time of their first exhibition in 1874, the Impressionists were often lauded for their ability to “seize” and “fix” an impression in paint. In contrast to most twentieth-century interpretations of the style that favored the variety and fluidity heralded by impressionist representation, earlier critics instead valued its penchant for arresting and stopping the flow of life. When seen in the context of other period means to capture sensations and impressions as image – such as kymographs and other scientific instruments invented for the registration of bodily phenomena, as well as the camera – such phrasing begins to reveal its period implications. Expressions like “seizing” and “fixing” impressions partook in a broad image culture that, like Impressionism itself, grappled with the creative means for giving the senses an instantaneous pictorial shape, turning them from mere physical occurrence to symbolic figuration.
786 0# - DATA SOURCE ENTRY
Note Revue de l'art | 223 | 1 | 2024-04-23 | p. 32-41 | 0035-1326
856 41 - ELECTRONIC LOCATION AND ACCESS
Uniform Resource Identifier <a href="https://shs.cairn.info/revue-de-l-art-2024-1-page-32?lang=fr&redirect-ssocas=7080">https://shs.cairn.info/revue-de-l-art-2024-1-page-32?lang=fr&redirect-ssocas=7080</a>

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