SCIENCE AND PHILOSOPHY IN ART 1 



Wer gegenwartig iiber Kunst schreiben will, der sollte einige Ahnung 

 haben von dem, was die Philosophic geleistet hat, und zu leisten fort- 

 fahrt. Goethe. 



SUMMARY : Art as one of the highest forms of scientific and philosophic 

 expression This illustrated by the Impressionist school Elements 

 of their method Triangulation Examples Motion and force 

 Theory of lines Theory of dissymmetry Dissymmetry in mind 

 and thought Technique and coloring Psychological effect of colors 

 Focal visual point and perspective Examples Water effects 

 Tone motifs Philosophic analysis of two landscapes Comments 

 on Renoir and Sisley Conclusion. 



THE mainspring of happiness to the philosophic mind is to 

 penetrate into the internal structure of things, and to analyze 

 the complex to its ultimate elements. This principle has been 

 accepted consciously or unconsciously, and underlies the 

 works of the best representatives of the impressionist school 

 of painting. The truths of geometry and the laws of force have 

 been also recognized by them, whether consciously or un- 

 consciously, as the only correct basis upon which to proceed, 

 in order to produce on the mind of the observer those sub- 

 jective effects which are the highest expression of Art, and of 

 which this school, par excellence, is the most able exponent. 

 The pictures of Claude Monet come first as the latest art 

 expressions of scientific and philosophic thought. 



This is clearly shown both by the treatment and the sub- 

 ject. The simplest elements are introduced and managed 



1 A review of the work of the Impressionists of Paris exhibited at the Amer- 

 ican Art Association Rooms, New York, during the spring of 1886. By " Celen 

 Sabbrin." Printed in pamphlet form. Philadelphia, Wm. F. Fell & Co., 1220- 

 24 Sansom St., 1886. 



