SCIENCE AND PHILOSOPHY IN ART 1 
Wer gegenwärtig über Kunst schreiben will, der sollte einige Ahnung 
haben von dem, was die Philosophie geleistet hat, und zu leisten fort¬ 
fährt. — 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. 
