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24 octobre 2019
- doi: 10.4000/books.mnhn.625
- isbn: 9782856535035
- eisbn: 9782856538418
https://www.openedition.org/12554 , info:eu-repo/semantics/openAccess
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François Molnar, « Le contraste simultané dans les arts visuels », Publications scientifiques du Muséum national d'histoire naturelle, ID : 10.4000/books.mnhn.625
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Chevreul's book on simultaneous contrast was first published in 1839. Thirty years later, when Impressionists were faced with similar problems, they however didn't feel it necessary to turn to the great chemist's theory. The results of the rising science of chromatic perception (Helmholtz, Young, Mach) did not interest them either.Though the phenomenon of simultaneous contrast was known by painters for centuries, it had not been explicitly used before Seurat and Signac. But Delaunay is the first painter, at the beginning of this century, to have consciously used in his work all the creative possibilities of Chevreul's theory.Except in Albers' important work, the theory of Chevreul still doesn't have the place it should have, as one of the bases of an autonomous theory of visual arts.