Monet Gar Saint Lazare Paris Saint-Lazare is one of the six large terminus railway stations of Paris. It is the second busiest railway station in Europe with 100,000,000 passengers transiting every year, and also the second busiest station in Paris, after the Gare du Nord. It handles 450,000 passengers each day.
The Theater Box, 1874 by Pierre-Auguste Renoir, Courtauld Institute Galleries, London
A Sunday Afternoon on the Island of La Grande Jatte. located in the art institute of Chicago
Georges Braque, 1910, Violin and Candlestick, oil on canvas, 60.96 cm x 50.17 cm, San Francisco Museum of Modern Art
Franz Marc, Die großen blauen Pferde (The Large Blue Horses), (1911)
Fauvism as a style began around 1900 and continued beyond 1910. The movement as such lasted only a few years, 1904–1908, and had three exhibitions.[19][20]
"As a student, I was attracted to Renoir's “Fruits of the Midi” at the Art Institute of Chicago because the colors in this painting seemed to be so clean, bright and natural. The "liveliness" of these colors, in comparison with traditional still life paintings, excited me and made me want to know more about how we see colors."
"Called by critics a 'color theorist,' 'communications expert,' and 'The Wizard of Op'" The Park Forest Star, May 11, 1969 Hal became the first artist to successfully paint with the concept of color as light energy. His hard-edge geometric artwork is aesthetically appealing and demonstrates and corrects many color principles. Hal hoped to provide a road-map from which future artists can master the visual language.
History of Color
By the middle of the nineteenth century scientists had discovered how the light energy from different colors can be added together to make brighter colors. This is known as the additive color system. The physicists of the nineteenth century discovered that there are two distinctly different kinds of color mixture, additive and subtractive, depending on whether the colors are mixed as substances or as light. They knew that the impression of white light can be produced if light from the right colors are mixed additively. This cannot happen in pigment or dye mixtures which are subtractive in nature. In a subtractive mixture of pigments and dyes any two or more colors in a liquid vehicle produce a darker duller color when mixed together.
By the end of the nineteenth century Auguste Renoir (1841-1919), Claude Monet (1840-1926), and other Impressionists influenced by the works of Turner, Constable, and Delacroix and the newest scientific color discoveries applied a loose broken color technique to their paintings in an attempt to portray the impression of luminous atmosphere.
da Vinci and Newton ... Turner, Constable and Delacroix ... Impressionists and Post-Impressionists ... Op, Albers and Onward
Georges Seurat (1859-1891), tried to make art into a science by applying the latest scientific theories about light and color to his work. He additively combined the subtractive color components of his intended color effect such as blue and red to make purple, blue and yellow to make green, red and white to make pink, etc. by placing small areas of these colors next to each other. In the border of "Sunday Afternoon on the Island of the Grande Jatte" he shows us how he placed his colors. Additively orange and blue make pink. Thus he additively combined the colors of the subtractive palette. That is why the overall colors of his paintings are not bright or vibrant like those of the additive palette. He did not use true additive palette color combinations to get radiant colors. Mixtures of red and white to make pink belong to the subtractive system of color mixing. Additively near values of orange and blue make a radiant, glowing, luminous pink.

Despite the attempt at additive color placement, due to the principle of exponential contrast reassignment the colors in this painting function more as value pattern rather than as the brilliant colors made by using the additive palette and true additive system colors. Seurat's method of painting is called pointillism. a technique of painting in which small, distinct dots of pure color are applied in patterns to form an image. Georges Seurat and Paul Signac developed the technique in 1886, branching from impressionism. The term "pointillism" was first coined by art critics in the late 1880s to ridicule the works of these artists, and is now used without its earlier mocking connotation. The technique is also known as divisionism. The movement Seurat begun with this technique is known as Neo-impressionism.

If Seurat had combined his system with true additive colors in the same painting it would have been much brighter. Because of the limitations of the true additive palette system, a design like the Grande Jatte can't be all additive palette painting alone. Such designs work best when the additive method and traditional subtractive colors are contrasted in the same design. If Seurat had combined true additive colors with the additive combinations of the subtractive colors that he did use, the painting would have been far richer and much more spectacular. Contrast reassignment would have made the colors in the overall painting much, much more potent and its pattern more striking. The radiant color effects would have been far more beautiful. In brief, had he combined the two systems in the same painting he would have come closer to what he was trying to achieve.
Trying to understand the many ways we may see the color of objects Monet chose outdoor subjects and made many paintings of each subject in the same position in many different light conditions, at different times of day, and in different seasons. Best known of these paintings are the series of the smoke-filled "Gar Saint Lazare" railway station in Paris, his "haystack" series and his "Rouen Cathedral" series.

The Impressionists and Post-Impressionists attempted to apply the new scientific discovery of the additive system of mixing color to their paintings. However, they confused additive combinations of the components of subtractive color mixtures with true additive color system combinations.

1950 - 2014 all rights reserved Jonathan Rogoff
By the beginning of the twentieth century, Picasso, (Pablo Ruizy - 1881-1973), who started by emulating the Impressionists soon with Georges Braque, (1882-1963), took artistic innovation in a different direction by breaking with representational art and creating Cubism. considered the most influential art movement of the 20th century, affecting music, art and literature.

They sought to expand structure and design innovations along with color usage concepts (decorative rather than representational) but no longer sought to improve the understanding of how we see and perceive color and apply it to aesthetic ends.
Georges Braque, 1910, Violin and Candlestick, oil on canvas
Meanwhile, in France the Fauves led by Henri Matisse (1869-1954), and in Germany Franz Mark (1880-1916), and others freed color from strictly representational usage. Matisse used various color harmonies to elicit feelings. He did not pursue how we see color. Mark used bright unrealistic color combinations to express images of idealized nature. His colors are much more lively and joyous than Matisse. These artists advanced the freedom to use color expressively.
Woman with a Hat, 1905. San Francisco Museum of Modern Art
Seymour Hal Rogoff