Linear Impressionism

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Linear Impressionism

The expression “linear impressionism” first appeared in a 1957 article published in The Princeton University Library Chronicle to describe the "broken bits of line" that are used  to configure the organic form and to give definition to hair, clothing, feathers, and tree foliage which can be seen in the Sixteenth Century Manuscript Device Book.

Edgar Degas’ late 19th century work with hatching or cross-hatching has been labeled as “linear impressionism” due to its lost and found edges used to create the illusion of certain materials (such as ballerina dresses) or skin (textures and contours). However, Degas rejected the term “impressionism” to categorize his work.

In 1958, abstract expressionist Charles Seliger described his work in the mid-1950’s as a sort of “linear impressionism” or “particle impressionism” – the idea of breaking down the contour or linear outline that confined the forms with small particles of color.  The notions of 'particle' and 'structure' became central to his art, which evolved toward the elaboration of forms constructed of minute, endless particles or bits of matter. Seliger's "Interior of a Landscape" presents his typical accumulation of meticulously drawn details to suggest the inner structures of plants and other natural objects. "My pictures are in a sense all interiors or intimate views," he wrote in his journal in 1956. Influenced by Surrealism and stimulated by his readings in physics and biology, Seliger developed a kind of organic abstraction based on natural forms. Thus, Seliger’s works were not necessarily impressions of a scene, but rather interior granular abstractions.

In the late 1990s, the Linear Impressionism artform emerged as an alternative to Linear Minimalism (discussed below) which used straight lines to define an object or scene. By definition, an “impression” is an idea, feeling, or opinion about something or someone, especially one formed without conscious thought or on the basis of little evidence. Thus, impressionism merely gives an impression and enables the viewer to choose how to interpret a work. There are three main elements to identify Linear Impressionism: the use of the negative space, the importance of the title, and the utility of the iconographic lexicon.

One of the key differentiators between Linear Impressionism and Abstract, Abstract Impressionism, or Contemporary art forms is its use of negative (empty) space. Unlike impressionist painters such as Manet, van Gogh or Pissarro who filled up their canvases with color, the majority of the canvas is empty for most Linear Impressionism artwork, leaving the viewer’s imagination to fill in the gaps.

Like 19th century impressionism, the title of a Linear Impressionism work provides the viewer with a roadmap towards understanding the artist’s intent.  For example, Elijah’s 2020 16-line Sad Cowboy shows in the top left, a hat angled downward. Upon learning the title of the work, the viewer may see that the cowboy is sitting on a horse and slumped over as if he were sad.

After the viewer identifies, for example, a hat in one work of Linear Impressionism, the viewer can later quickly interpret lines structured similarly to be a hat in other works by that artist. Less time is needed to understand the meaning of the work.

Linear Impressionism Compared to Linear Minimalism

Linear Minimalism, such as H. Wesley Wheeler’s 2013 City Painting, reduces objects or scenes to the most basic geometric shapes and lines, often using straight lines as a primary element. By minimizing detail and removing unnecessary ornamentation, minimalists aim to create works that are precise, clean, and devoid of any excess. Thus, Linear Minimalism is practical, lacking emotion, and rarely open to interpretation. Wheeler’s City Painting is just a city - the artist is not impressing an idea, but simply minimizing the number of lines used.

In contrast, Linear Impressionism, such as seen in Elijah’s 2021 The Typical New York Noisy Neighbor, gives the viewer the ability to use their imagination to fill in what is not initially obvious in the work. If Wheeler's City Painting, as an example, had a bullhorn, the title would likely be called "City Painting with Bullhorn." Whereas, Elijah's The Typical New York Noisy Neighbor gives us his impression that there are often noisy neighbors in the city who are as intrusive as someone using a bullhorn, thus potentially invoking a feeling of recognizable resonance within the viewer. The title of the work therefore guides the viewer to the artist’s intent while enabling the viewer to keep their initial impression.

References

This article "Linear Impressionism" is from Wikipedia. The list of its authors can be seen in its historical and/or the page Edithistory:Linear Impressionism. Articles copied from Draft Namespace on Wikipedia could be seen on the Draft Namespace of Wikipedia and not main one.

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