luminism


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lu·mi·nism

also Lu·mi·nism  (lo͞o′mə-nĭz′əm)
n.
A style of 19th-century American landscape painting concerned especially with the meticulous rendering of atmospheric light and the perceived effects of that light on depicted objects.

[Latin lūmen, lūmin-, light; see lumen + -ism.]

lu′mi·nist adj. & n.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

luminism

1. a movement in painting concerned with effects of light, especially the use of broken color in its full intensity with a minimum of shadow effects, applied especially to many Impressionist and Pointillist artists.
2. a technique of painting employing minute modulations of tone, developed in America (1825-65) by John Singer Sargent, Mary Cassatt, William Merritt Chase, and others. — luminist, n.
See also: Art
-Ologies & -Isms. Copyright 2008 The Gale Group, Inc. All rights reserved.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.luminism - an artistic movement in the United States that was derived from the Hudson River school; active from 1850 to 1870; painted realistic landscapes in a style that pictured atmospheric light and the use of aerial perspective
art movement, artistic movement - a group of artists who agree on general principles
Based on WordNet 3.0, Farlex clipart collection. © 2003-2012 Princeton University, Farlex Inc.
Translations
luminisme
References in periodicals archive ?
MAIN VISUAL ART CONCEPTS: Line * Value * Color * Texture * Contrast * Proportion * Luminism
I wrote in magazines and in three books that Impressionism (which might equally well be called "Luminism") being the dupe of the moment, of translation in front of Nature, sur le motif, of the luminous moment, was leading French painting to the "abyss of amorphousness".'
This well-preserved painting is considered an early example of luminism, an American painting style that depicts the effects of light played out across tranquil settings, calm waters, and hazy skies.
Recalling and affirming the great American landscape tradition in all its incarnations, her works embody Martin Johnson Heade's transcendental luminism, Mark Rothko's visionary veils of color, and Mierle Laderman Ukeles's ecopolitics.
For too long, vers-librisme has been the postimpressionist luminism of our poetry.
These latter works, which foregrounded media ecology and environmentalism along with notions of place, mobilized the luminism and Romantic elements of nineteenth-century American landscape painting.
Drawing inspiration from the early American art style of 'Luminism', this collection of work emanates an ethereal style that emphasizes the effects of light and atmosphere with the artists' application of illuminating mediums, such as gold leaf and patina.
Gray Sweeney, in exposing the pedigree of "luminism," a term that came into particular vogue in the 1970s and 1980s, concluded with a pat on postmodernists' backs: "Their methodology often entails close readings of the semiologies of the artifacts while attending to its contemporary reception, and grounding it in the social, political, and economic context of its production and consumption.
Visitors can clearly see the differences between the Hudson River School and Luminism by comparing Gifford's quieter approach, with its more subtle colors and compositions, to that of the English-born Thomas Cole (1801-1848), initial leader of the Hudson River School.
This light is enough to reveal us as we are, bound together, in the warmth and good light of habitation, in the good and fleshly aliveness of us." In Source, Dutch still lifes have given way to "Manhattan: Luminism." The luminist painters were a small 19th-century school of landscape artists who tried to recreate that special American light of the Eastern seaboard, the salt marshes of the Chesapeake, the cranberry bogs of New England, the hazy fields of newly mowed meadow in which objects are, in Doty's words, "edgeless, o ne bit!