Interpretation Of The Production Of Light And Color In The Impressionist Art With Phenomenological Theory

Painting is a kind of visual arts, besides, light and color is always as a subject of painting art. As an epoch-making art genre in Art Western History, impressionist painting is also known as “Light and Color painting”. During the middle of the 19 th century, the development of impressionist painting has reached a peak, and its influence has throughout all over Europe. The differences between previous painters is impressionist painters accurately presents the sunlight and color on the canvas. It looks bright.Impressionist painters has changed people's visual habit and the ways in painting appreciation, inspired the potential of people's vision, introduced painting art to an unprecedented level by using the idea “resorting to the thing itself” which belongs to the phenomenological. The phenomenological significance of impressionist painting shows that visual experience has its independent aesthetic value and the irreplaceable feeling feature.In this paper, the writer mainly analyses impressionist painting and interprets its independent artistic value, then explores the significance and value in aesthetic essence research of impressionist art genres by phenomenological ways and ideas.The writer mainly discusses the origin and development of impressionist art and the dynamic study of impressionist art at home and abroad in the introduction. Then discusses and analyses the regulation and feeling of light and color in impressionist art, which include the creation techniques in using light and color, the mastering in vision impression of light and color in the first part. After that, the writer discusses the generation and interconnection of light and color from two aspects in the second part. One aspect is interpreting the relation of truth and the beauty in art, that is to say, aesthetic is supposed to be the own things during art activities. This is according to dialectical relationship between the absence and presence which was put forward by Martin Heidegger. The other one aspect stating from the threes depth of painting is participating in the construction, perceiving, expressing the perception, feeling art by using your body.This is according to the concept “the flesh” which was put forward by Merleau Ponty. Then I discuss the existing way of artistic work and the question in reception of art. Dufrenne distinguishes the existing way of artistic work into the works of art and aesthetic object. The existence of the works is a kind of comfortable; it can only be perceived rather than constructed by imaging. At last, the writer clarifies the dialectical relationship between impressionist artistic creation and the reception of art under the concept of phenomenology, and tries to show the unique aesthetic implication.