ABSTRACT
The division of tones, or the ways in which the Impressionist painters used their materials affords a conspicuous illustration of the dependence of the sensuous qualities, or felt materials of a medium on its technique. A man who asks about the meaning of “beauty” is frequently assured that “beauty” is the name of something that is common to the beauties of music, poetry, painting, sculpture, and architecture. A colour-value drawing presents a comparatively detailed representation of the object, in values of the saturation and intensity of its hues. This is to say that the hues of the object represented are ignored in a colour-value drawing, and the visual effects of the object are presented in the values of those hues. The sensuous qualities, or aesthetic materials of a perceived work of art do not exist apart from the relations which are the form of that perceived work of art.
