In the mid19th century Claude Monet developed a painterly approach in which he largely did away with contours in order to instead cause everything visible to emerge from colour. The visual experience itself becomes the focus of the artistic process. Colour is no longer regarded as an attribute of an object but rather as an autonomous optical entity. Colour and light form an inseparable uÌlit: all light is colour and the colour is the consequence of diverse light moods that are de­pendent on the time of day, the weather and other environmental factors.

from “Colour, Light, Space”, Martin Hentschel, 2016