Read the following passage.
The emergence of Impressionism in the late nineteenth century is frequently attributed by art historians to the advent of new, synthetic pigments. The commercial availability of colors such as cerulean blue, viridian, and synthetic ultramarine, packaged in newly invented collapsible tin tubes, undeniably expanded the plein-air painter's palette. Traditional scholarship often adopts a technologically determinist stance, arguing that without these intense, stable colors, the Impressionist aesthetic—characterized by high-key palettes and the elimination of earth tones—could never have materialized.
However, this technological narrative obscures the more profound conceptual shift that preceded and shaped the Impressionists' application of these new materials. The mere availability of synthetic pigments does not account for the specific manner in which they were utilized. More crucial was the assimilation of contemporary optical theories, most notably Michel Eugène Chevreul’s law of simultaneous contrast. Chevreul demonstrated that colors mutually influence one another's visual reception when juxtaposed; for instance, a shadow cast by an object will appear to the observer's eye to be tinged with the complementary color of that object, regardless of the shadow's actual pigmentation.
Rather than simply reveling in the brilliance of the new materials, artists such as Monet and Pissarro applied Chevreul’s principles to recreate the subjective sensation of light through optical mixing. They employed the new synthetic paints not because the pigments dictated a new style, but because their heightened chromatic intensity was uniquely suited to achieving the optical vibrations demanded by Chevreul’s framework. Furthermore, the rejection of traditional chiaroscuro (modeling in light and dark) in favor of modeling in color was a deliberate theoretical choice aimed at capturing perception, not an inevitable consequence of the tin tube. The new materials were catalysts, but the theoretical framework of optical perception was the true architect of the Impressionist canvas.
Based on the specific details provided in the passage, is the following statement true or false?
Statement: Chevreul's law of simultaneous contrast posits that the physical pigmentation of a shadow is materially altered by the object casting it, causing the shadow to adopt that object's complementary color.
Cevap: Cevap