st have come from colour and light theory of the time, however debate begins on the extent of what they and the critics new of it. "In opposition to what is generally said, the impressionists and the art critics had access to a great deal of information about scientific laws and theories." Georges Roque wrote this in his essay on Chevreul and the impressionists. Here we find the crux of the confusion surrounding the knowledge of the artists and of the critics in relationship to the science of light and colour. This understanding leads us to why artist and critic were opposed in their view of the use of violet and blue in the impressionists artworks.
             There were many colour and light theorists published by the time of the impressionists, Chevreul being perhaps the origins of much of what the impressionists followed. The connection between this science and the neo-impressionists is much published but the connection with impressionism is a little less certain. One major part of Chevreul's theory however is to do with complementary colours. The most important to us is the use of violet and blue in the impressionists which is directly linked to this. The science of colour contrast suggests that the shadows given by an object shall be tinged with the colour of the light that hits it. I.e. if we place an object on a white piece of paper direct a red light at it the shadow it casts shall have
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