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American Tonalism was a progressive school of landscape art spanning 4 decades – from 1880 to 1920. The following twelve characteristics or stylistic modes encapsulate the evolution of the style over the forty odd years when Tonalism was at its height. These stylistic characteristics of Tonalism cover both visual components and visual emotions:

1) the use of subtle color tones comprised of various greens, purples, blues, and grays that are restful and easy on the eye;

3) Stress on Symbolic Form;

5) a sense of movement or metamorphosis in nature (the vibration and refraction of tones);
6) the use of expressive paint handling to embody emotion or mimic the felt-life of nature;
7) the employment of formal strategies of embedded patterns and the decorative deployment of natural and abstract forms (derived from Whistler and influenced by Asian art), often used in conjunction with serial renderings of the same subject in different lights and from various angles of perception;
8) the use of soft-edged forms to further the sense of ambiguity and mystery of place (known as lost-edge technique in the nineteenth century);
9) an emphasis on the broad, graphic, ultimately abstract reading of major forms, producing an immediacy of emotional response to paintings, especially at a distance;
10) a predisposition for the elegiac poetry of landscape (reflecting the trauma of the Civil War);
11) the portrayal of a mystical organic relationship between perceiver and the perceived (the transcendentalist subjectivity espoused by Emerson and Thoreau);
12) a non-narrative synthetic art: an art about the feeling or mood evoked by the arrangement of landscape elements to project an emotion, rather than a realistic or representational depiction of a certain place.

These twelve characteristics of American Tonalism rarely if ever operated in isolation from one another, rather the opposite: in most cases, several or even all the characteristics can be seen to function seamlessly in a single work, whereby the emotional emphasis of the painting is tempered by the artistic choices among and balance between these various technical/stylistic options. What’s more, there is clearly overlap and blurring of affinities, just as in any work of art employing a range of colors that blend and bleed one into the other. Nevertheless, it is useful to try and tease out these various technical and stylistic strains because it adds to our understanding of how artistic choices shaped the Tonalist aesthetic and, most especially, the progressive nature of Tonalism and the deep cultural roots out of which the movement developed. Lastly, by systematically enumerating these characteristics, the synergy between them is grasped more concretely, a synergy that is further galvanized by the qualitative and cumulative technical choices made by individual artists, each with their unique strengths and proclivities.

Most importantly, a familiarity with these progressive characteristics, almost all without exception fundamental to the origins of modernism, will go a long way to educating young people about the historical bloodlines of contemporary art, and so better connect them into the deeper heritage of art history. Such an exploration will held develop an appreciation and understanding and—dare I say it, a level of connoisseurship sorely lacking among many of today’s collectors who have become overly dependent on digital images of artwork—quickly summoned and just as quickly dismissed—rather than long sessions of sweet, silent thought given over to contemplating actual artworks, and so fathoming their infinite complexity and the hard-won skills and singular visions of their creators.

What word in the text is the synonym of predisposition?