"Post-Impressionism (also spelled Postimpressionism) was a predominantly French art movement that developed roughly between 1886 and 1905, from the last Impressionist exhibition to the birth of Fauvism."
Art characterized by a move away from the focus on visual perception towards the expression of emotion and personal vision, developed in France during the late 19th century.
Defining Post-Impressionism: This topic covers the characteristics that set Post-Impressionism apart from Impressionism, including the use of bolder colors, geometric forms, and a focus on emotional expression.
Predecessors of Post-Impressionism: This topic examines the artists who influenced the development of Post-Impressionism, such as Paul Cézanne, Vincent van Gogh, and Georges Seurat.
Pointillism: This technique used in Post-Impressionism involves creating a painting using small, distinct dots of pure color that visually blend together from a distance.
Symbolism: This topic explores the use of symbols and metaphors in Post-Impressionist art, often used to convey complex emotional or spiritual themes.
Fauvism: This movement in Post-Impressionism involved vivid colors, broad brushstrokes, and a rejection of traditional techniques in favor of a more spontaneous, intuitive approach.
Expressionism: This style of Post-Impressionism is driven by intense emotion, often using bold colors and distorted forms to convey a sense of inner turmoil or unease.
Art Nouveau: This topic examines the decorative style that emerged in Post-Impressionism, characterized by sinuous lines, intricate patterns, and an emphasis on floral motifs.
Neo-Impressionism: This style of Post-Impressionism involves the use of tiny, individual dots of color to create a sense of luminosity and depth.
Primitivism: This topic explores the fascination with non-Western art and culture in Post-Impressionism, often resulting in the incorporation of exotic imagery and simplified forms into artistic works.
Post-Impressionist Artists: Finally, this topic explores the life and works of individual artists associated with the Post-Impressionism movement, such as Paul Gauguin, Henri de Toulouse-Lautrec, and Edvard Munch.
Pointillism: Pointillism is characterized by the use of small, distinct dots of color that create an overall picture. It is done primarily by Georges Seurat.
Fauvism: Fauvism is known for its bright and bold colors, thick brushstrokes, and simplified forms. Major exponents of this style include Henri Matisse and André Derain.
Synthetism: Synthetism aims to synthesize the physical world and emotions by utilizing non-naturalistic color and technical simplification. Paul Gauguin is recognized as the most prominent syntheist.
Cloisonnism: Cloisonnism is defined by reliance on flat and vivid colors as well as the use of clearly defined, black outlines. Emile Bernard and Paul Gauguin were the pioneers of this style.
Les Nabis: Les Nabis is a French art movement that is known for its decorative and spiritual elements. This group of artists was interested in the decorative arts, printmaking, and book illustration.
Symbolism: Symbolism aimed to evoke mysticism, fantasy, and spirituality by emphasizing dream-like qualities and the sense of irrationality. Some of the leading proponents of the style include Gustave Moreau, Ferdinand Hodler, and Edvard Munch.
Intimism: Intimism is characterized by quiet and personal scenes that convey a sense of intimacy. Pierre Bonnard and his wife, Marthe, were a leading proponent of this style.
Divisionism: Divisionism involves using small dots of color adjacent to one another that creates a visual mixture when viewed from afar. The technique does not mix colors physically or chemically, but rather visually. Georges-Pierre Seurat, in particular, was associated with this style.
Orphism: Orphism is characterized by a focus on pure abstraction, with a particular emphasis on dynamic color harmonies. The style was primarily led by Robert Delaunay.
Neo-Impressionism: Neo-Impressionism is a movement that sought to take Impressionist principles to new heights with systematic and scientific discipline. Seurat and Paul Signac became a primary influential model in this style.
"Post-Impressionism emerged as a reaction against Impressionists' concern for the naturalistic depiction of light and colour."
"Its broad emphasis on abstract qualities or symbolic content means Post-Impressionism encompasses Les Nabis, Neo-Impressionism, Symbolism, Cloisonnism, the Pont-Aven School, and Synthetism, along with some later Impressionists' work."
"The movement's principal artists were Paul Cézanne, Paul Gauguin, Vincent van Gogh, and Georges Seurat."
"The term Post-Impressionism was first used by art critic Roger Fry in 1906."
"Post-Impressionists extended Impressionism while rejecting its limitations: they continued using vivid colours, sometimes using impasto (thick application of paint) and painting from life."
"Post-Impressionists were more inclined to emphasize geometric forms, distort form for expressive effect, and use unnatural or modified colour."
"Critic Frank Rutter in a review of the Salon d'Automne published in Art News, 15 October 1910, described Othon Friesz as a 'post-impressionist leader'."
"Three weeks later, Roger Fry used the term again when he organized the 1910 exhibition Manet and the Post-Impressionists."
"Roger Fry defined it as the development of French art since Édouard Manet."
"Impressionists' concern for the naturalistic depiction of light and colour."
"Paul Cézanne (known as the father of Post-Impressionism)"
"sometimes using impasto (thick application of paint)"
"they continued using vivid colours, sometimes using impasto (thick application of paint) and painting from life"
"they were more inclined to emphasize geometric forms, distort form for expressive effect, and use unnatural or modified colour."
"Post-Impressionism encompasses Les Nabis, Neo-Impressionism, Symbolism, Cloisonnism, the Pont-Aven School, and Synthetism"
"Post-Impressionism (also spelled Postimpressionism)"
"developed roughly between 1886 and 1905"
"from the last Impressionist exhibition to the birth of Fauvism"
"rejecting its limitations: they continued using vivid colours, sometimes using impasto (thick application of paint) and painting from life, but were more inclined to emphasize geometric forms, distort form for expressive effect, and use unnatural or modified colour."