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1898 ]] Post-Impressionism is the term coined by the British artist and art critic and early 20th Centuries — to artistic movements based on or derived from Impressionism . HISTORICAL OVERVIEW Post-Impressionism was both an extension of Impressionism and a rejection of its limitations. Post-Impressionists continued using vivid colours, thick application of paint, distinctive brushstrokes and real-life subject matter, but they were more inclined to emphasize geometric forms, to distort form for expressive effect, and to use unnatural or arbitrary colour. The Post-Impressionists were dissatisfied with the triviality of subject matter and the loss of structure in Impressionist paintings, though they did not agree on the way forward. Georges Seurat and his followers concerned themselves with Pointillism , the systematic use of tiny dots of colour. Paul Cézanne set out to restore a sense of order and structure to painting. He achieved this by reducing objects to their basic shapes while retaining the bright fresh colours of Impressionism. Vincent Van Gogh used colour and vibrant swirling brush strokes to convey his feelings and his state of mind. Although they often exhibited together, they were not a cohesive movement. They worked in geographically disparate regions and in various stylistic categories, such as Fauvism and Cubism . Post-Impressionism is very important in France's history. DEFINING "POST-IMPRESSIONISM" , Gauguin , Seurat , Redon , and their relations as well as the artistic circles they frequented (or they were opposing to):
Furthermore, in his introduction to "Post-Impressionism", Rewald opted for a second volume featuring Toulouse-Lautrec , Henri Rousseau "le Douanier", Les Nabis and Cézanne as well as the Fauves , the young Picasso and Gauguin's last trip to the South-Sea; it was to expand the period covered at least into the first decade of the 20th century - yet this second volume remained unfinished. Reviews and adjustments Rewald's approach to historical data was narrative rather than analytic, and beyond this point he believed it would be sufficient to "let the sources speak for themselves."John Rewald, p. 9 Rewald frankly admitted that "the term 'Post-Impressionism' is not a very precise one, though a very convenient one." Convenient, as it is by definition limited to French visual arts derived from Impressionism since 1886. Rivaling terms like Modernism or Symbolism were never as easy to handle, for they covered literature, architecture and other arts as well, and they expanded to other countries.
To meet the recent discussion, the connotations of the term Postimpressionism were challenged again: Alan Bowness and his collaborators expanded the period covered to 1914, but limited their wide approach on the 1890s to France. Other European countries are pushed back to standard connotations, and Eastern Europe is completely excluded. So, while it seems reasonable to see a split between classical Impressionism and Post-Impressionism in 1886, the end and the extend of Post-Impressionism remains under discussion. For Rewald, Cubism was an absolutely fresh start, and so Cubism has been seen since the beginning. EXAMPLES OF POST-IMPRESSIONIST PAINTINGS   |
Image:Redoncyclopsjpg
| "http://wwwinformationdelightinfo/information/entry/Odilon_Redon" class="copylinks">Odilon Redon (1840-1916) |
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Image:Paul Gauguin 128jpg
| "http://wwwinformationdelightinfo/information/entry/Paul_Gauguin" class="copylinks">Paul Gauguin (1848-1903) |
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Image:Vincent Willem Van Gogh 132jpg
| "http://wwwinformationdelightinfo/information/entry/Vincent_van_Gogh" class="copylinks">Vincent Van Gogh (1853-1890) |
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| "http://wwwinformationdelightinfo/information/entry/Georges_Seurat" class="copylinks">Georges Seurat (1859-1891) |
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Image:Henri De Toulouse-Lautrec 036jpg
| "http://wwwinformationdelightinfo/information/entry/Henri_de_Toulouse-Lautrec" class="copylinks">Henri De Toulouse-Lautrec (1864-1901) |
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| "http://wwwinformationdelightinfo/information/entry/Paul_Sérusier" class="copylinks">Paul Sérusier (1864-1927) |
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