Post-Impressionism

Post-Impressionism was a major movement in French art. It developed roughly between 1886 and 1905. This period began after the last Impressionist exhibition. It ended around the birth of Fauvism.

The movement was a reaction against Impressionism. Impressionists focused on the naturalistic depiction of light and color. Post-Impressionists felt this approach was too trivial. They believed Impressionism lost too much structure. They wanted to emphasize abstract qualities or symbolic content. This movement changed how artists viewed the purpose of a painting.

Artists used many different techniques to achieve their goals. Some used impasto, which is the thick application of paint. This creates a physical texture on the canvas. Others used unnatural or modified colors. They did this for expressive effect rather than realism. Some artists focused on geometric forms. They reduced complex objects to basic shapes.

This helped create a sense of order. Others used a scientific approach to color and composition. This was a very different way to build a picture. Each artist had a unique method for expressing their vision.

Several distinct styles emerged during this era. Neo-Impressionism used a method called pointillism. This involved the systematic use of tiny dots of color. Georges Seurat was a leader in this style. Another style was Cloisonnism. This term was introduced in 1888 by Édouard Dujardin. It was later applied to the work of Émile Bernard. There was also Synthetism. This term was coined in 1889. It distinguished the work of Paul Gauguin and Bernard from traditional Impressionists.

Other groups included Les Nabis and the Pont-Aven School. The Pont-Aven School referred to artists working in Brittany.

History shows that the term Post-Impressionism was not used immediately. Art critic Roger Fry first used the term in 1906. In 1910, critic Frank Rutter used it in a review. He described Othon Friesz as a "post-impressionist leader." Fry then organized an exhibition in London. It was titled "Manet and the Post-Impressionists." Fry chose this name for convenience. He said it was the most non-committal name. It simply described the artists' position in time relative to Impressionism. This helped group many different artists under one label.

Many significant artists defined the movement. Paul Cézanne is often called the father of Post-Impressionism. He wanted to make art solid and durable. He did this by using basic shapes. Vincent van Gogh used vibrant colors and conspicuous brushstrokes. He used these to convey his feelings and state of mind. Paul Gauguin was another principal artist. Georges Seurat focused on the scientific application of color.

Even Camille Pissarro experimented with Neo-Impressionist ideas. He called pointillism "scientific Impressionism" during the mid-1880s.

Post-Impressionism had a wide impact across the world. In North America, it became an important influence. Canadian Post-Impressionism is considered an offshoot of the French movement. Artists like Tom Thomson and Emily Carr were part of this tradition. John Lyman studied with the famous painter Matisse. He even wrote in defense of the term.

The movement also connects to broader art history. It paved the way for Cubism and Fauvism. While Cubism was seen as a fresh start, Post-Impressionism provided the foundation. It bridged the gap between traditional art and modernism.

Understanding Post-Impressionism requires looking at its many connections. It relates to Symbolism, which focuses on individual approaches and non-realist subject matter. It also connects to the broader concept of Modernism. Modernism is seen as a central movement in international Western civilization. Some scholars, like Alan Bowness, expanded the period to 1914. This marks the start of World War I. The war signaled a major break in European cultural history. Post-Impressionism remains a vital subject for study in museums today.