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Post-Impressionism is a term applied to painting styles of the late 19th and early 20th centuries — after Impressionism.
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 color. 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 color. 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 brushstrokes 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.
Art critic Roger Fry first used the term to describe the Les Nabis group.
Post-impressionist artists include:
- Paul Cézanne
- Paul Gauguin
- Harry Lachman
- Henri Rousseau
- Georges Seurat
- Henri de Toulouse-Lautrec
- Vincent van Gogh
- Maurice Brazil Prendergast
A small gallery of some post-Impressionist paintings:
Spätimpressionismus | Μεταϊμπρεσιονισμός | Postimpresionismo | Post-impressionnisme | Post-impressionismo | פוסט אימפרסיוניזם | Posztimpresszionizmus | Postimpressionisme | ポスト印象派 | Postimpresjonisme | Pós-impressionismo | Postimpressionismi | Postimpressionism | 后印象派
"Post-Impressionism"