Post Impressionism, History, characteristics and Artists

Post Impressionism, History, characteristics and Artists

Post-Impressionism was a movement that based on both extension of Impressionism at the same time was a rejected this style's inherent limitations. The term Post-Impressionism was first used by the English art critic Roger Fry. The late nineteenth century painters such as Paul Cézanne, Georges Seurat, Paul Gauguin, and Vincent van Gogh, Henri de Toulouse-Lautrec, and other were called as post impressionists. These painters aside from van Gogh were French, and the vast majority of them started as Impressionists; every one of them discarded the style, to shape his own exceedingly individual style. Impressionism was based, in its strictest sense, to capture nature in terms of the fugitive effects of color and light. The Post-Impressionists dismissed this restricted point for more eager articulation, however, continued to depict the pure, splendid colors of Impressionism, its technique of defining form with short brushstrokes of broken color and its freedom from the traditional subject matter.  These artists formed away for a few contemporary movements and for mid-twentieth-century innovation.

Rise of Post-Impressionism

The post-impressionists felt that the Impressionists permitted their distractions with technique and the impacts of light to overshadow the subjective qualities in their works. In the long run these contradicting artists ended up known as the Post-Impressionists, a term that assembled together widely varying individual creative styles. However, a large number of the movement's principal figures were rivals in technique and approach. Gauguin and Seurat both despised each other and mutually thought low about each other's styles, while van Gogh loved the works by the Impressionist Edgar Degas and individual Post-Impressionist Henri Rousseau, he was wary of Cézanne's thoroughly ordered style.

While Paris was obviously the wellspring of Post-Impressionism, the accentuation on representative and expressive subject matter implied that the life of the city never again was the dominant subject matter for artists. Accordingly, numerous painters built up their individual tasteful style outside of Paris. Cézanne spent the vast majority of his profession in Provence; Van Gogh develop his style in Arles in the south of France; and, in a shocking renunciation of Paris, Gauguin ostracized to Tahiti.

A Sunday on La Grande Jatte, (1884), Georges Seurat

Artists

Georges Seurat

In the 1880s, Georges Seurat was at the foremost of the post-impressionists and was facing the difficulties of Impressionism with his remarkable considerations in view of then-current thoughts of optical and color speculations. The Study for "A Sunday on La Grande Jatte" exemplifies Seurat's style of experimentation, which was named Neo-Impressionism. This artwork, delineates a landscape inhabited with figures at leisure, a well-known subject of the Impressionists. In any case, Seurat's refreshed style animates the generally traditional subject with a virtuoso use of shading and color. In Circus Sideshow, he utilizes this method to paint an uncommon evening scene enlightened by artificial light. The youthful artists of Neo-Impressionists around Seurat included Paul Signac, Maximilien Luce, and Henri-Edmond Cross.

Paul Gauguin

The art of Paul Gauguin was created out of similar Impressionist establishments, yet he excessively abstained from Impressionistic treatment of imagery and color in exchange for an approach portrayed by strong patches of colors and plainly characterized forms, which he used to delineate exotic themes and pictures of private and religious imagery. Gauguin's peripatetic mien took him to Brittany, Provence, Martinique, and Panama, and then he settled in remote Polynesia, and later Marquesas Islands. Wanting to get away from the aggravations of the industrialized European world and continually searching for an immaculate place that is known for beauty and simplicity, Gauguin looked toward remote goals where he could live effectively and paint the purity of the nation and its tenants. In Tahiti, he made the absolute most savvy and expressive paintings of his profession. Ia Orana Maria (Hail Mary) reverberates with striking symbolism and Polynesian iconography, utilized eccentrically with a few surely understood Christian subjects, including the Adoration of the Magi and the Annunciation. In Two Tahitian Women and Still Life with Teapot and Fruit, Gauguin utilized improved colors and solid forms and painted flat objects especially evident in the still-life arrangement on a white tablecloth pushed straightforwardly into the frontal area of the picture plane.

Vincent van Gogh

At Arles in the south of France in 1888, Vincent van Gogh looked into his artworks with equal determination for an individual articulation in his art. Van Gogh's initial paintings are coarsely rendered pictures of Dutch peasant life portrayed with tough brushstrokes and dull, gritty tones. “Peasant Woman Cooking” by a Fireplace demonstrates his interest with the common laborers, depicted here in a rough style of thickly applied dark shades. Likewise, “the Road in Etten” takes the subject outside, with workers working in the Dutch landscape. Self-Portrait with a Straw Hat is reminiscent of the quickly applied divisionist strokes of the Neo-Impressionists, especially Signac, with whom van Gogh became friend In Paris, while the painting, The Potato Peeler, reviews his dark style of the mid-1880s. This exceptional protest exemplifies the artist's complex experimentation.

Wheat Field with Cypresses, (1889), Vincent Van Gogh

Working in Arles, van Gogh finished a progression of artworks that represent the masterful freedom and proto-Expressionist procedure that he created by the late 1880s, which would later unequivocally impact Henri Matisse (1869– 1954) and his hover of Fauvist painters, and in addition the German Expressionists. L'Arlésienne and La Berceuse highlight van Gogh's style of quickly connected, thick, splendid hues with dull, authoritative layouts. After his voluntary commitment to an asylum in Saint-Rémy in 1889, he painted a few pictures with phenomenally poignant suggestions, splendid hues, twisted perspective, agitated lines, and which incorporate, among others, Corridor in the Asylum.

Through their fundamentally autonomous styles and devotion to seeking after interesting methods for imaginative and expressive articulation, the Post-Impressionists significantly impacted ages of artists, including the Nabis , particularly Pierre Bonnard and Édouard Vuillard, the German Expressionists, the Fauves , Pablo Picasso , Georges Braque and American pioneers, for example, Marsden Hartley and John Marin.