Post impressionism
Post-Impressionism is a collective term for various styles of painting that followed Impressionism between 1880 and 1905 . Instead of post-impressionism, the terms post -impressionism or late impressionism are also used . The focus of development was France . Post-Impressionism was replaced by Fauvism within France .
Post-Impressionism in general, the directions are Pointillism (also known as divisionism or Neoimpressionism hereinafter) cloisonnism , synthetism , the artists group of the Nabis , the Pont-Aven School , as well as the works of Van Gogh , Gauguin , Toulouse-Lautrec and Cézanne counted .
expression
The term goes back to the English painter and art critic Roger Fry , who used it in 1910 on the occasion of the Manet and the Post-Impressionists exhibition he organized in the Grafton Galleries, London . Paintings by Paul Cézanne, Paul Gauguin and Vincent van Gogh, among others, were shown there. The demarcation to Impressionism is, however, blurred. Cézanne in particular is occasionally assigned to one category or the other.
characterization
In the 1870s, the impressionists saw a clearly changed conception of art, a first step on the way to modern art . The late Impressionists continued on this path, but developed new ideas of order for the spontaneity and virtuosity of their predecessors. The tendency was to see the picture more and more clearly as an independent art form. It was to become an object of pure display of color and form, aimed at the aesthetic enjoyment and the conveyance of subjective sensations of the artist. The viewer is asked to value the sensual experience of colors and lines higher than the natural appearance of things, to which less and less importance was attached.
Georges Seurat, A Sunday Afternoon on La Grande Jatte Island , 1884
Important representatives
- Cézanne transformed his motifs into a system of great clarity and solidity. His analytical painting examines the volume of the objects and leads to almost crystalline structures, especially in landscape paintings , so that it is possible to see them as a preliminary stage of Cubism .
- Gauguin developed a new, decorative style through a two-dimensional use of colors and simplified forms, which he himself referred to as synthetism, as it emerged from the combination of different sources: church glass painting , the naive immediacy of folk art and the Japanese color woodcut , which has been around since It came to Europe in large numbers in 1850 and had already influenced the Impressionists. In another meaning, the word should describe the attempt to summarize the external appearance of things, the artist's feelings about them and aesthetic points of view in a synthesis.
- Toulouse-Lautrec was also influenced by Japanese prints. The clearest evidence of this are his color lithographs - poster designs for the amusement parks of Montmartre in Paris , which contributed significantly to the early heyday of poster art around 1890.
- Van Gogh painted a series of passionately expressive pictures in just a few years between 1886 and 1890. In color he saw a special language that could have a direct impact on the human soul. His style anticipated features of Expressionism .
- Seurat also relied on the expressiveness of color, but without the exuberance of Van Gogh. Rather, on the basis of scientific theories, he created a painting technique in which an optical mixture should result in a particularly intense effect when the entire picture was broken down into small, mosaic-like dots of color (pointillism or divisionism).
effects
The Post-Impressionists prepared modern art from different points of view. What they had in common was that they further advanced the decisive change from the imitation of nature to the autonomous existence of the image.
Post-Impressionist painter
- Camille Pissarro (1830–1903) from 1885 to 1890
- Paul Cézanne (1839–1906)
- Henri Rousseau (1844-1910)
- Paul Gauguin (1848-1903)
- Vincent van Gogh (1853-1890)
- Henri Edmond Cross (1856-1910)
- Georges Seurat (1859-1891)
- Paul Baum (1859-1932)
- René Schützenberger (1860-1916)
- Paul Signac (1863-1935)
- Henri de Toulouse-Lautrec (1864–1901)
- Paul Sérusier (1864-1927)
- Henri Lebasque (1865-1937)
- Olga Boznańska (1865-1940)
- Pierre Bonnard (1867-1947)
- Ker-Xavier Roussel (1867-1944)
- Giovanni Giacometti (1868-1933)
- Édouard Vuillard (1868–1940)
- Cuno Amiet (1868–1961)
- Fernand Piet (1869–1942)
- Maurice Denis (1870-1943)
- Georges Dufrénoy (1870-1943)
- Gabriele Münter (1877-1962)
- André Noufflard (1885–1969)
- Beatrice Zweig (1892–1971)
- Dietz Edzard (1893–1963)
- Karl Walther (1905–1981)
literature
- John Rewald : From van Gogh to Gauguin. The history of post-impressionism. Du Mont, Cologne 1986, ISBN 3-7701-2147-3 .
- Werner Hofmann : Foundations of Modern Art. An introduction to their symbolic forms (= Kröner's pocket edition . Volume 355). 4th, supplemented edition. Kröner, Stuttgart 2003, ISBN 3-520-35504-3 .
- Sven Loevgren: The Genesis of Modernism. Seurat, Gauguin, van Gogh & French Symbolism in the 1880's. Indiana University Press, Bloomington IN et al. 1971, ISBN 0-253-32560-9 .
- Belinda Thomson: post-impressionism . Hatje Cantz Verlag, Ostfildern 2002, ISBN 3-7757-1152-X .
Web links
- Will Hodgkinson: Culture quake: Manet and Post Impressionism in telegraph.co.uk, June 14, 2004