What Art Movement Was Vincent Van Gogh Associated With

Beginnings of Post-Impressionism

Impressionism and the Ascension of Mail-Impressionism

In 1872, Claude Monet radically altered the path of painting, ushering in a revolutionary manner of visual expression in which artists responded to their modern environment. This was achieved in the painting Impression, Sunrise (1872), in which Monet used each visible brushstroke to record exactly how the low-cal from the sun savage upon the steamships and h2o beneath. The critic Louis Leroy derisively dubbed their style of painting "Impressionist" because of the visible brushstrokes, and unwittingly gave the group their collective identity. Although the cadre membership consisted of Claude Monet, Berthe Morisot, Auguste Renoir, and Edgar Degas, many other artists associated with the grouping. Among them was Paul Cézanne, who exhibited with the Impressionists during the 1870s and early 1880s.

By the last Impressionist exhibition in 1886, younger artists and critics demanded a shift in the focus of the representational arts. They felt the Impressionists immune their preoccupations with technique and the effects of natural light to overshadow the importance of subject matter. Eventually these dissenting artists became known as the Post-Impressionists, a term that grouped together widely varying private artistic styles. Indeed, many of the movement's foremost figures were rivals in method and approach. Gauguin and Seurat both detested ane another and shared a depression stance of each other's styles, and while van Gogh revered the work of the Impressionist Edgar Degas and beau Post-Impressionist Henri Rousseau, he was skeptical of Cézanne's rigorously ordered style.

While Paris was unquestionably the fount of Mail-Impressionism, the emphasis on symbolic and expressive content meant that the life of the city no longer was the dominant subject field for artists. Afterward, many painters developed their individual aesthetic style outside of Paris. Cézanne spent well-nigh of his career in Provence; Van Gogh arrived at his mature fashion in Arles in the south of French republic; and, in an infamous renunciation of Paris, Gauguin expatriated to Tahiti.

Post-Impressionism: Concepts, Styles, and Trends

Seurat and Pointillism

The primeval herald of the new trend that broke with Impressionism was Georges Seurat. He adult the fashion of painting known equally Pointillism, which refers to the utilize of a point, or dot, every bit the basis for the construction of a painting. The larger stylistic movement of Seurat'due south followers is known equally Neo-Impressionism, only the movement is likewise identified as "chromo-luminarism" or Divisionism. Seurat explored a new, scientific arroyo to the representation of color and extended the Impressionists' interests in optics. The marks that fabricated up the painting were each executed in a singular color. Those individual marks and colors so visually blended in the eye of the viewer, every bit dictated by the prevailing tenets of and so-current color-theory. In works such as A Dominicus Afternoon on the Island of La Grande Jatte (1884-86), Seurat applied color in dense fields of tiny dots in order to mimic the vivid and vibrating appearance of natural lite, which is likewise the outcome of the blending of the diverse colors of the spectrum. Paul Signac closely followed in Seurat'due south footsteps in these explorations.

Van Gogh and Japonisme

Vincent van Gogh relied upon saturated colors and broad brushstrokes to evoke the inner turmoil of the creative person. Along with Gauguin, he experimented with new approaches to painting and rejected bookish representation, fine finish, and the Impressionists' fixation on opticality. He was influenced past a variety of sources, non the least of which was his beloved of the stylized representations of Japanese Ukiyo-e prints. In the late-19^thursday century, an influx of Japanese goods and art into the European market initiated Japonism - the European interpretation of Japanese creative styles in Western art objects. Like influences are also axiomatic in the work of Henri de Toulouse-Lautrec. Toulouse-Lautrec was an observer of the cabaret world with a unique perspective; he was born into the French nobility, merely was physically disabled, and thus embodied the perspective of both an insider and an outsider. His unique view of Parisian nightlife resulted in paintings and lithographs of dance halls and cabarets that relied upon the strong outlines and apartment planes of colour of the ukiyo-e.

Gauguin and Synthetism

In the fall of 1888, Van Gogh and Gauguin shared a modest apartment and studio space in Arles, in the south of France. During those months, the two artists forged a rocky, but mutually benign relationship. While they both shared an interest in symbolic content and images that were abstracted from their natural appearances, Gauguin developed these ideas further in his theory of "Synthetism." According to its tenets, the last, visual grade is determined by a synthesis of the outward appearance of the natural class, the creative person's feelings virtually the subject matter, and the aesthetic considerations of colour, line, and form. In his piece of work, Gauguin oft discarded shading, modeling, and single-point perspective, and instead used pure colour, stiff lines, and apartment ii-dimensionality to elicit a visceral emotional impact. These works were too ofttimes derived "de tête" - from memory or imagination - and expressed a strong connexion with the subject field matter that inspired the work, whether that subject derived from faith, literature, or mythology.

Cézanne and the Structure of Pictorial Form

In his painting, Paul Cézanne focused on an exploration of the underlying formal structure of still lifes, portraits, and landscapes. Rather than describe the overall impression of a scene, Cézanne sought to articulate its underlying organization and suggested that the mural was built up from the simplest geometric components. As he once famously wrote in a alphabetic character to the Symbolist painter Emile Bernard, "Treat nature in terms of the cylinder, the sphere, the cone." By using planes of color to create these shapes, he partially merged parts of figures in the foreground with elements of the groundwork, joining surface and depth. Perhaps the most influential of the Post-Impressionists, Cézanne forged a link between Impressionism and Cubism. His innovations were tremendously influential for the masters of modernity, similar Henri Matisse and Pablo Picasso. Picasso fifty-fifty went then far every bit to telephone call Cézanne "the male parent of us all."

Rousseau and Primitivism

Many Post-Impressionists were drawn to Primitivism in their search for more vivid styles and symbolic content. In this instance, Primitivism refers to the "naive," self-taught style exemplified by Henri Rousseau who was championed every bit a pioneer, but it can also refer to the borrowing of not-Western art forms by artists similar Picasso and Gauguin. Rousseau circuitously came to art through sketching to occupy himself at his chore with the Parisian toll service operating the gates to the city. By 1884, he avidly copied the works in the Louvre's collection and arrived at a way that dominated his entire oeuvre. While Rousseau'south paintings at get-go glance appear to nowadays conventional discipline affair, the simplified, abstracted forms and surface patterns that merge inside the painted images derived solely from his imagination. Although he lacked whatsoever academic training, his evocative landscapes and jungle scenes, such equally The Sleeping Gypsy (1897) and The Dream (1910), relied upon his interpretations of his subconscious, rather than the surrounding world. His representation of the realm of dreams in a uniquely intuitive style proved highly influential for the Fauves, Cubists, and Surrealists.

Les Nabis

Influenced by Japonisme, Symbolist painting, and the English Pre-Raphaelites, the group of artists known as Les Nabis firmly adhered to idea that the artist must synthesize nature and personal expression inside the work of fine art. The name, "Les Nabis," derived from the Hebrew word for "prophet," and heralded the group's cadre ideology - a blend of mysticism and the inner spirituality of the artist. Paul Sérusier founded the grouping and refined the style that came to boss their production. Influenced past Gauguin, they used paint right from the tube in broad, unmodulated areas of color, with patterned designs and stylized contours that reflected the subjective vision of the creative person. Painter and theorist Maurice Denis published the essay Definition of Neo-Traditionism in 1890, in which he stated, "call back that a picture - before being a war-equus caballus or a nude or a genre scene - is primarily a flat surface covered with colors arranged in a certain society." Les Nabis exhibited together from 1892 through 1899, and embraced a variety of media including painting, prints, stained glass, and stage sets. The core membership of the group consisted of Paul Sérusier and Maurice Denis, also as Pierre Bonnard and Édouard Vuillard. Several other artists exhibited and worked with the grouping at varying times, amid them Aristide Maillol and Henri de Toulouse-Lautrec.

International Mail service-Impressionism

Although Post-Impressionism was centered in France, the creative styles and theories that emerged from the move quickly spread to other countries. The Norwegian painter Edvard Munch expanded upon the ideas of Symbolism to create his ain personal and highly expressive artistic manner. Through bathetic renderings and the use of bold colour and sinewy lines, he sought to connote the internal strife of the artist as well as the burgeoning anxiety of modern human. Others, such as the Belgian painter and printmaker James Ensor, implemented vibrant hues and flattened perspective in an anti-realist manner in order to convey the widespread tension and angst of the spirit of the "fin de siecle." Ensor'southward subject thing oftentimes derived from the annals of fable and allegory, however, he frequently portrayed the grotesque every bit a rebellion against the classically beautiful themes of academic art.

Later Developments - Afterward Post-Impressionism

Although name of the Post-Impressionist movement is widely known today, English artist and critic Roger Fry only coined the term in 1910 for an exhibition he organized at London'southward Grafton Galleries, Manet and the Post-Impressionists. In the catalogue, he acknowledged that the imprecision of the label "Mail service-Impressionism" highlighted the disparity in the different styles and interests of the artists it encompassed. Despite the variations of styles, the overall guiding logic behind the show traced the progression abroad from Impressionism. Fry felt this began with Manet, only the exhibition focused on the work of Cézanne, Van Gogh, and Gauguin.

Past 1910, movements like Fauvism, Expressionism, and Cubism already dominated the European advanced. Each new evolution in these major movements was congenital upon the symbolism and structure advocated past the different Post-Impressionist styles.

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Source: https://www.theartstory.org/movement/post-impressionism/history-and-concepts/

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