Post-Impressionism
is a term coined by the British artist and art critic Roger Fry in 1910, to describe the development of European art since Manet. John Rewald, one of the first professional art historians to focus on the birth of early modern art, limited the scope to the years between 1886 and 1892 in his pioneering publication on Post-Impressionism: From Vincent Van Gogh to Paul Gauguin (1956): Rewald considered it to continue his History of Impressionism (1946), and pointed out that a "subsequent volume dedicated to the second half of the post-impressionist period"[1] - Post-Impressionism: From Paul Gauguin to Henri Matisse - was to follow, extending the period covered to other artistic movements of the late 19th and early 20th centuries ? to artistic movements based on or derived from Impressionism, at all.
Post-Impressionism(
Fine Art,
Poster,
Oil Painting Reproduction,
Post—Impresionsm) 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.
