Neo-Impressionism


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Related to Neo-Impressionism: divisionism, Post-impressionism

Neo-Impressionism

 

an art trend that originated around 1885 in France, where its principal representatives were G. Seurat and P. Signac. Neo-impressionism spread to Belgium (T. van Rysselberghe), Italy (G. Segantini), and other countries. In developing the principles of late impressionism, which was marked by an intensified interest in optic phenomena, the neo-impressionists sought to apply the latest discoveries in optics to art. They methodically broke down complex color tones into pure colors. Seeking to overcome the haphazard and fragmentary nature of impressionist compositions, the neo-impressionists resorted to decorative, two-dimensional compositional solutions. The cerebral method of neo-impressionism often led to the predominance of cold intellectualism and to a dry abstractness of images.

REFERENCES

Signac, P. Ot Ezh. Delakrua k neoimpressionizmu, Moscow, 1913.
Rewald, J. Postimpressionism. Leningrad-Moscow, 1962. (Translated from English.)
References in periodicals archive ?
Mirroring his peripatetic existence, his painting style at various times borrowed from a hatchwork of neo-impressionism (Giovanni Segantini), German expressionism (Paul Klee, Wassily Kandinsky, Franz Marc), French post-impressionism (Paul Cezanne), and Symbolism.
Like many busy art teachers, I finally found time to read the September, 1989 issue of SchoolArts during winter break, and was excited to find the Looking/Learning article, "Painting: Neo-Impressionism.
Since Neo-Impressionism involves the science of color, I felt a color review was necessary.
Whether abstraction derives from Cubism or Impressionism or Fauvism or Neo-Impressionism or Expressionism or some combination of these developments, its antecedents are traceable to the aesthetic vitality of representational painting.
Between 1897 and 1900, Matisse experimented with numerous artistic styles, including Impressionism, Pointillism, and Neo-Impressionism.
Pieces will include a wide range of paintings covering her evolving style, from early abstracts to more contemporary explorations in neo-impressionism.
There has been no comprehensive overview of neo-impressionism, however, since the Guggenheim's in 1968.
The shattering of space and flattening of the picture plane initiated by Cezanne is of at least equal importance to abstraction as neo-impressionism was.
Gauguin was the only painter of note to forge a pictorial style that had no link with Neo-Impressionism.
That Neo-Impressionism served so many young artists so well is perhaps its greatest legacy.
From this point, Matisse's art is seen changing rapidly, demonstrating an interest especially in Neo-Impressionism and the work of Paul Cezanne.