divisionism


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divisionism:

see postimpressionismpostimpressionism,
term coined by Roger Fry to refer to the work of a number of French painters active at the end of the 19th cent. who, although they developed their varied styles quite independently, were united in their rejection of impressionism.
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Divisionism

 

or pointillism, a style of painting, developed by G. Seurat and P. Signac, characteristic of neoimpressionism. The technique involves the orderly breakdown of a complex color tone into pure colors that are applied to the canvas with separate brush strokes. When perceived by the viewer, these strokes blend optically. Divisionism was used by H. Cross and, to some extent, C. Pissarro in France, G. Segantini in Italy, and T. van Rysselberghe in Belgium. Elements of divisionism appear in several works by I. E. Grabar’ in Russia.

References in periodicals archive ?
This translated not only in the introduction of new themes but in a complete rethinking of how art was produced and received by its audience; see for instance Rainey's connection of a technique like "the uniform application of strokes across the canvas surface," inherited from Divisionism, to the erosion of "the principle of distinction between objects and environments, bodies and space, matter and atmosphere" (9).
23) During the general conference of 1876 in Baltimore, for instance, the Methodist Episcopal Church overturned its 1872 decision to adopt officially an anti-caste position in favor of divisionism, which essentially called for the separation of the Church into black and white congregations once again.
8) The excitement for this age was evident in artists such as George Seurat, a French Post Impressionist painter, who worked in a systematic method he called Divisionism.
lt;< San Carlinos >> and << San Pablinos >> : Divisionism and Unionism between Myth and Ideology in the Reproduction of Communitarian Borders in the Andes of Chachapoyas (Peru)
We are invited to follow closely Matisse's experimentation with the color separation of divisionism, under Paul Signac, his absorption of Michelangelo, Manet, and Courbet, Byzantine icons and Islamic textiles, as well as his devouring of Delacroix, Ingres, and Hokusai.
Departing from the broad brushstrokes of the Impressionists, he developed a technique called Pointillism or Divisionism, employing small dots or strokes of contrasting color to create the subtle fight and hue changes contained within a painting.
From Impressionism, as well as Synthesism and Divisionism, van Gogh took what he felt strongest about and carved out his own dramatic style.
His painting Dinner Table (la Desserte) of 1897 confirms him working with Bonnard and Vuillard and he attempted Divisionism around 1899, but without any real sympathy for the style, using strongly modelled form and dark, sombre tones.
One sees in Signac's late work that divisionism had to be either a total commitment or nothing.
This biography is particularly admirable in showing the innovations of Brown's work: |Carrying Corn is a revolutionary small landscape; its ordinariness, brilliant colour, bold technique and firm structure have more in common with Pissarro and Seurat's divisionism than with Victorian art of the 1850s' (p.
In a sense, Divisionism interacted with Impressionist views on color and touch somewhat parallel to the way in which Lavoisier's theory of combustion interacted with Priestley's theory of phlogiston.