Cosmopolitan Fine Arts specialize in Contemporary French impressionist and post- impressionist paintings. The gallery also represents celebrated American & European contemporary artists such as: Dy. Smith, An. He, Colomer, Gantner, Pervuninsky, Uwe, Rino Gonzalez, Morro and others. We invite you to enjoy our outstanding collection in a relaxed atmosphere. Post-Impressionism: List of artists and index to where their art can be viewed at art museums worldwide. Post- Impressionism - Wikipedia. Post- Impressionism (also spelled Postimpressionism) is a predominantly French art movement that developed roughly between 1. Impressionist exhibition to the birth of Fauvism. Post- Impressionism emerged as a reaction against Impressionists. Due to its broad emphasis on abstract qualities or symbolic content, Post- Impressionism encompasses Neo- Impressionism, Symbolism, Cloisonnism, Pont- Aven School, and Synthetism, along with some later Impressionists' work. The movement was led by Paul C. Georges Seurat and his followers concerned themselves with Pointillism, the systematic use of tiny dots of colour. The Impressionist Camille Pissarro experimented with Neo- Impressionist ideas between the mid- 1. Discontented with what he referred to as romantic Impressionism, he investigated Pointillism, which he called scientific Impressionism, before returning to a purer Impressionism in the last decade of his life. Yet, the abstract concerns of harmony and structural arrangement, in the work of all these artists, took precedence over naturalism. Artists such as Seurat adopted a meticulously scientific approach to colour and composition. Fry later explained: . This merely stated their position in time relatively to the Impressionist movement. Rewald considered this a continuation of his 1. History of Impressionism, and pointed out that a . Post-Impressionism (also spelled Postimpressionism) is a predominantly French art movement that developed roughly between 18; from the last Impressionist exhibition to the birth of Fauvism. This volume would extend the period covered to other artistic movements derived from Impressionism, though confined to the late 1. Rewald focused on such outstanding early Post- Impressionists active in France as Van Gogh, Gauguin, Seurat, and Redon. He explored their relationships as well as the artistic circles they frequented (or were in opposition to), including: Neo- Impressionism: ridiculed by contemporary art critics as well as artists as Pointillism; Seurat and Signac would have preferred other terms: Divisionism for example. Cloisonnism: a short- lived term introduced in 1. Rewald's approach to historical data was narrative rather than analytic, and beyond this point he believed it would be sufficient to . Local national traditions as well as individual settings therefore could stand side by side, and from the very beginning a broad variety of artists practicing some kind of symbolic imagery, ranged between extreme positions: The Nabis for example united to find synthesis of tradition and brand new form, while others kept to traditional, more or less academic forms, when they were looking for fresh contents: Symbolism is therefore often linked to fantastic, esoteric, erotic and other non- realist subject matter. To meet the recent discussion, the connotations of the term 'Post- Impressionism' were challenged again: Alan Bowness and his collaborators expanded the period covered forward to 1. World War I, but limited their approach widely on the 1. France. Other European countries are pushed back to standard connotations, and Eastern Europe is completely excluded. So, while a split may be seen between classical 'Impressionism' and 'Post- Impressionism' in 1. Post- Impressionism' remains under discussion.
For Bowness and his contributors as well as for Rewald, 'Cubism' was an absolutely fresh start, and so Cubism has been seen in France since the beginning, and later in Anglosaxonia. Meanwhile, Eastern European artists, however, did not care so much for western traditions, and proceeded to manners of painting called abstract and suprematic. The declarations of war, in July/August 1. World War. Mac. Carthy, London, Grafton Gals, 1. Fry, London, Grafton Gals, 1. J. Post- Impressionism: From Van Gogh to Gauguin (New York, 1. The Post- Impressionists (Oxford, 1. Post- Impressionism: Cross- currents in European Painting (exh. Stevens; London, RA, 1. The Post- Impressionists (Oxford and New York, 1. Studies in Post- Impressionism (London, 1. See also. Brettell, Modern Art, 1. Capitalism and Representation, Oxford University Press, 1. Peter Morrin, Judith Zilczer, William C. Agee, The Advent of Modernism. Post- Impressionism and North American Art, 1. High Museum of Art, 1. Bullen, J. Post- impressionists in England, p. ISBN 0- 4. 15- 0. ISBN 9. 78- 0- 4. Huyghe, Rene: Impressionism. Secaucus, N. J.: Chartwell Books Inc., p. OCLC 1. 53. 80. 46. Cogniat, Raymond (1. ISBN 0- 5. 17- 5. Caroline Boyle- Turner, Post- Impressionism, History and application of the term, Mo. MA, From Grove Art Online, Oxford University Press, 2. Manet and the post- impressionists; Nov. Grafton Galleries, London^Gowing, Lawrence (2. Facts on File Encyclopedia of Art: 5. New York: Facts on File, p. ISBN 0- 8. 16. 0- 5. Rewald, John: Post- Impressionism: From Van Gogh to Gauguin, revised edition: Secker & Warburg, London, 1. Sources. External links.
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