Research Paper on The Era of Post Impressionist European Art
Post Impressionist European Art
Post Impressionist European Art period that is from the 19th – 20th Century was more in the form of refusal of purposeful representation in favor of prejudiced expression. Point of view is subjective, and the objective was to transfer to the canvas the world as they perceived it, foretelling their own unique depth discernment.
The well-known world is distorted by emotion with the subjective experiences of light, and bold colors. This was the time period that spans the breach between Impressionism and Abstractionism.
Literally, the most prominent artist during that period, Vincent van Gogh re-defined art according to his likes and dislikes and displays the luxurious impact of life’s forms that are greatly influenced by vibrant colors.
The early years of the century are marked socially and culturally, by efforts to bring together convention and modernism. Science convoluted the relationship between matter and energy; on the other hand, psychoanalysis investigated the complexities of humans.
Different aspects from jagged flat planes to a viewer’s perception are constantly moving and refute predetermined shapes and systems that had been clearly distinct in the traditional art are dependent and obscured, and are solid and empty from all sides.
In the late 1880s, a group of young painters wanted to break out from the realism of Impressionism, focusing on topics with deeper significance and unique artistic approaches for expressing feelings rather than just visual impressions. Their art was distinguished by a revitalized aesthetic sensibility as well as abstract inclinations via the use of reduced colors and clear shapes.
Paul Gauguin (1848–1903), Georges Seurat (1859–1891), Vincent van Gogh (1853–1890), and the oldest member of the group, Paul Cézanne (1839–1906), were among the early Impressionist painters who pursued genuine intellectual and aesthetic accomplishments. These painters, who frequently worked alone, are now referred to as post-impressionists.
Art of Paul Gauguin
Paul Gauguin’s art grew out of similar Impressionist foundations, but he, too, abandoned Impressionism’s handling of color and imagery in favor of a style distinguished by solid patches of color and sharply defined forms, which he used to depict exotic themes and images of personal and religious symbolism.
Gauguin’s wanderlust led him to places like Brittany, Provence, Martinique, and Panama before settling him in secluded Polynesia’s Marquesas Islands and Tahiti.
He captured some of his most enlightening and emotive images in Tahiti. Ia Orana Maria (Hail Mary) combines unusual Christian themes, such as the Adoration of the Magi and the Annunciation, with vivid visuals and Polynesian iconography.
In a letter to a friend who was a dealer in Paris, he described this painting as follows: “An angel with yellow wings points out Mary and Jesus, both Tahitians, to two Tahitian women, nudists wrapped in pareus, a sort of cotton cloth printed with flowers that can be draped as one pleases from the waist” (letter to Daniel de Monfreid, March 11, 1892).
The term “post-Impressionism” is used to refer to a wide range of artistic movements that emerged in opposition to the methods and aesthetics of Impressionism. This artistic trend peaked in the late 19th century.
Picasso lived from 1881 to 1973, and although his work was post-Impressionist in style, he is more frequently referred to as a Cubist than a post-Impressionist because of the nature of his work.
Formal experiments were extended in pictures made of pieces stuck on the surface and in constructions during the unreal stage of Cubism. Matisse and Fauve’s composed surface designs consist of combinations of pure, powerfully vivacious colors.
Building on the robust foundations and abstract spaces invented by Cezanne, Cubists academically took apart, and then reconstructed forms and volumes.
Within a single frame, the revolutionary visual language of Analytic Cubism holds out numerous advantageous positions and manifold meanings of reality. Cubism confirmed what Monet had indirectly suggested that art is found on a surface, not beyond a plane as if it were a window.
Fauvism and Cubism
Since the term “Post-Impressionism” is used to categorize works of art that developed in response to Impressionist painting, many well-known painters have had their styles merge with this trend.
Cézanne is frequently mentioned as one of the most well-known Impressionists because of his significant contribution to Cubism and his profound impact on contemporary art.
Even though van Gogh struggled to gain recognition during his lifetime, his distinctive style, bright color, and dreamlike nature of works like The Starry Night helped him to become one of the most well-known post-Impressionists (1889).
Together, Fauvism and Cubism continued the work of the Post-Impressionists: color and line were definitively freed from their obligation to describe observed reality. In Paris, the nature of art was the major topic of Duchamp’s art.
Brancusi’s sleek, drastically abstracted creations of three-dimensional arts (sculptures) were rudimentary and distinctly modern
Die Brucke the pioneer of German Expressionism, used these newly- unconventional recognized fundamentals expressively for making influential pictures that depict “tormented grief-stricken viciously primordial, or fervently divine, reflecting celestial forces.”
Joining features of Fauvism, Cubism, and German folk art, these paintings are wrought by the heightened feelings of the artist and extract an emotional and distraught rejoinder from the audience.
If anything, Austrian Expressionism proved even darker, its distortions more misshapen Kandinsky developed an abstract language that corresponded to music that articulated the universe’s spiritual proportions and flow of celestial forces.
Impressionism and Post-Impressionism
Impressionism and Post-Impressionism are terms used to describe important creative styles that emerged in late 19th-century France.
Impressionists preferred autonomous exhibits, the first of which was staged in 1874, as opposed to the system of state-controlled schools and salons. Instead of being inspired by previous art or historical or mythical story, they painted current landscapes and aspects of living, particularly bourgeois leisure and amusement.
The Impressionists observed the transient effects of light, atmosphere, and movement because they were interested in preserving fleeting moments. By concentrating the paint on the canvas surface, flattening the feeling of perspective due to a lack of tonal modeling, and employing risky cropped viewpoints that were influenced by Japanese prints, they maintained the Realists’ rupture from the illusionist tradition.
The Impressionists were different from their forerunners in that they clearly depicted nature and contemporary city life while painting en plein air (outside) and with a pallet of pure colors.
Between around 1860 and 1900, a group of artists who resided in Paris produced works under the umbrella of Impressionism.
The 1880s backlash against Impressionism is also characterized as “post-Impressionism.” Paul Cézanne, Paul Gauguin, Vincent van Gogh, and Georges Seurat served as its leaders. The concern for the spontaneous and lifelike representation of light and color was disregarded by the Post-Impressionists.
They preferred placing more emphasis on formal structure, formal order, and symbolic substance. However, they emphasized the artificiality of the image in a manner similar to the Impressionists. The Post-Impressionists also held the view that color may serve as an aesthetic and emotional carrier of a message without being dependent on form or composition.
Known as “Divisionism,” In the late 19th century, a movement known as Neo-Impressionism developed from the principles of the Post-Impressionists. Georges Seurat, who wanted to move Impressionism in a more scientific direction, was the main proponent of this Neo-Impressionist school of thought.
Seurat became well-known for experimenting with color and how the eye sees it. In A Sunday Afternoon on the Island of La Grande Jatte (1884–1866), his most renowned work, he combines the principles of Neo-Impressionism and Pointillism to produce an illusion from tiny dots of primary colors.
A significant aspect of many Post-Impressionist works is symbolism. The real-life topics of their paintings served as metaphors for larger concepts for many of the movement’s painters. As an illustration of food waste in the world, a Post-Impressionist artist would depict a half-eaten apple she observes on the street.
Les Nabis, a group of Post-Impressionist painters, specialized in using religious and spiritual motifs in their works. They employed Post-methods Impressionism to portray via art their beliefs in spiritualism and mysticism.
There is more to Post-Impressionism than first appears because it is not an isolated movement in and of itself. The post-Impressionists had a passion for shifting the subject matter of their artwork, but their individual styles were very distinct. This movement had a significant impact on art.
The stubborn Post-Impressionist resolve to include something of their souls in their paintings softened the coldness of Impressionist art with its quest for the representation of objective truth.
In doing so, the bounds of art were broken and a more spiritual aspect was inserted, bringing deeper levels and giving the fixated Impressionist viewpoint a little bit of heart.
The post-Impressionism art trend included a number of varied, distinctively different styles. The addition of symbolism, subjectivity, and self-expression in a way that contrasted with the Impressionist emphasis on accurately representing light was the primary similarity across the various styles.
Post-Impressionism added subjectivity and gave the artist some room for self-expression in the paintings, whereas Impressionism, the antecedent of this significant creative style, is claimed to elicit an emotional reaction in the viewer with its dazzling representation of the natural world.
This unique touch added depth and allowed for a stronger bond between the artist and the audience. Additionally, it was significant because it impacted later artistic movements like Cubism and Fauvism.