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Neo impressionism
- 1. Neo Impressionism T h eE r a o f D i vi s i o n i s m & P o i n t i l l i s m
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- 3. What is Neo- Impressionism? Neo-Impressionism is an movement in French painting of the late 19th century that reacted against the empirical realism of Impressionism by relying on systematic calculation and scientific theory to achieve predetermined visual effects. Neo-Impressionism is a term coined by French art critic Félix Fénéon in 1886 to describe an art movement founded by Georges Seurat.
- 4. What is Neo- Impressionism? Most of the Neo-Impressionists held anarchist beliefs. Their depictions of the working class and peasants called attention to the social struggles taking place as the rise of industrial capitalism gained speed, and their search for harmony in art paralleled their vision of a utopian society. The freedom they sought in scientific study furthered their abilities to overthrow bourgeois norms and conventions that hampered their individual autonomy.
- 5. What is Neo- Impressionism? In order to more fully capture the luminosity seen in nature, the Neo- Impressionists turned to science in finding their painting technique of juxtaposing various colors and tones to create a shimmering, illuminated surface. By systematically placing contrasting colors, as well as black, white, and grey, next to each other on the canvas, the painters hoped to heighten the visual sensation of the image.
- 6. Characteristics W h at a r e t h e c h a r a c t e r i s t i c s o f N e o - I m p r e s s i o n i s m ?
- 7. Characteristics • Divisionism • Pointillism InNeo – Impressionism, there are two characteristics that defines this art movement and the style that is being used within this movement.
- 8. Divisionism also called Chromo- luminarism,is a color theory that advocates placing small patches of pure pigment separately on the canvas in order that the viewer's eye will optically blend the colors. Divisionism became widely applied to any artist dividing or separating color while using small brushstrokes.
- 9. Pointillism Pointillism relied onthe same theory of optical blending but specifically applied tiny separate "points," or dots, of pigment.
- 10. Other Characteristics The stylealso features luminescent surfaces, a stylized deliberateness that emphasizes a decorative design and an artificial lifelessness in the figures and landscapes. Neo-Impressionists painted in the studio, instead of outdoors as the Impressionists had. The style focuses on contemporary life and landscapes and is carefully ordered rather than spontaneous in technique and intention
- 11. Proponents T h em a i n p r o p o n e n t s o f N e o – I m p r e s s i o n i s m a n d e x a m p l e o f t h e i r w o r k s
- 12. Georges Seurat was aFrench post-Impressionist artist. He is best known for devising the painting techniques known as chromoluminarism and pointillism. While less famous than his paintings, his conté crayon drawings have also garnered a great deal of critical appreciation. Seurat's artistic personality was compounded of qualities which are usually supposed to be opposed and incompatible: on the one hand, his extreme and delicate sensibility; on the other, a passion for logical abstraction and an almost mathematical precision of mind.
- 13. A Sunday Afternoonon La Grande Jatte (1884-1886)
- 14. Paul Signac Born inParis on 11 November 1863. He followed a course of training in architecture before deciding at the age of 18 to pursue a career as a painter after attending an exhibit of Monet's work. In 1884 he met Claude Monet and Georges Seurat. He was struck by the systematic working methods of Seurat and by his theory of colors and became Seurat's faithful supporter, friend and heir with his description of Neo-Impressionism and Divisionism method. Under Seurat's influence he abandoned the short brushstrokes of Impressionism to experiment with scientifically juxtaposed small dots of pure color, intended to combine and blend not on the canvas but in the viewer's eye, the defining feature of Pointillism.
- 15. Against the Enamelof a Background Rhythmic with Beats and Angles, Tones, and Tints, Portrait of Félix Fénéon (1890)
- 16. Camille Pissarro was aDanish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas (now in the US Virgin Islands, but then in the Danish West Indies). His importance resides in his contributions to both Impressionism and Post-Impressionism. Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54.
- 17. La Récolte desFoins, Éragny (1887)
- 18. Albert Dubois-Pillet Louis-Auguste-Albert Duboiswas born on 28 October 1846 in Paris. Shortly thereafter, his family moved to Toulouse, where he was raised. In 1867, he graduated from l'Ecole Impériale Militaire in Saint-Cyr and began his career as a military officer. He remained in the army for the rest of his life Although self-taught, with no formal art education, he proved to be a talented artist. Around 1885, probably influenced by his friendships with Seurat and others, he began experimenting with Divisionist techniques, and he embraced Pointillism – one of the first artists to do so. By the next year, his works were fully Neo- impressionist. With Signac, he used pen and ink to create pointillist drawings. Dubois-Pillet's studio-apartment served as the unofficial Neo-impressionist headquarters during the movement's early years. Some of his pointillist work is composed with "photographic precision".
- 19. La Dame àlaRobe Blanche (Woman in White) (1886-1887)
- 20. “Activity 1) Draw asketch using Divisionism or Pointillism or both. 2) It can be anything under the weather. (shape, object, scene, anything) 3) Be creative!!!!!
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Editor's Notes
- #14 This most famous and influential Neo-Impressionist work depicts a cross section of Paris society enjoying a Sunday afternoon in the park on an island in the Seine River just at the gates of Paris. Sunday was the time that middle-class Parisians escaped the city to enjoy the outdoors. The people primarily gather in small groups of two or three or sit alone in proximity to others. It is the relationship between these people that creates a sense of modernity, with its distance and disconnection, and nervous tension that lends the work an air of mystery.
- #16 Signac depicts the art critic Félix Fénéon in profile in front of a swirling, mesmerizing backdrop. With his distinctive goatee, top hat, and cane, and holding a flower in one hand, Fénéon is the very image of a flaneur, an erudite wanderer of city streets who both observed and critically participated in urban life. The background is remarkably innovative with its abstract swirls of complementary colors that resemble a color wheel, and its stars and planet-like circles suggest a kind of rainbow view of the cosmos, arranged harmoniously around its central human figure. Signac depicts the critic as a kind of trail blazer initiating a new world of art.
- #18 This painting depicts a hay harvesting scene in the countryside near Éragny, where the artist lived with his family from 1884 until his death in 1903. In the center of the canvas, a woman uses a hayfork while behind her others do similar work in a brightly lit field punctuated by hay stacks
- #20 This portrait of an unidentified woman was the first Neo-Impressionist portrait. As many of the group concentrated on depicting color in its greatest luminosity, their subject matter tended toward landscapes and cityscapes, but a few artists went beyond such subjects. The MAMC in Saint-Étienne, France has dubbed her "Madame P," but, at the time of the work's inception, Félix Fénéon called her Mademoiselle B. Seated in an upholstered chair, placed before a background wallpapered with floral arabesques, the woman dressed in white, a blue flower on her breast, looks with an indifferent gaze past the viewer.