This document discusses Post-Impressionism in Europe in the late 19th century. It describes two main trends: Scientific Post-Impressionism exemplified by Seurat and Cézanne, and Lyrical Post-Impressionism represented by Gauguin and Van Gogh. Seurat developed a technique called Pointillism based on new scientific theories of color and vision, applying small dots of pure color that were meant to optically mix in the viewer's eye. His most famous work, A Sunday Afternoon on the Island of La Grande Jatte, exemplifies this technique and took over two years to complete.

1. POST-IMPRESSIONISM
MODERN ART IN EUROPE IN THE LATE 19th
CENTURY

2. INTRODUCTION to Post-Impressionism
• By 1885-86 necessity of a shift in the conception of the
image . From impressionistic evanescence to a new kind of
firmness, solidity.
• The term “postimpressionism” does not identify a
movement but rather assembles different individual styles : post-
impressionist trends
• Most significant artists: Georges Seurat, Paul Cézanne, Paul
Gauguin, Vincent Van Gogh
• They all started from the impressionist experience but then
extended beyond it and its limitations

3. Post-impressionism wants to express new thematic and
stylistic force, experimenting with new visual languages
Two main trends inside post-impressionism
Scientific post-impressionism Lyrical post-impressionism
Cézanne , Seurat Gauguin, Van Gogh

4. Scientific post-impressionism desire to abandon and
overcome impressionist preoccupation with the fleeting
moment
Scientific Theories
Michele Eugene Chevreul : "Loi du contraste simultané des
couleurs« (publ. 1839)
PRINCIPLE OF SIMULTANEOUS
CONTRAST
Two contiguous colors seen side by
side are perceived differently as they
really are
(as viewed separately on
a black background)

5. Maxwell-Chevreul new scientific theories about optics
and vision of light and colour
Seurat’s experimentation with the new theories
Contrasting and complementary colors can optically mix to
reach far more vivid tones than those achieved by mixing
paint alone (theory of SIMULTANEOUS CONTRAST AND RETINAL FUSION)
SEURAT’S NOVELTY : technique of CHROMOLUMINISM
application of the theory OF “MELANGE OPTIQUE” to the
technique of JUXTAPOSITION OF DOTS

6. TECHNIQUE OF CHROMOLUMINISM
- Analysis of the colors of objects
- Attempt to synthesize them through small dots or
touches of color
- Dots of color approximately equal in size lying
side by side produce an optical fusion
The result is ….
Greater luminosity and brilliance of colors are
achieved
Phenomenon of the duration of the light impression on the retina

7. POINTILLISM
Seurat defined the optical synthesis
he achieved as
“a mixture of the lights
and their shadows in
accordance with the
laws of contrast
sequence and
irradiation”
The Circus, 1891

8. A Sunday Afternoon on the Island of La Grande Jatte
1884-86, oil on canvas, 2.07x3.08 m – The Art Institute of Chicago
1886: VIII impressionist
exhibition
Theme: summer middle class
weekend leisure
Composition: the geometry of
space and distribution of
figures is almost classical
Figures: static, volumetric but
also without body weight
( might be a criticism to
middle class society)

9. Effects of the technique of POINTILLISM
- Both characters and natural
elements are made of the
same multicolor fine dust
- No spontaneity
(#impressionist painting)
and no en plain air painting
- Almost 3 years to be
finished
Scientific approach
application of GOLDEN RATIO
(see relationship btw bodies and
shadows)

10. Effects of the technique of POINTILLISM
- Both characters and natural
elements are made of the
same multicolor fine dust
- No spontaneity
(#impressionist painting)
and no en plain air painting
- Almost 3 years to be
finished
Scientific approach
application of GOLDEN RATIO
(see relationship btw bodies and
shadows)