Post Impressionism is a predominantly French art movement that was born roughly between 1886 and 1905, from the last Impressionist exhibition to the birth of Fauvism. Post-Impressionism emerged as a reaction to the Impressionists’ naturalistic depiction of light and colour. Due to the emphasis on more broad aspects of art like abstraction and symbolic content, it separated itself from Impressionism which still stood to replicate the natural world and the things in it. The movement was led by Paul Cezanne, Vincent van Gogh, Paul Gauguin, and Georges Seurat. The term was first used in 1906 by art critic, Roger Fry. He used the term again in 1910 when he organised Manet and the Post-Impressionists, defining it as the key development in French Art since Manet.
Post Impressionism encompasses a wide range of distinct artistic styles that all share the common idea of responding to the visuality of the Impressionist movement. They stylized variations assembled under the general idea of Post-Impressionism ranges from the more scientifically orientated Neo-Impressionist Georges Seurat to the lush symbolism of Paul Gauguin. However, all banners of Post-Impressionism focused on the subjective vision of the artist and not the representation of something as it is seen. The movement changed the landscape of the art world even further than Impressionism did. The window that was once used to view the world as it was transcended itself and became instead a window into the artist’s mind and soul. The far-reaching aesthetic impact of the Post-Impressionists influenced many groups, like the Expressionists, that arose during the turn of the 20th century as well as more contemporary movements like Feminist Art, which is very heavily centered on identity.
Post-Impressionists extended Impressionism while rejecting its limitations. They still used vivid colours, thick layers of paint and real-life subject matter but were more inclined to emphasize geometric forms, the distortion of forms for expressive effects and the use of unnatural or arbitrary colours.
Some of the key ideas of Post-Impressionism were the importance of symbolic and highly personal meanings within the paintings. For example, Paul Gauguin and Vincent van Gogh rejected the observable world, instead looking at their memories and emotions in order to connect to the viewer on a deeper level. Structure, order and the optical effects of colour dominated the aesthetic vision of the Post-Impressionists. Rather than merely representing their surroundings, they relied upon the relationships between colour and shape to describe the world around them. Despite the various individualized styles, most of the Post-Impressionists focused on abstract form and patterns in the application of paint to canvas. Their early works leaned towards abstraction and paved the way for the radical modernist exploration of abstract art that took place in the early 20th century. Critics grouped the various styles within Post-Impressionism into two primary trends, though they were stylized in their owns ways and generally opposed each other. On one side was the structured and geometric styles that was the precursor to Cubism while on the other side was the expressive or non-geometric art that led to Abstract Expressionism.
The Post-Impressionists were dissatisfied with what they felt was the triviality of subject matter and the loss of structure in Impressionist paintings. Though, it seemed, they could not agree on a way forward with these matters. Georges Seurat and his followers fell into Pointillism, which is the systematic use of tiny dots of colours to create form and structure. Paul Cezanne set out to restore a sense of order and structure to paintings. He achieved this by reducing objects to their basic shapes while retaining the saturated colours of Impressionism. Pissaro, who was one of the original Impressionists, experimented with Neo-Impressionism between the mid-1880s and the early 1980’s. Followers of Neo-Impressionism were drawn to more modern, urban scenes as well as landscapes and seashores. Science-based interpretations of lines and colours influenced the Neo-Impressionists’ characterizations of their own contemporary art. Pisarro became quite 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. Vincent van Gogh used vibrant, swirling brush strokes to convey his feelings and his state of mind. Artists such as Seurat adopted a meticulously scientific approach to colour and composition.
The Post-Impressionists were often not in agreement concerning a cohesive movement. Yet, the abstract concerns of harmony and structural arrangement took precedence over naturalism, in all the works of these artists.
Impressionism was a French art movement that started in the 19th century, from around 1860. It marked a momentous break from traditional European painting. The Impressionists incorporated new scientific research into the physics of colour to achieve a more natural representation of colour and tone. In the past, art and painting focused on pure representation and less on how the light played off of the subject matter. The Impressionists were more interested in this and looked at the way that colour changed and shifted as the light did.
Impressionist art is a style in which the artist captures the image of an object as someone would see it if they just caught a glimpse of it. They painted the pictures with a lot of colour and most of their paintings were outdoor scenes. Their pictures were often quite bright and vibrant yet still captured a quality of subtlety to the colour. The artists aim would be to capture their images without detail but rather with bold colours and loose brushstrokes.
The sudden change in the look and feel of what were more traditional paintings came out of a change in methodology. Instead of focusing on pure blending and exact representation, the Impressionists applied paint in small touches of pure colour rather than broader strokes and painting outdoors was the mode of creation. Brushwork was done in a more rapid manner and broken into separate dabs in order to capture the fleeting quality of light. Although it has been noted that the process of painting ‘plein air’ or outdoors is said to have been pioneered in Britain by John Constable around 1813-17 through his desire to paint nature in a realistic way. Instead of painting in a studio, the Impressionists found that they could capture the momentary and transient effects of sunlight by working quickly. The intent was to catch a particular fleeting moment of colour and light, like when the sun touches the edges of the leaves at dawn or dances over water during a sunset. This resulted in a greater awareness of light and colour and the shifting pattern of the natural scene.
Some of the more prominent Impressionists were the artists like Edouard Manet, Camille Pissaro, Alfred Sisley, Edgar Degas, Claude Monet and Pierre August Renoir. Manet greatly influenced the development of Impressionism. He was one of the first 19th century artists to paint modern life and was a pivotal figure in the transition from Realism to Impressionism. Manet painted everyday objects whereas Pissaro and Sisley painted the French countryside and river scenes. Pissaro’s importance lies in his contributions to both Impressionism and Post Impressionism while Sisley was one of the most consistent Impressionist painters in his dedication to painting landscapes and in a plein air manner. Degas enjoyed painting ballet dancers and horse races. He is often identified with the subject of dance, more than half of his works depict dancers. However, despite being one of the founders of the Impressionist movement he rejected the term, preferring to be called a realist. Renoir loved to show the effects of sunlight on flowers and figures and particularly enjoyed feminine sensuality and beauty as a subject. Monet was one of the key founders of the Impressionist movement and one of the most prolific practitioners of the movement’s philosophy. He was interested in the subtle changes in the atmosphere but also how one expressed their own perceptions before nature.
While the term ‘Impressionist’ covers much of the art of this time, there were smaller movements within that, such as Pointillism, Art Nouveau and Fauvism, although all of these have as much leg to stand on as any other movement. The first group exhibition was in Paris in 1874 and included work by Monet, Renoir, Degas and Cezanne. The work shown was greeted with derision with Monet’s Impression, Sunrise particularly singled out for ridicule. However, the artists persevered and seven further exhibitions were then held at intervals until 1886.
At the time, there were many ideas of what constituted modernity. Part of the Impressionist was to capture a split second of life, an ephemeral moment in time on the canvas. An Impression. They abandoned traditional linear perspective and avoided the clarity of form that had previously served to distinguish the more important elements of a picture from the lesser ones. For this reason, many critics faulted the Impressionist paintings for their unfinished appearance and seemingly amateurish quality. Compared to previous genres of art making it is understandable why this was originally rejected as a mode of art-making. However, despite all of this the Impressionists kept going and it continues to be one of the most well known and popular ways of viewing and making art. They aimed to be painters of the real. To extend the possible subjects of paintings and get away from the depictions of idealized forms and perfect symmetry. They instead saw the world for what it was. Imperfect in a myriad of ways.
Dadaism was an artistic and literary movement that began in Zurich, Switzerland. It arose as a reaction to World War 1 and the nationalism that many thought had led to the war. It was very much influenced by Cubism, Futurism, Constructivism, and Expressionism. The content made out of that genre was highly varied and ranged from performance art to poetry, photography, sculpture, painting, and collage. The movement fell away with the development of Surrealism but it gave rise to many of the various realms of modern and contemporary art.
Dada was the first conceptual art movement where the focus of the artists wasn’t on creating aesthetically pleasing objects but on making works that often upended bourgeois sensibilities and that asked difficult questions about society, the role of the artist and the purpose of art. In fact, the group were so intent on opposing all the norms of middle-class culture that they were often barely in favour of themselves, often crying “Dada is anti-Dada.” So the realm of dadaism could often be confusing, contradictory and in a constant state of flux. Artists like Hans Arp, for example, went against all norms of traditional forms of art making where a work was meticulously planned and completed. Arp used methods of chance in the creation of his works, an example being his artwork Collage with Squares Arranged According to the Laws of Chance, which involved his signature technique of tearing paper into rough shapes and dropping them onto a larger sheet, pasting them down where they happened to fall. Dada artists are known for their use of readymade objects – everyday objects that could be bought and presented as art with little to no interference from the artist. The use of readymade art forced questions about artistic creativity and the very definition of art and its purpose in society. The term ‘readymade’ art was first used by French artist Marcel Duchamp to describe the works of art he made from already manufactured objects. For example, Duchamp’s earliest readymade art piece was titled Bicycle Wheel and was made in 1913. This was simply a wheel mounted on a wooden stool. Duchamp particularly chose ordinarily functional and rather dull objects.
Marcel Duchamp was one of the pioneers of Dadaism. Dadaism was primarily about creating what many called ‘nonsense art’ but was, in reality, a movement that challenged ideas about what could be art and what art was. Duchamp particularly looked at turning mundane objects into sculptures. Despite working with a lot of the same themes as surrealists, he refused to actually align himself with any particular art movement. So even despite his significant contribution to the Dadaist movement, he refused to label himself as a Dadaist. This could be contributed to the idea that even Dadaism itself seemed to contradict itself and he did not want to label himself or his art for fear of falling into that. However, despite this, he is widely considered to be the father of Conceptual art. For that reason, I want to focus a little bit on who he was and what he did because it really highlights the Dada movement and what it stood for.
Marcel Duchamp was born on July 28, 1887, and died on October 2, 1968. He was a French artist whose work broke down the boundaries between works of art and everyday objects. He was a painter, sculptor and chess player, and his disinterest in conventional ways of making art led him to create his most famous works, the ‘ready-mades’ that started the new artistic revolution. Few artists can boast about having changed the course of art history the way Duchamp did. His influence on later contemporary artists was monumental and many future art movements were influenced by him.
Duchamp was raised in Normandy, in a family of artists. He moved to Paris in 1904 to join his two brothers who were also there working as artists. Duchamp earned a living by working as a cartoonist and his early drawings show his interest in both visual and verbal puns. He became an American citizen in 1955 where he became a big influence on the New York art scene.
Duchamp began to work as an artist when he moved to Paris to pursue his career. When he eventually retired from the art scene he reportedly spent his time playing chess. In 1911 Duchamp met Francis Picabia and the following year attended a theatre adaptation of Raymond Roussel’s Impressions d’Afrique, a play about the eccentric travelers of a vessel which has become shipwrecked. It had a profound effect on Duchamp. Duchamp noted that for the first time he felt that as a painter it was much better to be influenced by a writer than by another painter.
Duchamp was constantly captivated by new approaches to art and he particularly enjoyed the Fauvists, Cubists, and Impressionist for that reason. He related especially to the Cubist way of working, which focused less on representing reality and rather on reordering it. His earlier paintings, such as Nude Descending a Staircase (1912) show his interest in machinery and its connection to the body’s movement through space. His interest in crossing between genres of creativity and drawing in other disciplines for inspiration would later become one of the core ideas of Dadaism.
Dada artworks, in general, aim to present intriguing overlaps and paradoxes where the intent is to demystify artwork in a sense of accessibility. The main idea was that art did not have to be elite or cost a lot of money and this contradicted the world of art history before it, where art and being able to afford artworks was a sign of status. Even in a more modern time, seeing art meant that you had the luxury to visit a gallery and view and appreciate the work. At the same time, they tried to remain quite cryptic about the intention and concept of the works so that the viewer could interpret it in a variety of ways. The key to understanding Dada works lies in reconciling the seemingly silly, slapdash styles with the profound anti-bourgeois message.
Dada was easily the first conceptual art movement and is now considered a watershed moment in 20th-century art. Postmodernism as we know it would not exist without Dada. Almost every underlying postmodern theory in visual and written art as well as in music and drama was invented or at least utilized by Dada artists. Dada explored all the genres of art in this way, from art as performance, which overlapped with everyday life, the use of popular culture and audience participation and the act of embracing the absurd and the use of chance.
The History Of Colour
The invention of paint as we know it began as early as 40,000 years ago and consisted of combinations of soil, animal fat, burnt charcoal and chalk. This, in essence, created the basic pallete of red, yellow, brown, black and white. Since then, the history of colour has been one
long journey of discovery and exploration, some through chance and others through scientific advancement. The invention of new pigments often sparked new developments in art history, from Renaissance to Impressionism.
Because of the lack of technology and just general lack of access to pigments, paints started out as very neutral, natural toned colours. They were all made out of materials that could be found in nature. Things like natural clays, rocks as well as minerals and precious stones
would all be utilised but certain animal products could also be used as a pigment.
First used in prehistoric cave paintings, red ochre is one of the oldest pigments still used today. In the 16th century, a red pigment was discovered that came from a cochineal insect, a creature that was only found on the prickly pear cactus in Mexico. These little bugs produce
such a potent red dye that it quickly became the third greatest import out of the “New World”. Third only to gold and silver. Raphael, Rembrandt and Rubens all used cochineal as a glaze, layering the pigment on top of other red to increase intensity. Because the pigment is
non-toxic it still used today to colour lipstick and blush.
Ever since the medieval era, painters have depicted the Virgin Mary in a bright blue robe, choosing the colour both for its religious symbolism as well as its hefty price tag. Mary’s iconic hue, called Ultramarine blue, comes from lapis lazuli, a gemstone that could only be found in a single mountain range in Afghanistan. For hundreds of years, the cost of lapis lazuli rivalled even the price of gold. In the 1950s, Yves Klein collaborated with a Parisian paint
supplier to invent a synthetic version of ultramarine blue, Klein said, “Blue has no dimensions. It is beyond dimensions.”
Few artists in history have been known for their use of yellow, though William Turner and Vincent van Gogh are the most notable exceptions. For his sun-lit seascapes, Turner used the experimental watercolour Indian Yellow—a fluorescent paint derived from the urine of mango-fed cows (banned less than a century later for its cruelty to animals). For brighter touches, Turner used a synthetic Chrome Yellow, a lead-based pigment known to cause
delirium. Vincent van Gogh also painted his starry nights and sunflowers using Chrome Yellow which, in part, contributing to his declining mental health.
While the colour green evokes nature and renewal, its pigments have actually been some of the most poisonous in history. In 1775, a deadly hue called Scheele’s Green was invented, a bright green pigment laced with arsenic. By the end of the 19th century, Paris Green—a
similar mixture of copper and arsenic—replaced Scheele’s Green, enabling artists like Claude Monet, Paul Cézanne, and Pierre-Auguste Renoir to create vivid, emerald landscapes. However, it was still highly toxic and may have been responsible for Cézanne’s diabetes and even Monet’s blindness. Unsurprisingly, it was eventually banned in the 1960s.
For centuries, the colour purple has been associated with greatness: immense power, big personalities and artistic genius. Cleopatra and Julius Caesar covered themselves and their palaces with it. Impressionists like Clause Monet became so obsessed with the colour that they were accused of contracting “violettomania” The invention of collapsible tin tubes to store premixed paint was revolutionary for the fine art world. It led to the production of nuanced, pre-mixed paint shades, such as Manganese Violet, the first affordable mauve-coloured paint that meant artists no longer had to mix red and blue to make purple.
Black is technically an absence of light. Where reds, blues, greens are examples of chromatic colours, black is achromatic. It is without hue, like white. Black was one of the first pigments ever used and over the course of art history, there have been many different kinds of black
pigment. Charcoal, which was inexpensive but produced a gritty paint that was difficult to apply. Bone black, literally ground burnt animal bones tended to have a warmer, brown-black and lamp black (burnt vegetable oil) and vine black (charred grapevines or other vegetable products) gave cooler shades. Artists like Frank Stella, Richard Serra, and Ad Reinhardt all created monochromatic black paintings, stripping the canvas of any subject matter other than the paint itself. Taken together, these painters prove that black is as nuanced a colour as any other, capable of many permutations, tones, and textures.
Of all the pigments that have been banned over the centuries, the colour most missed by painters is likely Lead White. This hue could capture and reflect a gleam of light like no other, though its production was anything but glamorous. The 17th-century Dutch method for manufacturing the pigment involved layering cow and horse manure over lead and vinegar. After three months in a sealed room, these materials would combine to create flakes of pure white. While scientists in the late 19th century identified lead as poisonous, it wasn’t until
1978 that the United States banned the production of lead white paint.
As we spoke about in our last post, the psychology of colour is a fascinating and diverse area of thought and in history, the act of using colour has often served as a way of representing something, usually within the realms of mystical, divine and royal. Colours in different cultures can also represent very different things. For example, white in Western culture represents purity and marriage whereas Asian cultures see white as the colour of mourning, grief and loss.
One must examine how colour has been used over time and how the development of technology has influenced the way we see and use colour. We are blessed to live in an age where we can walk into any old art store and find any colour under the rainbow in a tube on a shelf. And even now we have access to colours that are metallic, neon or even glow in the dark. It can be both very freeing and overwhelming at the same time. So just imagine you’re
one of the old masters, grinding up pigments made from rocks shipped from the centre of Africa. That’ll make things easier!