Simply Fine Art - The Summit of Paintings

Post-ImpressionismPost-Impressionism was both an extension of Impressionism and a rejection of its limitations. Post-Impressionists continued using vivid colours, thick application of paint, distinctive brushstrokes and real-life subject matter, but they were more inclined to emphasize geometric forms, to distort form for expressive effect, and to use unnatural or arbitrary colour. The Impressionist Camille Pissarro experimented with Neo-Impressionist ideas between the mid 1880s and the early 1890s. 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. The Post-Impressionists were dissatisfied with the triviality of subject matter and the loss of structure in Impressionist paintings, though they did not agree on the way forward. Georges Seurat and his followers concerned themselves with Pointillism, the systematic use of tiny dots of colour. Paul Cézanne set out to restore a sense of order and structure to painting. He achieved this by reducing objects to their basic shapes while retaining the bright fresh colours of Impressionism. Vincent van Gogh used colour and vibrant swirling brush strokes to convey his feelings and his state of mind. Although they often exhibited together, Post-Impressionist artists were not in agreement concerning a cohesive movement. Younger painters during the 1890s and early 20th century worked in geographically disparate regions and in various stylistic categories, such as Fauvism and Cubism.

The Starry Night Roses Green Wheat Field with Cypress. Saint-Rémy Reaper The Bedroom The Olive Grove Café Terrace at Night Farmhouse in Provence Sunflowers The Langlois Bridge at Arles with Women Washing The Night Café The Sower