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Post-Impressionism (also spelled Postimpressionism) was a predominantly French art movement that developed roughly between 1886 and 1905, from the last Impressionist exhibition to the birth of Fauvism. Post-Impressionism emerged as a reaction against Impressionists' concern for the naturalistic depiction of light and colour.
Synthetism is a term used by Post-Impressionist artists like Paul Gauguin, Émile Bernard and Louis Anquetin to distinguish their work stylistically from Impressionism. Earlier, Synthetism has been connected to the term Cloisonnism , and later to Symbolism . [ 1 ]
Arthur Jerome Eddy (November 5, 1859 – July 21, 1920, in New York City, New York) was an American lawyer, author, art collector, and a prominent member of the first generation of American Modern art collectors. His book Cubists and Post-Impressionism was the first American book promoting these new art movements and the work of Wassily ...
Roger Eliot Fry (14 December 1866 – 9 September 1934) was an English painter and critic, and a member of the Bloomsbury Group.Establishing his reputation as a scholar of the Old Masters, he became an advocate of more recent developments in French painting, to which he gave the name Post-Impressionism.
In 1841, a little-known American painter named John G. Rand invented a simple improvement without which the Impressionist movement could not have occurred: the small, flexible tin tube with removable cap in which oil paints could be stored. [2] Oil paints kept in such tubes stayed moist, usable, and portable.
Cloisonnism is a style of post-Impressionist painting with bold and flat forms separated by dark contours. The term was coined by critic Édouard Dujardin on the occasion of the Salon des Indépendants , in March 1888. [ 1 ]
Art Dealing, Impressionist Movement, Modern Art Markets Paul Durand-Ruel ( French pronunciation: [pɔl dyʁɑ̃ ʁɥɛl] ; 31 October 1831 – 5 February 1922) was a French art dealer associated with the Impressionists and the Barbizon School . [ 1 ]
The School of Paris was not a single art movement or institution, but refers to the importance of Paris as a centre of Western art in the early decades of the 20th century. Between 1900 and 1940 the city drew artists from all over the world and became a centre for artistic activity.