5 Post-Impressionism Characteristics You Should Know

Post-impressionism was a French art movement that emerged in the late 1880s and early 1900s. The term “Post-Impressionism” was first used by the then-English artist and art critic Roger Fry to describe an exhibition of late 19th-century French paintings, sculptures, drawings, and in London. Since the term has been used to define painters’ responses in the 1880s towards Impressionism. Post-Impressionists expanded on Impressionism by rejecting its limitations. They continued using vivid colors, thick layers of paint, and depictions of everyday life but placed a greater emphasis on geometric shapes, and distorted forms for expressive purposes, and employed unnatural or arbitrary colors.

The Impressionists’ realistic use of color and light presented the primary “problem” for Post-Impressionist painters with Impressionism. Paul Cezanne diverged from the rigid Impressionist approach to light and color, earning him the title of the progenitor of Post-Impressionism art. Additional figures that played prominent roles in the movement included Paul Gauguin, Vincent van Gogh, and Georges Seurat.

Post-impressionism placed a strong emphasis on symbolic content and abstract aspects. Consequently, artists with diverse artistic techniques could be categorized as part of the Post-Impressionism movement. Art styles such as Neo-Impressionism, Cloisonnism, Primitivism, and Pointillism are all examples of Post-Impressionism styles.

Post-Impressionism emerged as a result of Impressionism, however it deliberately disregarded the constraints imposed by its predecessor. The Post-Impressionist painters continued to use vibrant hues and depict subjects from everyday life. However, in contrast to the Impressionists, their artwork is renowned for its distinct geometric style. They placed great emphasis on geometric or twisted forms to convey expressive impact and used unnatural colors.

Characteristics of Post-Impressionism

The most common characteristic of Post-Impressionist art is the individualistic style of each artist, despite their shared goal. Their mutual objective was to expand the boundaries of Impressionism. In doing so, their works of art exhibit a variety of characteristics, despite that they are created in distinct styles. Key features include emotional symbolism, use of evocative color, distinctive brushwork, unnatural colors, and a focus on form and structure. Post-impressionist painters portrayed subjects from their memories or subconscious minds on canvases, even though they favored painting real-life situations.

1. Emotional Symbolism

Post-Impressionist artists held the belief that art should not be centered around style or techniques, but rather should prioritize symbolism. The Post-Impressionist artist conveyed an emotional message from his own psyche to the audience. Artists usually used distorted forms and non-naturalistic colors to elicit mood, express personal emotions, and delve into intricate subjects such as spirituality and the state of humanity.

Post-Impressionist art does not use the subject matter as a mere visual tool but rather uses it as a means to express emotions. According to Paul Cézanne, paintings without an emotional starting point are not works of art. Emotional symbolism and personal meanings had significant importance for Post-Impressionist artists such as Paul Gauguin and Vincent van Gogh. They were disinterested in portraying the objective reality, opting instead to rely on their experiences and emotions to establish a profound connection with the audience.

Paul Cézanne’s Pyramid of Skulls, created in 1901, is a fascinating example of post-impressionism painting that appeals to both casual audiences and experienced art enthusiasts. This post-impressionist painting portrays four human skulls placed in a pyramid shape, a theme that captivated Cézanne in his final period. This striking composition is a dramatic piece in his large body of work, provoking serious meditation on issues of mortality.

Paul Cézanne became more focused on the subjects of mortality and the progression of time. Cézanne’s reflection on mortality was shaped by his progressing age and deteriorating health. The skulls, portrayed with a strong contrast between light and shade, emphasize this obsession, as does the disturbing closeness of the objects to the audience.

Paul Cézanne, “Pyramid of Skulls,” 1901

Paul Cezanne’s emphasis on still-life compositions, especially those that use skulls, signifies a change in his artistic perspective motivated by personal self-reflection. The painting’s harsh and disconcerting imagery is noticeable in comparison to his other works, offering a valuable understanding of his thoughts and feelings at that time. The artwork is housed in a private collection and continues to captivate art historians and connoisseurs. The artwork’s simplicity, along with its profound metaphorical depth, demonstrates Cézanne’s expertise and enduring impact on the art world. This work not only showcases his technical proficiency but also his capacity to captivate viewers in pondering life’s deeper questions.

Paul Gauguin used emotional symbolism in his artwork, often including his encounters in Tahiti to produce paintings that delved into topics of spirituality and the human condition. The artwork “Where Do We Come From?” What Are We? In “Where Are We Going?” (1897-1898), Gauguin used a sequence of symbolic symbols and materials to examine these deep existential questions. The painting’s figures, which are arranged from right to left, symbolize the various stages of existence, from birth to Death. The colors, ranging from vivid yellows and oranges to deep blues, possess not only aesthetic appeal but also symbolic significance, mirroring the emotional and spiritual progression of life. Gauguin’s work is highly personal, reflecting his personal quest for meaning and his subsequent emotions of alienation from Western society.

Where Do We Come From? What Are We? Where Are We Going?, 1897 – 1898

The use of non-naturalistic colors enabled a more subjective and expressive depiction of the world, surpassing the objective focus of Impressionism to capture the inner emotional life of the artist and audience.

2. Evocative Color

Evocative color refers to colors that elicit emotional responses and reactions from people. Color is known to have significance beyond its mere visual appearance. Color elicits different emotions and serves as a defining characteristic of a painting. An artist uses color to generate evocative and influential visuals.

Impressionists aimed to depict the impact of natural light on tonal qualities. Post-Impressionist artists intentionally employed an artificial color scheme in order to emphasize geometric forms and avoid relying on natural lighting effects. Through their expressive and vividly colored artworks, they depicted their subjective interpretations of the world they inhabited, influenced by their emotions.

Paul Gauguin, “The Vision After the Sermon (Jacob Wrestling with an Angel),” 1888

The use of color, shape, and line in Vision After the Sermon is admired for its bold approach to paint application. Gauguin drew inspiration from the Japanese woodblock drawings of Hiroshige and Hokusai, which he possessed, to formulate the concept of non-naturalistic landscapes. The artist employs large areas of uniform color in the artwork, and the red background deviates from the traditional depiction of land, fields, or vegetation. Gauguin experimented with bold contour lines, exaggerated features, and distorted shapes to create the observing figures instead of using the gradual tone shifts that most painters used. The brown trunk, black clothing, white hats, and red field are depicted with subtle color gradation. Paul Gauguin demonstrates the possibility of transitioning from naturalism to a more abstract and symbolic style of painting. Gauguin’s paintings include the formal aspects influenced by Japanese prints, although his selection of subject matter and composition is distinctively original.

Georges Seurat continued to employ color to achieve specific effects, despite his more scientific approach to the technique of pointillism. Seurat achieved a vibrant and luminous effect by strategically placing small dots of colors that complemented each other. The intention behind this technique was to evoke a specific optical and emotional reaction in the viewer. The collective influence of his artistic creations, such as “A Sunday on La Grande Jatte,” is characterized by a sense of harmony and tranquility, accomplished through the meticulous arrangement of colors.

Color is the primary visual component of this painting. Seurat assembled the forms on the picture using dots, dabs, and strokes of primary color pigment (red, yellow, and blue), utilizing his scientific knowledge of light and color. The eye creates new hues by optical color combination, which occurs when the colors blend together and are viewed from a distance. The resultant color impression was not attained through the combination of paints on the artist’s palette, but rather through the superposition of pure colors on the human retina.

Post-Impressionism’s use of evocative color marked a significant break from previous artistic practices, which predominantly aimed to imitate the natural world through color (Nicolson, 1951). Post-Impressionists regarded color not merely as a visual element, but as a tool to convey deeper meanings such as emotional states, symbolic messages, and or evocative atmospheres. This approach to color not only had a significant impact on the trajectory of modern art but also laid the foundation for later art movements like Expressionism and Fauvism, which further dived into the use of color as a potent means of conveying emotions and symbolism.

3. Distinctive Brushstrokes

Post-Impressionist art is characterized by bright colors and well-defined edges. As a result, most Post-Impressionist artists used short and abrupt brushstrokes, which were reminiscent of the techniques utilized by Impressionists. They used short brushstrokes and broken colors to create precise geometric forms.

Paul Cezanne, for example, first adopted the Impressionist style before diverging into his own distinctive artistic style. He employed small repeated brushstrokes and portrayed his subjects with great intensity. Post-Impressionist artworks commonly have broad brushstrokes, which contribute to the artwork’s texture and provide a perception of depth. However, the brushstrokes clearly indicate that the intention is not to provide a realistic portrayal of the subject.

Cézanne’s Post-Impressionist style is shown by the captivating painting Couples Relaxing by a Pond (c. 1875). This painting shows his unique use of form and color. The image portrays a serene scenario in which people are peacefully enjoying in the natural setting of a pond. The artwork captures the fundamental qualities of Cezanne’s distinctive technique, combining impressionistic brushstrokes with a profound perception of depth and emotion.

Couples Relaxing by a Pond
Couples Relaxing by a Pond, Paul Cezanne, c. 1875

 

Cézanne’s brushwork is distinctive and defined by precise, tiny strokes that gradually construct the image. Cézanne’s technique diverges from the smooth and blended brushwork of the Impressionists by incorporating depth and texture into his paintings. The painting “Couples Relaxing by a Pond” demonstrates how the deliberate application of individual brushstrokes generates a feeling of motion and liveliness over the entire scene.

Every stroke on this canvas is evidence of Cezanne’s expertise in the medium, with each brushstroke precisely recreated to capture the artist’s unique style. The vivid color scheme, which is a defining characteristic of Cezanne’s art, is authentically captured, conveying the scene’s coziness and warmth.

Vincent van Gogh is renowned for his vibrant and expressive brushstrokes, which convey a sense of energy and emotion. The artist’s use of a thick, impasto technique, with clearly visible and layered brushstrokes, evokes a strong feeling of motion and intensity. By using this approach, the scene becomes nearly alive, and breathing, allowing the audience to experience the artist’s emotional state.

Georges Seurat’s brushstrokes are accurately grouped into small color dots using a technique known as pointillism. Although the artist created individual dots are tiny and accurate, they combine to form a unified image when observed from afar. Van Gogh’s intense emotional content and Seurat’s systematic approach contrast, but both artists reach a richer and deeper quality than Impressionism.

4. Real-life subject matter

The Post-Impressionists embraced depicting subjects from everyday life in their paintings. However, artists opted to portray those subject themes by drawing upon their memories or subconscious ideas on a canvas. The subject matter left a profound and meaningful impression. Typically, geometrical forms were employed for this purpose. Sometimes, one may observe abstract figures.

Post-impressionists attempted to portray reality with a deeper emotional and symbolic meaning than Impressionists, who focused on light and atmosphere to capture the transitory moments of daily life.

The subject matter in Post-Impressionism frequently focused on ordinary scenes from daily life, yet with a unique perspective. These scenes were not merely depictions of the observable environment; they were infused with the artist’s feelings, reflections, and at times a societal critique.

The Starry Night
The Starry Night, Vincent Van Gogh, 1889

“The Starry Night” (1889) by Vincent van Gogh shows the view seen from the window of his room at the Saint-Rémy-de-Provence, facing east, shortly before sunrise. The famous painting also includes an imaginary village. This artwork, belonging to the post-impressionism movement, portrays a nocturnal sky above a peaceful town. However, the artist’s depiction of the stars and sky, characterized by swirling and nearly turbulent brushstrokes, conveys their inner turmoil and deep emotional state, rather than providing a literal description of the landscape. The cypress tree depicted in the artwork, reaching upwards towards the sky, intensifies the feeling of desire and deep reflection on existence.

The Basket of Apples (1895), Paul Cezanne

Another example is Paul Cézanne’s still life paintings, including “Basket of Apples” (1895). This post-impressionist painting features one of his signature tilted tables, an impossible rectangle with no right angles. A basket of apples extends from a slab-like foundation on it, as if the broad, sculptural folds of the tablecloth and the bottle are balancing it. A more realistic still life could never have the depth and vitality that this composition has thanks to the strong modeling, bold brushstrokes, and radiant colors.

The straightforward subject of apples on a table is transformed into a complex study of form and perspective by Cézanne’s approach. The fruit seems to move in space, and the table’s corners are not aligned, which throws off the viewer’s sense of reality. This distortion is intentional; Cézanne wanted to express a more profound, abstract truth about the nature of perception by capturing the spirit of the things rather than their precise form.

5. Experimentation and Individualism

Post-Impressionism is a collection of individual expressions, with each artist contributing their own unique twist on the movement. It is not confined to a single style or method. The various ways that Post-Impressionist painters experimented with color, form, and composition are clear indicators of their experimentation.

Georges Seurat and other key artists pioneered pointillism, a meticulous painting technique that entails the application of small, distinct specks of color to produce a cohesive image when viewed from a distance. Others, like as Paul Cézanne, experimented with distilling natural forms to simple geometrical forms, which helped to establish the foundation for Cubism. The erratic, expressive brushstrokes of Vincent van Gogh are a prime example of his experimenting with expressive approaches intended to evoke strong emotion rather than strictly realistic reality.

Rather than painting a realistic depiction, some painters such as Seurat and Signac portray impressions of their subjects on canvas. Though there are variations in style, Post-Impressionism is typically distinguished by bright colors and clearly defined edges.

Each post-impressionist painter approached art in a different and distinctive way. The post-impressionist movement was characterized by a significant amount of diversity, as they did not adhere to a single technique or approach. This featured the unique visions of many post-impressionist artists, like Henri de Toulouse-Lautrec, Vincent Van Gogh, Paul Gauguin, Paul Cézanne, and Georges Seurat.

The Night Cafe - VAN GOGH, Vincent - 1888 - 2
The Night Cafe, Vincent Van Gogh, 1888

Consider, for instance, Vincent van Gogh’s artwork titled “The Night Cafe“. Van Gogh has described this artwork as his “ugliest” creation, not because of any deficiency in creative skill, but rather because of the deliberate manner in which the subject matter is portrayed to evoke certain emotions. Contrary to usual Impressionist art, the painter does not convey a neutral perspective towards the world or an attitude of appreciating the beauty of nature or the present moment. The painting illustrates Van Gogh’s utilization of “suggestive color,” or what he subsequently referred to as “arbitrary color,” in which the artist imbued his works with his emotions, characteristic of the later art movement known as Expressionism.

Nathaniel Harris describes the lamps as “sinister features” with orange-and-green halos and the walls and ceiling as an “oppressive combination” of red and green. Harris further says that “The top half of the canvas creates its basic mood, as any viewer can verify by looking at it with one or the other half of the reproduction covered up; the bottom half supplies the ‘facts.'” The thick paint adds a surreal touch of waviness to the table tops, billiard table, and floor. The viewer is left with a feeling of seediness and despair, Harris wrote. “The scene might easily be banal and dispiriting; instead, it is dispiriting but also terrible.”

Post-Impressionism painters enthusiastically adopted their individual artistic beliefs, and vivid styles, resulting in a diverse array of styles within the movement. Every artist endeavored to convey their individual viewpoint, leading to highly distinctive creations. Paul Gauguin’s use of vibrant hues and streamlined shapes in his portrayals of Tahitian life highlights his pursuit of spiritual significance, whereas van Gogh’s emotionally charged landscapes and portraits unveil his inner distress and profound emotional encounters.

Exploration of New Materials and Techniques

The most famous post-impressionist styles include: Pointillism, Japonisme, Synthetism, and Les Nabis.

Pointillism

Georges Seurat was the first precursor of the emerging movement that deviated from Impressionism. He pioneered the artistic technique called Pointillism, which involves using individual points or dots to create a painting. Seurat’s followers are part of a larger style movement called Neo-Impressionism, which is also known as “chromo-luminarism” or Divisionism. Seurat pioneered a novel, scientific method for depicting color and expanded upon the Impressionists’ fascination with optics. Each mark in the painting was produced using a single color. The separate marks and colors merged together in the viewer’s eye, following the principles of the color theory of that time. Seurat utilized a technique in his post-impressionist works too, such as A Sunday Afternoon on the Island of La Grande Jatte (1884-86), where he painted color in concentrated areas of tiny dots. This method aimed to imitate the vibrant and oscillating quality of natural light, which is also achieved through the combination of different colors from the spectrum. Paul Signac closely imitated Seurat’s approach in these investigations.

Paul Signac’s The Port of Saint Tropez (1906) is a famous and beautiful example of  Neo-Impressionism

Japonisme

Vincent van Gogh utilized vibrant colors and wide brushstrokes to portray the internal distress of the artist. Alongside Gauguin, he explored novel painting techniques and disapproved of the Impressionists’ obsession with opticality, academic depiction, and exquisite finish. He was influenced by various sources, including his strong affinity for the stylized depictions found in Japanese Ukiyo-e prints. Japonism, which emerged in the late 19th century, refers to the European adoption and interpretation of Japanese artistic styles in Western art items, following the introduction of Japanese goods and art into the European market. The work of Henri de Toulouse-Lautrec also shows similar influences. Toulouse-Lautrec, born into the French nobility, had a distinctive viewpoint as a viewer of the cabaret scene due to his physical disability. This allowed him to embody the perspectives of both an insider and an outsider. His distinct perspective on Parisian nightlife led to paintings and lithographs depicting cabarets and dance halls that were reliant on the ukiyo-e’s crisp lines and flat color planes.

Katsushika Hokusai Thirty-six Views of Mount Fuji: The Great Wave Off the Coast of Kanagawa(1906) was studied by European modernists like Van Gogh and Toulouse-Lautrec

Synthetism

During the fall of 1888, Van Gogh and Paul Gauguin shared a small apartment and studio in Arles, located in the southern region of France. The two artists created a difficult yet fruitful connection during those months. They had a common interest in symbolic content and abstract images. However, Gauguin took these concepts to a more advanced level in his idea of “Synthetism.” Synthesist artists aimed to combine the external look of the natural form, their emotions towards the subject matter, and the aesthetic elements of color, line, and form. Gauguin often rejected the use of shading, modeling, and single-point perspective in his artwork. Instead, he employed vibrant colors, bold lines, and a flat two-dimensional style to evoke a powerful emotional response. These works were also oftentimes derived “de tête,” meaning they were generated from memory or imagination. They conveyed a profound connection with the subject matter that served as the inspiration, be it derived from religion, literature, or mythology.

Paul Gauguin’s Mountains In Tahiti (1897) expresses the artist’s vision with vibrant colors.

Les Nabis

The English Pre-Raphaelites, Japonisme, and Symbolist painting were among the artistic movements that influenced Les Nabis. They were adamant about the necessity for an artist to combine nature and self-expression in their works. The term “Les Nabis,” which came from the Hebrew word for “prophet,” proclaimed the fundamental beliefs of the group, which combined mysticism with the artist’s personal spirituality. The group was created by Paul Sérusier, who also honed the aesthetic that eventually dominated their output. Drawing inspiration from Gauguin, they applied paint right from the tube in large, uncontrolled sections of color, using geometric patterns and stylized outlines that conveyed the artist’s personal interpretation. Between 1892 and 1899, Les Nabis held group exhibitions featuring a range of mediums such as paintings, prints, stained glass, and stage sets. Paul Sérusier, Maurice Denis, Édouard Vuillard, and Pierre Bonnard made up the group’s core membership.

Les muses au bois sacré (1893) by the Les Nabi and Symbolist Maurice Denis

Emphasis on Form and Structure:

Impressionism prioritized the portrayal of light and atmosphere, but Post-Impressionism emphasized the form and structure of the represented figures and objects. They frequently transformed forms into geometric or stylized components.

Paul Cézanne (1839–1906), despite being a contemporary of the celebrated Impressionist and Post-Impressionist painters, possessed a unique style, aesthetic considerations, and interests. Cézanne, via his meticulous observations, demonstrated a greater fascination with the geometric forms and viewpoints he encountered in his various subjects, such as the natural world, portrait sitters, and still life, compared to his peers and associates. His methodical approach to painting and his choice of topics propelled modern art beyond the Impressionism movement pioneered by artists like Monet, and towards the Cubism movement championed by Picasso and other artists.

Turn in the road, 1881

Cézanne was a close collaborator and admirer of Camille Pissarro, one of the most innovative Impressionist landscape painters, during the 1870s. This striking scene, in contrast to Pissarro’s simpler views of the countryside, demonstrates Cézanne’s fascination with intricate arrangements of shapes and spaces that subvert the viewer’s perceptions. For instance, in the above painting, the curved road leads us into deep space and creates a flattened appearance on the canvas. The original owner of this landscape was Claude Monet, a painter who was close to Cézanne.

Innovative Composition

In Post-Impressionism, “innovative composition” describes the inventive ways in which painters broke with convention and arranged materials and space in their works. Post-impressionists experimented with asymmetrical perspectives, the use of negative space, and unconventional viewpoints, in contrast to earlier French art, which frequently followed rigid perspective and balance.

Paul Cézanne, reinterpreted still lifes and landscapes by tilting perspectives and reducing objects into geometric patterns that suggested depth and movement. Vincent van Gogh frequently twisted perspective to highlight particular components while expressing emotion and energy through dynamic lines and brilliant colors.

By using this method, painters were able to convey their own feelings, experiences, and symbolism in addition to accurately portraying reality. The Post-Impressionists’ departure from conventional composition set the stage for other more radical modernist exploration of art movements such as Cubism, in which the composition and arrangement of the canvas became essential to the meaning of the piece of art.

Impact on Future Movements

Cubism drew inspiration from Paul Cézanne’s method of decomposing objects into their most basic shapes. This concept was expanded upon by artists such as Pablo Picasso and Georges Braque, who produced works of art that simultaneously displayed objects from several perspectives. Cubism is when you look at a bottle from the top, side, and front all at once (Eddy, 1914). It demonstrated to us that there are several perspectives and ways to depict the world, marking a dramatic departure from traditional art.

Fauvism derived its vitality from the vibrant use of color in Post-Impressionism. Although the use of color by artists such as Henri Matisse was not always in line with reality, it was still a powerful tool for capturing feelings and emotions. The more vivid styles and erratic colors of Fauvism can be linked to the way Post-Impressionists, such as Gauguin and van Gogh, used color to depict emotions and moods.

Expressionism’s central theme of expressing one’s innermost thoughts and feelings reached its peak during the Post-Impressionism period. This was taken a step further by artists such as Edvard Munch, who explored deeper psychological concerns with twisted forms and vibrant colors. Expressionism’s potent and frequently unsettling pictures were made possible by Post-Impressionism’s emphasis on individual expression and the emotional impact of color and shape.

Surrealism may appear to be a groundbreaking concept; however, it has its origins in Post-Impressionism. The movement’s investigation of the subconscious, dreams, and imagination may be traced back to writings such as Rousseau’s “The Dream.” The idea of painting fantastical, dreamy settings was taken to a whole new level by surrealists like Salvador Dalí, who created strange and captivating realms that subvert our perceptions of reality.

Legacy and Continuing Influence

The emphasis on individual expression and experimentation in Post-Impressionism paved the way for new artistic paths in the 20th century. The movement of Post-Impressionism has had a lasting impact on the art world that continues to be highly influential in contemporary times. Post-Impressionist artworks are prominently displayed in museums and galleries worldwide. Van Gogh’s swirling skies and Cézanne’s sturdy landscapes captivate audiences who stand in astonishment, taking photographs and experiencing the emotions that are captured on canvas. These pieces of art are more than simply wall hangings; they are living historical artifacts that speak to us now and then, narrating tales of passion, inventiveness, and the pursuit of meaning beyond words.

Post impressionism has permeated our culture in several ways, extending beyond the confines of the museum. It has exerted a significant influence in various domains, including advertising, fashion, film, and digital media. The movement’s vibrant colors, innovative techniques, and profound emotional resonance have served as a catalyst for designers and creatives to break through conventional boundaries, employing color and shape in captivating and emotive ways.

This movement also demonstrates that art does not necessarily require precise representation or flawless attractiveness. It can pertain to the act of articulating the contents of our minds—our thoughts, aspirations, anxieties, and happiness. This concept has provided opportunities for artists to utilize their artwork as a means of conveying personal and political viewpoints, prompting viewers to perceive the world from various perspectives and value the range of human experiences.

References

  • Harris, Nathaniel: The Masterworks of Van Gogh, pp 167-168. Godalming, Surrey, United Kingdom: Colour Library Direct, 1999.
  • Eddy, A. J. (1914). Cubists and Post-impressionism. AC McClurg & Company.
  • Nicolson, B. (1951). Post-Impressionism and Roger Fry post impressionism post. The Burlington Magazine, 93(574), 11-15.

 

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