Postimpressionism was a movement in late-19th-century French painting that emphasized the artist's personal response to a subject. Postimpressionism takes its name from an art movement that immediately preceded it: Impressionism. But whereas impressionist painters concentrated on the depiction of a subject's immediate appearance, postimpressionists focused on emotional or spiritual meanings that the subject might convey. Although impressionist artists interpreted what they saw, their approach nevertheless remained rooted in observation of the natural world. Postimpressionists conveyed their personal responses to the world around them through the use of strong, unnatural colors and exaggeration or slight distortion of forms.
Postimpressionism can be said to have begun in 1886, the year that French painter Georges Seurat exhibited Sunday Afternoon on the Island of La Grande Jatte (1884-1886), and to have ended in 1906, the year French painter Paul Cézanne died. British art critic Roger Fry, however, coined the term postimpressionism, in 1910 when he organized an exhibition of French paintings at the Grafton Galleries in London. Fry is said to have been dissuaded from using the word expressionist to describe t
Fauvism Between 1901 and 1906, several comprehensive exhibitions were held in Paris, making the work of Vincent van Gogh, Paul Gauguin, and Paul Cezanne widely accessible for the first time. Derain also showed a primitive wildness in his Fauve period. Against the implacable resistance of his father, he made up his mind that he wanted to paint and in 1861 joined Zola in Paris. His uncle was a partner in the international firm of picture dealers Goupil and Co. The advent of Modernism if often dated by the appearance of the Fauves in Paris at the Salon d'Automne in 1905. That meant the subject of the painting couldn't be so dynamic as to overshadow the artist's act of creation. " The term was firmly established when Fry held a second show of postimpressionist art at the Grafton Galleries in 1912. Toward the end of his life, he was at his most daring, reducing architecture! and figures to geometric forms and paving the way for Cubism. Kirchner does just this in Berlin Street Scene (1913), where the shrill colors and jagged hysteria of his own vision flash forth uneasily. While in Paris in 1886, Vincent van Gogh experimented briefly with neoimpressionism, but found its techniques too restrictive. Cezanne was versatile; in his pursuit of perfection and a unique style, he experimented a lot. He wanted the methods and skills of the painter to be more important than the image. Instead, he used broader brush strokes and incorporated large zones of single colors into his compositions. 22, 1906, Cezanne's art had begun to be shown and seen across Europe, and it became a fundamental influence on the Fauvists, the cubists, and virtually all advanced art of the early 20!th century.