Жаңа импрессионизм: Түстер мен сызықтар ғылымының өнері

Art movement

Neo Impressionism is a term coined by French art critic Félix Fénéon in 1886 to describe an art movement founded by Georges Seurat. Seurat's most renowned masterpiece, A Sunday Afternoon on the Island of La Grande Jatte, marked the beginning of this movement when it first made its appearance at an exhibition of the Société des Artistes Indépendants (Salon des Indépendants) in Paris. Around this time, the peak of France's modern era emerged and many painters were in search of new methods. Followers of Neo Impressionism, in particular, were drawn to modern urban scenes as well as landscapes and seashores. Science based interpretation of lines and colors influenced Neo Impressionists' characterization of their own contemporary art. The Neo Impressionists were able to create a movement very quickly in the 19th century, partially due to its strong connection to anarchism, which set a pace for later artistic manifestations. Neo impressionists also used more precise and geometric shapes to simplify and reveal the relationships between forms. Seurat's disciple Paul Signac later used what he felt to be a more poetic spontaneous use of divisionist technique. While the mixture of the former created a white or gray color, that of the latter produced a dark, murky color. As painters, Neo Impressionists had to deal with colored pigments,

Neo Impressionism was first presented to the public in 1886 at the Salon des Indépendants. The Indépendants remained their main exhibition space for decades with Signac acting as president of the association. But with the success of Neo Impressionism, its fame spread quickly. In 1886, Seurat and Signac were invited to exhibit in the 8th and final Impressionist exhibition, later with Les XX and La Libre Esthétique in Brussels. In 1892, a group of Neo Impressionist painters united to show their works in Paris, in the Salons of the Hôtel Brébant, 32, boulevard Poissonnière. The following year they exhibited at 20, rue Laffitte. The exhibitions were accompanied by catalogues, the first with reference to the printer: Imp. Vve Monnom, Brussels; the second refers to M. Moline, secretary. Pissarro and Seurat met at Durand Ruel's in the fall of 1885 and began to experiment with a technique using tiny dots of juxtaposing colors. This technique was developed from readings of popular art history and aesthetics (the French administrator, Charles Blanc, and Swiss aesthetician, David Sutter), and manuals for the industrial and decorative arts, science of optics and perception. At this time Pissarro began to be involved with the coterie that helped found the Société des Artistes Independants in 1884. Some members of the group attended gatherings for naturalist and symbolist authors at the home of Robert Caze who was an ex communard and radical Republican journalist. It was here that the painters got to know each other, and many showed their work at independents' shows for all their lives. The allure of the scientific and new techniques captivated the young artists of this movement. The movement then spread abroad when Seurat and Pissarro were invited to Les Vingt, an avant garde society in Brussels. This style became the dominant form in Belgium by 1889 and even artists like Van Gogh tried their hand at this style. Seurat's mission as an artist was to celebrate the power of pure color, the expressive power of line, color and value, the reform of Impressionism and of the Beaux Arts tradition. Signac also viewed the Mediterranean as the place for anarchist avant garde art. The Mediterranean was rarely depicted by avant garde painters partially because of the association between the south of France and academic classicism as well as cultural and political conservatism. and antithetical to the commonly accepted notions of creative processes set for the 19th century. According to modern sources, much of the critique of the Neo Impressionists at the time is just out of focus. In December 1894, the independent socialist daily La Petite République featured a front page column by critic Adolphe Tabarant. He remarked on the new Neo Impressionist cooperative gallery in the Rue Laffitte, focusing on Luce and Signac, also known as the young masters: "The art has, perhaps, a tendency toward an ill tempered synthesis, toward a scientific observation that is too dry. But how it vibrates, and how it rings with truth! What an expenditure of coloring, what a profusion of agitated notions, in which one senses the noble and sincere passions of those young men who, after lamented Seurat, strive to capture all the secrets of light from the sun!" By requiring the viewer to combine the colors optically instead of physically mixing pigments, Divisionists believed they were achieving the maximum luminosity that was scientifically possible. They also believed that it philosophically represented harmony as unanticipated colors work together equally to form a single image. Georges Seurat founded the style around 1884 as chromo luminarism, drawing from his understanding of the scientific theories of Michel Eugène Chevreul, Ogden Rood and Charles Blanc, among others. Divisionism developed alongside Pointillism, which is defined specifically by the use of dots of paint but does not primarily focus on the separation of colors.

Divisionism developed in nineteenth century painting as artists discovered scientific theories of vision which encouraged a departure from the tenets of Impressionism. Most notably as science surrounding the vibration of light and the effect on retinas developed, color palettes changed. Neo Impressionists began to place complementary colors side by side to create dimension and shadows instead of working in a range of hues. This dividing up of the canvas into individual sections of complementary and contrasting colors led to the name "divisionism", a term coined by Signac. Impressionism was a movement that originated in France in the 1870s, characterized by the use of quick, short, broken brushstrokes to accurately capture the momentary effects of light and atmosphere in a scene, usually outdoors. The Impressionists sought to create an "impression" of a momentary scene as perceived by the viewer, rather than a mechanically precise replication of a scene. Divisionism, also known as Pointillism, developed from Impressionism in the 1880s. The Divisionists used a technique of placing small, distinct dots of color next to one another on the canvas, rather than mixing the colors on the palette. This created a more vibrant and dynamic effect, but also required a higher level of skill and precision. Neo Impressionism emerged in the late 19th century, used more precise and geometric shapes to build compositions, and was strongly influenced by the scientific study of color theory and optical color effects, to create a more harmonious and luminous painting.

The influence of Seurat and Signac on some Italian painters became evident in the First Triennale in 1891 in Milan. Spearheaded by Grubicy de Dragon, and codified later by Gaetano Previati in his Principi scientifici del divisionismo of 1906, a number of painters mainly in Northern Italy experimented to various degrees with these techniques. These Italian artists merged Neo impressionism with Symbolism creating allegorical paintings using a divisionist method. For example, Pellizza da Volpedo applied the technique to social (and political) subjects; in this he was joined by Angelo Morbelli and Emilio Longoni. Among Pellizza's Divisionist works were Speranze deluse (1894) and Il sole nascente (1904). It was, however, in the subject of landscapes that Divisionism found strong advocates, including Segantini, Previati, Morbelli, and Carlo Fornara. Further adherents in painting genre subjects were Plinio Nomellini, Rubaldo Merello, Giuseppe Cominetti, Angelo Barabino, Camillo Innocenti, Enrico Lionne, and Arturo Noci. Divisionism was also an important influence in the work of Futurists Gino Severini (Souvenirs de Voyage, 1911); Giacomo Balla (Arc Lamp, 1909); Carlo Carrà (Leaving the scene, 1910); and Umberto Boccioni (The City Rises, 1910).

Divisionism quickly received both negative and positive attention from art critics, who generally either embraced or condemned the incorporation of scientific theories in the Neo Impressionist techniques. For example, Joris Karl Huysmans spoke negatively of Seurat's paintings, saying "Strip his figures of the colored fleas that cover them, underneath there is nothing, no thought, no soul, nothing". Leaders of Impressionism, such as Monet and Renoir, refused to exhibit with Seurat, and even Camille Pissarro, who initially supported Divisionism, later spoke negatively of the technique. For example, one of these misconceptions can be seen in the general belief that the Divisionist method of painting allowed for greater luminosity than previous techniques. Additive luminosity is only applicable in the case of colored light, not juxtaposed pigments; in reality, the luminosity of two pigments next to each other is just the average of their individual luminosities. Furthermore, it is not possible to create a color using optical mixture which could not also be created by physical mixture. Logical inconsistencies can also be found with the Divisionist exclusion of darker colors and their interpretation of simultaneous contrast.