Pissarro started a realist, became Impressionist, then Neo-Impressionist, before returning to human landscapes. Sisley ploughed the Impressionist furrow all the way.
Moving back to Impressionist style, he painted the countryside around Éragny, and views of the cities of London and Paris.
In 1885-86, he decided to become a Neo-Impressionist, but after 3 years of painting some of the finest Divisionist paintings, he faced a difficult decision.
Around 1905, with his chroma increasing, he developed a new style of applying paint in patches: corn style. This dominated his paintings, given many a distinctive vibrance.
Gauguin Post-Impressionistm, Nabism, Japonism, and finally Divisionist Post-Impressionism – not bad for someone known as a sculptor.
After a winter working on decorative panels, he had another successful and productive season painting outdoors in Algonquin Park.
Although he painted many abstracts around the First World War, he was primarily a landscape artist, and an avid experimenter in style.
Seurat was interested in much more than the perception of colour, and in his reading of contemporary science (particularly that of von Helmholtz) and in his paintings, explored much of visual experience.
Of the more prolific and influential members of the Macchiaioli, Fattori was the only one to adhere to the group’s principles throughout his career, at cost to his income and recognition.
Although lightness and chroma can usually be approached successfully using methodical approaches, long experience has shown that hue is much more hit or miss. Developing a good ‘eye’ for colours is generally much more important.