Thanks to painstaking work in the Mouton-Rothschild Collection, a new artist is being added to the canon of Impressionists.
Neo-Impressionism
We still associate brushmarks with sketchiness, speed of painting, spontaneity, bravura, and panache – and smooth paint surfaces, assembled from multiple layers and glazes, as being heartless mechanical essays in technique.
Marks made by the brush and knife serve different purposes from the late nineteenth century. They also beg some fascinating questions.
In addition to painting one of the major Neo-Impressionist masterpieces showing poplar trees, he built a series of Post-Impressionist pines-beach-bathers of distinction.
It was Clive Bell’s aesthetics which underpinned Roger Fry’s promotion of the Post-Impressionists. Here is what he wrote.
An exhibition in London in 1910 changed the course of history for Cézanne, and John Singer Sargent.
Seurat painted five series of paintings carefully constructed to help form 3D space.
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.
From his first influence by Impressionism, van Rysselberghe explored a world of vivid light and colour, painting some of the most distinctive works of the late nineteenth and early twentieth centuries.
A luminous painting of the port of Marseille in dawn light, looking up towards the ‘Good Mother’ church, marks the height of both Neo-Impressionism and Fauvism.
