Decorative and applied arts
Decorative art (from the Latin. Decoro "decorating") - a section of art, which includes a fairly large number of industries, it is one of the most important areas of folk…

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Classicism
Unlike classics, classicism is not a qualitative, but a functional concept; it expresses a certain tendency of artistic thinking, based on the desire for simplicity, clarity, rationality, and the consistency…

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Modern
Modern - (French moderne from the Latin. Modemus - new, modern) - the period of development of European art at the turn of the XIX-XX centuries, the main content of…

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Post-impressionism

Since the end of XIX – early XX centuries. a variety of new trends in French painting united under the name of post-impressionism, which deliberately opposed some of the principles of impressionism.

Post-impressionism increased interest in the philosophical and symbolic principles of art. The artists of this trend did not adhere only to visual impressions, but sought to convey the materiality of the world freely and in a general way, they resorted to decorative stylization (P. Cezanne, Van Gogh, P. Gauguin). The creative work of A. Toulouse-Lautrec, which depicted the life of actors, circus performers, singers, dancers, cafés and barmen’s regulars, belongs to post-impressionism. Paintings J. Seurat, P. Signac, some canvases by K. Pissarro, written in separate strokes – pointillism is also referred to as post-impressionism.

Stages of post-impressionism. Artists
The beginning of wide recognition of impressionism, which came in the 90s, coincided with the beginning of its disintegration as a holistic current and the emergence of others within it that wanted to move on or turn the other way. The first belonged to the neo-Impressionists, who considered their leader Georges Ceurat. They were also called pointillists, – they wrote in separate dotted strokes; they themselves preferred the term “divisionism” (from the word “diviser” – “to divide”).

Sulfur, Paul Signac, were enthusiasts for the introduction of scientific methods in painting. The Impressionists wrote in clear, light tones, avoiding mixing colors on the palette, but did it not by the system, but intuitively; Rationalist-minded youth sought to impose strict scientific order in this economy, in order to give paints more light and brilliance. Pointelets have developed a system of interaction of spectral colors, based on the research of scientists in the field of optics. Young Sulfur, who seduced the old Pissarro with the tempting secrets of his technique, displayed at the eighth and last Impressionist exhibition the big picture “Sunday Walk to Grand-Zhatt”, written in separate small strokes-dots of pure colors, based on the calculated ratio of adjacent, contrasting, warm and cold colors .

At a distance, the strokes optically merged, giving a surprisingly natural impression of light, shadow, transition from one tone to another. At the same time, there was something inanimate in the picture, deliberate. A scheme in art, whatever it may be, is dangerous, and the more dangerous, the more it claims to be unique. Sulfur was an exceptionally gifted artist; his search for a universal “system” was something of an absolute search. He died very young, at the height of this search; it is not known what his future path might be.

Signac, faithful follower of Sulfur, lived a long life; his artistic practice, in which he increasingly suffered from ornamentalism, was inferior in meaning to his theoretical works devoted to the problems of painting. As for Pissarro, he did not long remain a pointillist. When he exhibited his pictures written in the new technique, it turned out that it was very difficult to distinguish them from the pictures of other pointillists. “System” leveled individuality, and Pissarro, not ceasing to appreciate the talent of Sera, decisively refused it and even destroyed their belongings of this period.

Impressionism seemed to triumph. His echo swept through all the countries of Europe down to far Russia. In France, the works of the Impressionists were bought up, the press became supportive of them, the salon artists began to quickly highlight their palette. As Claude Monet wrote, “official salons, first of all brown, have become blue, green and pink since the days of impressionism … But candy and chocolate are still only confectionery”.

In the meantime, the climate of the era was changing, and the new unrecognized ones replaced, wanting not so much to continue and improve impressionism, but to challenge it and work differently. They did not have unanimity and cohesion, they did not speak in groups, but alone; only conditionally they are united by the general concept of “post-impressionists” – those that came after. The first great heretic of impressionism was the artist who worked simultaneously with its founders, their associate and friend, Paul Cezanne. Nobody was subjected to more severe attacks by critics than he, and the Impressionists themselves – Monet, Pissarro, Renoir – did not value anyone from their midst as highly as Cezanne. And this appreciation was not shaken, but even strengthened when it moved away from them, both in the direct sense and in the direction of creative pursuits. Already in the early 80s, Cezanne retired to his estate in Aix (Provence) and was rarely shown in Paris. Fortunately, he was well off and could not care about livelihoods. “I decided to work in silence until the day when I feel myself able to theoretically substantiate the results of my experiments.” He was called the Esk hermit. He worked silently and fiercely, only in the last years of his life, allowing himself to give

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