Post-Impressionism

1. n. in Western painting, movement in France that represented both an extension of Impressionism and a rejection of that style's inherent limitations. Source: wordnet
2. In the broadest sense, the theory or practice of any of several groups of recent painters, or of these groups taken collectively, whose work and theories have in common a tendency to reaction against the scientific and naturalistic character of impressionism and neo- impressionism. In a strict sense the term post-impressionism is used to denote the effort at self-expression, rather than representation, shown in the work of Cézanne, Matisse, etc.; but it is more broadly used to include cubism, the theory or practice of a movement in both painting and sculpture which lays stress upon volume as the important attribute of objects and attempts its expression by the use of geometrical figures or solids only; and futurism, a theory or practice which attempts to place the observer within the picture and to represent simultaneously a number of consecutive movements and impressions. In practice these theories and methods of the post- impressionists change with great rapidity and shade into one another, so that a picture may be both cubist and futurist in character. They tend to, and sometimes reach, a condition in which both representation and traditional decoration are entirely abolished and a work of art becomes a purely subjective expression in an arbitrary and personal language. Source: webster
3. In the broadest sense, the theory or practice of any of severalgroups of recent painters, or of these groups taken collectively,whose work and theories have in common a tendency to reaction againstthe scientific and naturalistic character of impressionism and neo-impressionism. In a strict sense the term post-impressionism is usedto denote the effort at self-expression, rather than representation,shown in the work of Cézanne, Matisse, etc.; but it is more broadlyused to include cubism, the theory or practice of a movement in bothpainting and sculpture which lays stress upon volume as theimportant attribute of objects and attempts its expression by the useof geometrical figures or solids only; and futurism, a theory orpractice which attempts to place the observer within the picture andto represent simultaneously a number of consecutive movements andimpressions. In practice these theories and methods of the post-impressionists change with great rapidity and shade into one another,so that a picture may be both cubist and futurist in character. Theytend to, and sometimes reach, a condition in which bothrepresentation and traditional decoration are entirely abolished anda work of art becomes a purely subjective expression in an arbitraryand personal language. Source: adambom

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