is tech making pointillism art better or worse |
Posted: October 16, 2019 |
Pointillism Art (c.1884-1900) What's Pointillism Art? - Characteristics In fine art, the expression"pointillism" (from the French word"point" significance"scatter") describes a method of Neo-Impressionism painting, in which hundreds of little dots or dashes of pure colour are placed on the canvas, or other ground, in order to make maximum luminosity. That is, rather than then applying the mixture onto the painting and mixing color pigments on a palette, the Pointillist relies to mix the optically and applies small dots of pure colour that is unmixed directly. Viewed at the right distance, (supposedly three times the diagonal measurement) the dots of color give a richer and more subtle effect than could be accomplished by conventional techniques. Pointillism (actually an offshoot of Divisionism) was the most influential style of Post-Impressionist painting (1880-95) and was practised by Post-Impressionist painters from a number of different schools. Italian Divisionism, led by Vittore Grubicy De Dragon (1851-1920), was particularly active. Can Pointillism Relate to Neo-Impressionism and Divisionism? Strictly speaking Pointillism refers only to the type of mark made on the canvas (the dot). On may just as easily call it"dottism". The actual theory of blending paint-pigments optically, instead of on a palette, is known as Divisionism (or Chromoluminarism). Pointillism was the signature style of the painting style called Neo-Impressionism to confuse things further. To put it another way, Neo-Impressionist painters absorbed the colour theories of Divisionism and employed brushwork, to be able to create the luminous colours. Note: in reality, the eye, which sees them as different colours not actually combines the dots of colour that is unmixed. However, they do seem to oscillate or vibrate, creating a type of shimmer. The founder of Pointillism was Georges Seurat (1859-91), a model student at the Ecole des Beaux-Arts in Paris. A traditional, and traditional painter, he rejected Impressionism, a style of painting and colour based on the artist's subjective responses, in favour of a more scientific method which he developed around 1884 and called Chromoluminarism. Depending on the scientific colour concept of the French chemist Michel Eugene Chevreul (Law of Simultaneous Colour Contrast, 1839), and the American physicist Ogden Rood (Modern Chromatics, 1879), the method was used to a degree by the Impressionist painters, but only on an ad hoc basis, and it wasn't developed systematically until Seurat. (Compare Monet's approach, see: Attributes of Impressionist Painting 1870-1910.) Seurat's main disciple was the former Impressionist Paul Signac (1863-1935). Signac, A landscape artist was attracted by the method behind Divisionism and Pointillism and he became the leading exponent of the movement. Besides oil paintings and watercolours, he produced a number of lithographs, etchings and pen-and-ink sketches composed of tiny laid out dots. A strong supporter of younger artists within the Post-Impressionism motion was the first person. Who Are The Best Pointillist Painters? Signac and seurat remain Pointillism's greatest exponents. As well as them, the Impressionist Camille Pissarro (1830-1903) was also an active member of the school, as was Henri-Edmond Cross (1856-1910), and Maximilien Luce (1858-1941) who portrayed industrial culture and working-class scenes. Other artists associated with the idiom include: the Fauvist pioneer Henri Matisse (1869-1954); Albert Dubois-Pillet (1846-90), a self-taught artist who adapted Pointillism to landscape scene and naturalist subjects; Charles Agrand (1854-1926), who was more of a lyrical painter; Giuseppe Pelizza da Volpedo (1868-1907), the leading Italian Pointillist; and Theo van Rysselberghe (1862-1926) the creator of Les Vingt, a group of innovative Post-Impressionists. Even Van Gogh (1853-90) painted occasionally in a Pointillist style. Legacy Neo-Impressionism had a remarkable influence on the next generation. In particular, its focus on color stimulated the emergence of this Fauvism school - and therefore German expressionism - thus playing french pointillist artists a significant role. NOTE: To see how Monet's, Seurat's and Signac's so-called'naturalism' led paradoxically to abstraction, see: Realism to Impressionism (1830-1900). Famous Pointillist Paintings Georges Seurat Fishing at The Seine (1883) Museum of Modern Art, Troyes Bathers at Asnieres (1883-4) National Gallery, London Le Bec du Hoc, Grandcamp (1885) Tate, London The Versions (1888) Barnes Foundation, Merion, PA Grey Weather, Grande Jatte (1888) Philadelphia Museum of Art Paul Signac The Jetty in Cassis (1889) Metropolitan Museum of Art New York City The Papal Palace, Avignon (1900, Musee d'Orsay, Paris) The Port of Saint-Tropez (1901) The National Museum of Western Art, Tokyo Grand Canal, Venice (1905) Toledo Museum of Art, Ohio Theo van Rysselberghe Madame Maus (1890) Musees Royaux des Beaux-Arts, Brussels For other Dutch luminists, visit: Post-Impressionism in Holland (1880-1920). Henri-Edmond Cross Nocturne (1896) Petit Palais, Geneva Maximilien Luce The Foundry (1899) Kroller-Muller Museum, The Netherlands Camille Pissarro Self-Portrait (1903) Tate, London Henri Matisse Luxe, Calme Et Volupte (1904-5) Musee d'Orsay Neo-Impressionist works hang in many of the best art museums in America and Europe. See: Art Museums in Europe, for details of European sets containing Pointillist works.
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