Post-Impressionism is a catch-all term for the many and disparate reactions against the naturalism, and issues of light and color, which had inspired the Impressionists. Emerging around 1886, at the time of the Impressionist's eighth and last exhibition, and declining along with Fauvism in 1905, the movement embraces various trends, including the Neo-Impressionism of Seurat, and the Symbolism of Gauguin. The term 'Post-Impressionism' was devised by English critic Roger Fry, in 1910, for an exhibition in London which also included works by Manet, Cézanne, van Gogh, and many others.
Despite the myriad approaches and ideologies associated with Post-Impressionists, they were united by their desire to overturn the superficiality of Impressionism. They felt that the Impressionists had allowed their preoccupations with technique, and the effects of natural light, to overshadow the importance of subject matter. But their impulses led them to solve this problem in different ways. Some, like Cézanne, sought greater pictorial structure, and they placed great emphasis on the specific context of a particular landscape or still life. Others, like Gauguin, sought a deeper engagement with expressive and symbolic content: they created paintings "de tete" (from memory or imagination), and they expressed a strong connection with the subject matter that inspired the work, whether it derived from religion, literature or mythology. These artists - Symbolists, or Synthetists - also placed greater emphasis on harmonious surface design: Gauguin was one of the first artists to refer to his work as "abstract."
Despite the myriad approaches and ideologies associated with Post-Impressionists, they were united by their desire to overturn the superficiality of Impressionism. They felt that the Impressionists had allowed their preoccupations with technique, and the effects of natural light, to overshadow the importance of subject matter. But their impulses led them to solve this problem in different ways. Some, like Cézanne, sought greater pictorial structure, and they placed great emphasis on the specific context of a particular landscape or still life. Others, like Gauguin, sought a deeper engagement with expressive and symbolic content: they created paintings "de tete" (from memory or imagination), and they expressed a strong connection with the subject matter that inspired the work, whether it derived from religion, literature or mythology. These artists - Symbolists, or Synthetists - also placed greater emphasis on harmonious surface design: Gauguin was one of the first artists to refer to his work as "abstract."
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