Theo van Rysselberghe 'The scarlet ribbon' #DonneInArte #DonneEPointillisme @alecoscino @elvisprendushi @aleph54

Neo-Impressionism is a term coined by French art critic Félix Fénéon in 1886 to describe an art movement founded by Georges Seurat. Seurat's most renowned masterpiece, A Sunday Afternoon on the Island of La Grande Jatte, marked the beginning of this movement when it first made its appearance at an exhibition of the Société des Artistes Indépendants in Paris.[1] Around this time, the peak of France's modern era emerged and many painters were in search of new methods. Followers of Neo-Impressionism, in particular, were drawn to modern urban scenes as well as landscapes and seashores. Science-based interpretation of lines and colors influenced Neo-Impressionists' characterization of their own contemporary art.[2] The Pointillist and Divisionist techniques are often mentioned in this context, because they were the dominant techniques in the beginning of the Neo-impressionist movement.

Émile Bernard c1892 This is part 1 of a 2-part post on the works of French artist Émile Bernard (1868 – 1941). Bernard was a Post-Impressionist painter who had artistic friendships with Van Gogh, Gauguin and Eugene Boch, and at a later time, Cézanne. Most of his notable work was accomplished at a young age, in the years 1886 to 1897. He is also associated with Cloisonnism and Synthetism, two late 19th century art movements. Bernard was born in Lille, France, in 1868. The family moved to Paris in 1878 and he began his studies at École des Arts Décoratifs. In 1884 he joined the Atelier Cormon where he experimented with Impressionism and Pointillism, and befriended fellow artists Louis Anquetin and Henri de Toulouse-Lautrec. After being suspended from the École sea Beaux-Arts for "showing expressive tendencies in his paintings", he toured Brittany on foot, where he was much taken by the tradition and landscape. In August 1886, Bernard met Gauguin in Pont-Aven. In this brief meeting they exchanged little about art, but looked forward to meeting again. Bernard said, looking back at that time, that "my own talent was already fully developed." He believed his style did play a considerable part in the development of Gauguin's mature style. Bernard spent September 1887 at the coast, where he painted "La Grand-mère", a portrait of his grandmother. 1887 La Grand-mère oil on canvas He continued talking with other painters and started saying good things about Gauguin. Bernard went back to Paris, met with Van Gogh, who as we already stated was impressed by his work, found a restaurant to show the work alongside Van Gogh, Anquetin, and Lautrec’s work at the Avenue Clichy. Van Gogh, called the group the School of Petit-Boulevard. One year later, Bernard set out for Pont-Aven by foot and saw Gauguin. Their friendship and artistic relationship grew strong quickly. By this time Bernard had developed many theories about his artwork and what he wanted it to be. He stated that he had “a desire to [find] an art that would be of the most extreme simplicity and that would be accessible to all, so as not to practice its individuality, but collectively…” Gauguin was impressed by Bernard’s ability to verbalise his ideas. In 1891 he joined a group of Symbolist painters that included Odilon Redon and Ferdinand Hodler. In 1893 he started travelling, to Egypt, Spain and Italy and after that his style became more eclectic. He returned to Paris in 1904 and died there in 1941. 1888 Self-Portrait with portrait of Paul Gauguin, dedicated to Vincent van Gogh Van Gogh had asked Bernard for a portrait of Gauguin, but Bernard didn't feel able to create one as Gauguin was twenty years older and already famous at this time. In this self-portrait he put a small portrait of Gauguin in the background. Van Gogh however was very fond of Bernard's painting, for its simplicity, and compared it to "a genuine Manet." Gauguin subsequently painted "to compensate," a self-portrait "with portrait of Bernard" in the same year (below:) 1888 Self-portrait (in the role of 'Les Misérables' protagonist Jean Valjean) with Émile Bernard portrait in the background, for Vincent oil on canvas 1886 Boy Sitting in the Grass oil on canvas 1886 Orchard at Pont-Aven oil on panel 1886 The Entrance to Asnieres, the Hay-wagon oil on canvas 1886 Woman at Saint-Briac oil on canvas 1887 Iron Bridges at Asnières oil on canvas © 2011 Artists Rights Society (ARS), New York / ADAGP, Paris 1887 Still Life with Flowers 1887 Young Woman in Kimono, Reading oil on paper 1888 Buckwheat Harvesters at Pont-Aven oil on canvas 1888 Madeleine in the Bois d'Amour oil on canvas 1888 Portrait de Madame Schuffenecker oil on canvas 1888 The Harvest 1888 Yellow Tree oil on canvas c1888-1901 Breton Women in the Meadow Gaugin took the above painting 'Breton Women in the Meadow" with him when he joined Vincent Van Gogh in Arles, in Ocotber 1888. Vincent, being immediately fond of this radical new style, made the copy (below), just to notify his brother Theo of the artist that had impressed him so much: 1889 Breton Peasants oil on canvas 1889 Portrait of a Boy in Hat 1890 Boats at Pont-Aven oil on canvas c1890 Still Life with Lemons and Goblet oil on canvas 1891 Still Life with Pears on a White Tablecloth oil on canvas

Daisy Weber (1907). Théo (Théophile) van Rysselberghe (Belgian, 1862–1926). Oil on canvas. Van Rysselberghe’s was a Neo-Impressionism of strictly objective foundations, characterized by a faithful...

In this work van Rysselberghe manipulates his brush with a sense of freedom by applying colour less methodically compared to his earlier works. As a result, he emboldens the composition with an innate spirit and energy which conveys the blissful effects of light on the Mediterranean seaside. As is the case in his most successful works, the present work is unified through languid yet precisely applied brushstrokes with a carefully controlled Neo-Impressionist palette. Following the example of Cézanne, van Rysselberghe establishes a complex arrangement of spatial planes and illusion of depth while simultaneously asserting the two-dimensional surface qualities of the painting through the flat, constructive units of brushstrokes. [Sotheby’s, London - Oil on canvas, 85.8 x 110.5 cm]

Femme à Saint-Briac daté et situé 'St. Briac 20 juin' (en bas au centre) huile sur toile 55.5 x 46.5 cm. (21 7/8 x 18 1/4 in.) Peint à Saint-Briac, le 20 juin 1886

A look at three paintings from the cusp of the 20th century that make a powerful argument for beauty.

The exhibit has fine works but is not ambitious in its argument that more poetical sensibilities were at work.

Informed by recent discoveries in optical theory, Georges Seurat had developed a method of applying dots of pure pigment on his canvas in close juxtaposition, later to be known as Neo-Impressionism. Learn about the life and art of Georges Seurat.

Georges Seurat, 1884/85

μου άρεσαν, κάτι μου είπαν` λέω να προσπαθήσω να σου φάω χρόνο… Max Ernst Max Ernst Delacroix

Portrait of Irma Sethe - Theo van Rysselberghe 1894

A Definition and History of Pointillism ✔ Characteristics of Pointillism ✔ Famous Pointillism Artists and Their Paintings ✔

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thomerama: Theo Van Rysselberghe

Interrupted Reading (1870). Jean-Baptiste-Camille Corot (French, Romanticism, 1796-1875). Oil on canvas. Art Institute of Chicago. Corot was the leading painter of the Barbizon School in the mid-19th...

During the late 1800s, painters in Europe were in search of new ways to express themselves. Impressionism was a major movement that came to prominence during the 1870s and 1880s. Shortly thereafter…