Neoimpressionismus

Neoimpressionismus^[1] fuit motus artis a Georgio Seurat conditus. Cuius magnum opus, Postmeridianum diei solis La Grande Jatte in insula, motum coepit cum primum apud salon Societatis Artificum Liberorum Lutetiae exhibitum esset.^[2] Eodem tempore, summa cultura Francica recentiore, multi pictores novas rationes petebant. Scaenae urbanae, regionis situs, et litora potissimum assectatores neoimpressionismi trahebantur. Interpretatio linearum colorumque in scientia condita apud descriptiones neoimpressionistarum suae artis aequaevae multum valebat. Rationes pointillisticae et divisionisticae saepe hic commemorantur, quia ratio praevalens motu neoimpressionistico incipiente erat.

Nonnulli arguunt neoimpressionismum primum motum avant-garde verum in pictura factum esse.^[3] Nam neoimpressionistae motum saeculo undevicensimo cito creare poterant, partim propter eius coniunctionem artam cum anarchismo, qui posteriores manifestationes artisticas affecerit.^[3] Motus modusque imagines harmonias a scientia aequaeva, ratione anarchistica, et disceptatione circa valorem artis academicae abigere conabantur. Artifices huius motus "promiserunt ut rationes opticas et psycho-biologicas adhiberent ad grandem synthesin rerum idealium et realium, temporariarum et necessariarum, scientificarum et temperamentalium petendam."^[4]^[2]

Picturae neoimpressionisticae selectae

Caroli Angrand Par in via, 1887, oleum in textili, 38.5 x 33 cm, Museum Orsay Lutetiae
Theodori van Rysselberghe Imago Aliciae Sethe, 1888, Musée départemental Maurice Denis "The Priory" Sancti Germani in Laya
Camilli Pissarro, Faenum secatum Eragny-sur-Epte, 1889, oleum in textili, 73 × 60 cm, collectio privata
Georgii Seurat Le Chahut, 1889-90, oleum in textili, 170 x 141 cm, Kröller-Müller Museum
Pauli Signac Imago Felicis Fénéon, 1890 (pro scaena rhythmicarum mensurarum et angulorum, tincturarum et colorum), oleum in textili, 73.7 x 92.5 cm, Museum Artis Modernae Novi Eboraci
Georgii Lemmen, Ora ad Heist, 1891, oleum in tabula lignea, 37.5 x 45.7 cm, Museum Orsay Lutetiae
Georgii Seurat, Le Cirque, 1891, oleum in textile, 185 x 152 cm, Museum Orsay Lutetiae
Henrici Edmundi Cross, Aer vespertinus, circa 1893, oleum in textili, 116 x 164 cm, Museum Orsay Lutetiae
Pauli Signac Femina umbellata, 1893, oleum in textili, 81 x 65 cm, Museum Orsay Lutetiae
Henrici Edmundi Cross Cypressi Cagnae, 1908, oleum in textili, 81 x 100 cm, Museum Orsay Lutetiae
Roberti Antonii Pinchon, Sequana Rothomagi crepusculo, 1905, oleum in tabula cartacea, 65 x 54 cm, collectio privata
Roberti Delaunay Imago Metzingerana, 1906, oleum in textili, 55 x 43 cm

Artifices maximi momenti

Nexus interni

Notae

↑ Vocabulum a Felice Fénéon critico Francico anno 1886 excogitatum.
↑ ^2.0 ^2.1 Hutton 2004.
↑ ^3.0 ^3.1 Ward 1996:1.
↑ Anglice "promised to employ optical and psycho-biological theories in pursuit of a grand synthesis of the ideal and the real, the fugitive and the essential, science and temperament."

Bibliographia

Blanc, Charles. The Grammar of Painting and Engraving. Chicago: S.C. Griggs and Company, 1891. [1].
Broude, Norma, ed. 1978. Seurat in Perspective. Englewood Cliffs Novae Caesareae: Prentice-Hall. ISBN 0138071152.
Cachin, Françoise. 1971. Paul Signac. Grenovici Connecticutae: New York Graphic Society. ISBN 0821204823.
Chevreul, Michel Eugène. 1860. The Principles of Harmony and Contrast of Colors.] Londinii: Henry G. Bohn, York Street, Covent Garden.
Clement, Russell T., et Annick Houzé. 1999. Neo-impressionist painters: a sourcebook on Georges Seurat, Camille Pissarro, Paul Signac, Théo van Rysselberghe, Henri Edmond Cross, Charles Angrand, Maximilien Luce, and Albert Dubois-Pillet. Westport Connecticutae: Greenwood Press. ISBN 0313303827.
Dorra, Henri. 1994. Symbolist Art Theories: A Critical Anthology. Berkeleiae: University of California Press.
Ferretti-Bocquillon, Marina, et al. 2001. Signac, 1863-1935. Novi Eboraci: The Metropolitan Museum of Art. ISBN 0870999982.
Floyd, Ratliff. 1992. Paul Signac and Color in Neo-Impressionism. Novi Eboraci: Rockefeller University Press. ISBN 0874700507.
Gage, John. 1987. The Technique of Seurat: A Reappraisal. The Art Bulletin 69 (Sep.): 448-54. JSTOR.
Haslett, Carrie. 2002. Neo-Impressionism: Artists on the Edge. Portlandiae Oregoniae: Portland Museum of Art. ISBN 0916857301.
Herbert, Robert. 1968. Neo-Impressionism. Novi Eboraci: The Solomon R. Guggenheim Foundation.
Herbert, Robert. 1991. Georges Seurat, 1859–1891. Novi Eboraci: Metropolitan Museum of Art. ISBN 9780870996184.
Hutton, John G. 2004. Neo-Impressionism and the Search for Solid Ground: Art, Science, and Anarchism in Fin-de-siecle France. Rubribaculi: Louisiana State University Press. ISBN 0807118230.
Meighan, Judith. 2002. In Praise of Motherhood: The Promise and Failure of Painting for Social Reform in Late-Nineteenth-Century Italy. Nineteenth-Century Art Worldwide 1(1).
Puppo, Dario del. 1994. Il Quarto Stato. Science and Society 58(2): 13.
Rewald, John. 1946. Georges Seurat. Novi Eboraci: Wittenborn & Co.
Roslak, Robyn. 2007. Neo-Impressionism and Anarchism in Fin-de-Siecle France: Painting, Politics and Landscape.
Signac, Paul. 1899. D’Eugène Delacroix au Neo-Impressionnisme. PDF.
Ward, Martha. 1996. Pissarro, Neo-impressionism and the Spaces of the Avante-Garde. Sicagi: Chicago University Press. ISBN 0226873242.
Winkfield, Trevor. 2001. The Signac Syndrome. Modern Painters Autumn: 66-70.

Nexus externi

Block, Jane. Neo-Impressionism. Oxford Art Online.
Block, Jane. Pointillism. Oxford Art Online.
Parks, Tim. De pictoribus divisionisticis in Italia.

[1] Vocabulum a Felice Fénéon critico Francico anno 1886 excogitatum.

[Hutton_2004-2] 2.0 ^2.1 Hutton 2004.

[Ward-3] 3.0 ^3.1 Ward 1996:1.

[4] Anglice "promised to employ optical and psycho-biological theories in pursuit of a grand synthesis of the ideal and the real, the fugitive and the essential, science and temperament."

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