新印象派（Neo-impressionism）

每个时代有自己的poetry, rythm, music, ! i yhink

艺术家乔治·秀拉年代1884–1886类型油画大小207.6 cm × 308 cm（81.7 in × 121.3 in）位置芝加哥芝加哥艺术学院

 

新印象派（Neo-impressionism）是法国艺术评论家费利克斯·费内翁（Félix Fénéon）在1886年创造的一个术语，用来形容由法国画家乔治·秀拉引发的艺术运动

历史

乔治·秀拉的最重要代表作《大碗岛的星期日下午》（Sunday Afternoon on the Island of la Grande Jatte）标志着新印象派这项运动开始，它于巴黎独立艺术沙龙（Société des Artistes Indépendants）展览首度问世^[1]。法国的摩登时代高峰期大约于这个时候出现，许多画家都在寻找新的艺术技巧。新印象派的追随者，尤其是受到现代都市场景、风景和海岸所吸引^[2]。根据科学的解释，影响了新印象派的象征是当代艺术线条和色彩。点彩画派经常被提到，因为它开始占据新印象派主导地位。

特征

新印象派出现后，乔治·秀拉和他的追随者开始完善印象派艺术对于光线的描述，当时新印象派画家企图使用网络结构来营造出持久感^[3]。经过进一步修正后，乔治·秀拉成立了光学和视觉的最新构想。

19世纪后期，米歇尔·欧仁·谢弗勒尔（Michel Eugène Chevreul）和其他科学家发展出的色彩理论的发展对新印象派引起举足轻重的作用，塑造出新印象派风格。奥格登·鲁德（Ogden Rood）的著作《现代色彩学》对于艺术和工业应用产生影响，承认彩色与色素之间的不同。虽然前者的混合物产生白色或灰色这种颜色，后者则产生阴暗的颜色。作为新印象派画家，不得不使用彩色颜料^[4] 。为了避免混浊在一起，画家只使用纯色，不在调色盘上调混颜色，中间色是观赏者眼中自然混合而产生的，从远处观看时，这些色点形成一个整体的色彩，符合实际的光照条件。

 

批评

在新印象派运动的开始时，新印象派艺术未受到世界各地民众的欢迎。1886年，乔治·秀拉首次展出他最著名的作品《大碗岛的星期日下午》（Sunday Afternoon on the Island of la Grande Jatte），获得压倒性的负面评价。这件艺术品引起骚动，被讥笑为“疯人院”和“丑闻”。

新印象派借由小色点组成一个整体画面被认为比其之前的印象派运动更有争议。印象派以捕捉稍纵即逝的瞬间及粗糙笔触而臭名昭著^[4]。新印象派引起类似的反应，精心计算规律性笔触被视为过于机械化^[5] 。这种绘画风格远离19世纪当时大众普遍接受的观念。

代表

查尔斯·安格朗（Charles Angrand） 安娜·布西（Anna Boch） 亨利·埃德蒙·克罗斯（Henri-Edmond Cross） 罗伯特·德劳奈（Robert Delaunay） Albert Dubois-Pillet 威廉·芬池（Willy Finch） 乔治·莱曼（Georges Lemmen）

马克西米·卢斯（Maximilien Luce） 吉恩·梅金杰（Jean Metzinger） Robert Antoine Pinchon Théo van Rysselberghe 乔治·秀拉 保罗·希涅克 扬．托洛普（Jan Toorop） 亨利·范·德费尔德

 

Georges Seurat admired the bright palette of the Impressionists, but he wanted to ground his approach in sound principles of structure and color behavior. Working in Paris in the mid-1880s, the young artist turned to scientific theories of optics and color perception as the basis for his art, which became known as Neo-Impressionism. His methods called for the use of dotted brushstrokes applied according to rules of color behavior. In 1886, he first exhibited Sunday at the Grande Jatte, the monumental painting that has become the most representative work of the movement. After a controversial debut in Paris, the painting traveled to Brussels. While Seurat's novel style confounded most viewers, it attracted an enthusiastic band of progressive artists in France, Belgium, and the Netherlands.

Science, vibration, pigments side by side, masively/collectively, industrial revolution effects/echo, i think
 

Scholars have examined the paintings they produced from several perspectives: as the application of science to art, as social commentary, as a reflection of political philosophies, and as a precursor to many concepts of 20th-century aesthetics. Perhaps because Seurat's great initiative was rooted in the desire to re-create natural light and the sensation of brilliant color, the primary vehicles for analyzing the technique have been landscapes, marines, and scenes of urban life. As a result, Neo-Impressionist portraits have received scant attention.

The first Neo-Impressionist portraits were painted in Paris in the 1880s, decades after the invention of photography had made realistic likenesses widely available. While physical resemblance remained a basic component of portraiture, artists of the era were also free to emphasize their individual techniques, their pursuit of psychological or spiritual identity, and their rapport with their subjects.
sleeve, dresss -->loose, short ---> liberty