POST-IMPRESSIONISM
POST-Impressionism means exactly what the prefix means-the art-development following Impressionism. It does not mean a further, or a higher, or a more subtle form of Impressionism, but it means something radically different, it means a reaction from Impressionism.The evolution of the new movement has been logical and inevitable.
After the Barbizon school with its romantic representation of nature, there came inevitably the realistic painters, headed by Courbet, later by Manet-men who painted things not romantically but realistically, pitilessly, brutally. There was the same rage against these men as against the Cubists today. Both Whistler and Manet were in the Salon des Refuses of 1864.
Along with the men who painted things as they saw them, came naturally men like Monet, Sisley, Pissarro, Seurat, Signac, who tried endless experiments in the effort to paint light as they saw it.
So that the final twenty-five years of the last century were given up in France to attempts to paint things and light as they really are.
After the painting of things and light one would say the art of painting had touched its limits, that there was nothing more to do. But, no, there is the painting of neither things nor light-the painting of emotions-the painting of pure line and color compositions for the sake of the pleasure such harmonies afford-the expression of one's inner self.
It was while Manet was painting things as they are, and Monet was painting light as it is, that Whistler was painting both things and light but with an entirely different object in view, namely, the production of color harmonies superior to either thing-effects or light-effects.
To the following résumé it is obvious another paragraph must be added to bring the record down to date.
Painting in France in the nineteenth century followed a course parallel with that of the intellectual life of the country, it adapted itself to the various changes in modes of thought, it took upon itself a succession of forms corresponding to those which were evolved in literature.
At the beginning of the century, under the Empire, painting was classical. It was primarily engaged in rendering scenes borrowed from the antique world of Greece and Rome, subjects derived from fable and mythology. Historical painting formed the essence of high art. It was based upon the nude, treated according to the classical model. Two masters-David and Ingress-were its loftiest expression. After them classical art was continued in an enfeebled condition by painters of only secondary importance.
The new spirit of romanticism, however, which had arisen in literature, also made its appearance in painting. Delacroix was the master in whom it found its most complete expression. The tones of classical art, sober, restrained, and often cold, gave place in his work to warm and brilliant coloration. For the nicely balanced scenes of classical antiquity, he substituted compositions tumultuous with movement. Romanticism developed freedom of action and expressiveness of pose to their utmost limits.
Painting was then conquered by realism, which had also invaded literature. Courbet was its great initiator. He painted the life he saw around him in a direct, robust manner. He also painted landscape with a truthfulness that was informed by a powerful emotion. At the same time, Rousseau and Corot had also brought landscape painting into close touch with nature. They had rediscovered its soul and its charm. Finally, crowning, as it were, the work of their predecessors, came Manet and the Impressionists.
