Post-Impressionism

Post-Impressionism (also spelled Postimpressionism) was a predominantly French art movement that developed roughly between 1886 and 1905, from the last Impressionist exhibition to the birth of Fauvism.

Paul Cézanne set out to restore a sense of order and structure to painting, to "make of Impressionism something solid and durable, like the art of the museums".

Rewald considered this a continuation of his 1946 study, History of Impressionism, and pointed out that a "subsequent volume dedicated to the second half of the post-impressionist period":[10] Post-Impressionism: From Gauguin to Matisse, was to follow.

He explored their relationships as well as the artistic circles they frequented (or were in opposition to), including: Furthermore, in his introduction to Post-Impressionism, Rewald opted for a second volume featuring Toulouse-Lautrec, Henri Rousseau "le Douanier", Les Nabis and Cézanne as well as the Fauves, the young Picasso and Gauguin's last trip to the South Seas; it was to expand the period covered at least into the first decade of the 20th century—yet this second volume remained unfinished.

"[10] Rival terms like Modernism or Symbolism were never as easy to handle, for they covered literature, architecture and other arts as well, and they expanded to other countries.

To meet the recent discussion, the connotations of the term 'Post-Impressionism' were challenged again: Alan Bowness and his collaborators expanded the period covered forward to 1914 and the beginning of World War I, but limited their approach widely on the 1890s to France.

Meanwhile, Eastern European artists, however, did not care so much for western traditions, and proceeded to manners of painting called abstract and suprematic—terms expanding far into the 20th century.

According to the present state of discussion, Post-Impressionism is a term best used within Rewald's definition in a strictly historical manner, concentrating on French art between 1886 and 1914, and re-considering the altered positions of impressionist painters like Claude Monet, Camille Pissarro, Auguste Renoir, and others—as well as all new schools and movements at the turn of the century: from Cloisonnism to Cubism.

Among them are James Wilson Morrice,[17] John Lyman,[18] David Milne,[19] and Tom Thomson,[20] members of the Group of Seven,[21] and Emily Carr.