While Impressionism marked the first steps toward modern painting by revolutionising an artistic medium stifled by academic conventions, Post-Impressionism, even more revolutionary, completely liberated colour and opened it to new, unknown horizons. Anchored in his epoch, relying on the new chromatic studies of Michel Eugene Chevreul, Georges Seurat transcribed the chemists theory of colours into tiny points that created an entire image. With his heavy strokes, Van Gogh illustrated the midday sun, whilst Cezanne renounced perspective. Rich in its variety and in the singularity of its artists, Post-Impressionism was a passage taken by all the well-known figures of 20th century painting - it is here presented, for the great pleasure of the reader, by Nathalia Brodskaïa.
Nathalia Brodskaïa est conservateur au musée de l'Ermitage à Saint-Pétersbourg. En tant qu'auteur, elle a publié des monographies sur Rousseau, Renoir, Derain, Vallotton, Vlaminck et Van Dongen ainsi que des livres sur les Fauves et l'art naïf. Aujourd'hui, Nathalia Brodskaïa consacre ses recherches aux peintres français de la fin du XIXe et du début du XXe siècle.
Nathalia Brodskaia is also known as Natalia Brodskaya.
The author is the curator at THE most respected museum's in the world: The Hermitage in St. Petersburg. She selected four post impressionism (1886 to 1920 painters to present in detail in this book. They were younger than most of the impressionist painters but launched their careers from their predesessors perspectives. From them emerged an artistic phenomena, varying styles of art, remarkable creative personalities that dramatically changed tastes and artistic passion. They did not share the same opinions about art, style, or view of nature. They all had the same sad fate: none of them had an exhibit in public. Some were too shocking with color or subject. Others were not viewed to have the technical ability. In other words, they deviated from the accepted culture of their time.