Impressionism Study Guides

Feb. 29, 2012 No Comments Posted under: Weekly News

 

Im·pres·sion·ism

n.

1. often Impressionism A theory or style of painting originating and developed in France during the 1870s, characterized by concentration on the immediate visual impression produced by a scene and by the use of unmixed primary colors and small strokes to simulate actual reflected light.
2. A literary style characterized by the use of details and mental associations to evoke subjective and sensory impressions rather than the re-creation of objective reality.
3. Music A style of the late 19th and early 20th centuries, using somewhat vague harmony and rhythm to evoke a mood, place, and natural phenomena.
4. The practice of expressing or developing one’s subjective response to a work of art or to actual experience.

The American Heritage® Dictionary of the English Language, Fourth Edition copyright ©2000 by Houghton Mifflin Company. Updated in 2009. Published byHoughton Mifflin Company. All rights reserved.

Post`-im`pres´sion`ism

n. 1. (Painting) In the broadest sense, the theory or practice of any of several groups of painters of the early 1900’s, or of these groups taken collectively, whose work and theories have in common a tendency to reaction against the scientific and naturalistic character of impressionism and neo-impressionism. In a strict sense the term post-impressionism is used to denote the effort at self-expression, rather than representation, shown in the work of Cézanne, Matisse, etc.; but it is more broadly used to include cubism, the theory or practice of a movement in both painting and sculpture which lays stress upon volume as the important attribute of objects and attempts its expression by the use of geometrical figures or solids only; and futurism, a theory or practice which attempts to place the observer within the picture and to represent simultaneously a number of consecutive movements and impressions. In practice these theories and methods of the post-impressionists change with great rapidity and shade into one another, so that a picture may be both cubist and futurist in character. They tend to, and sometimes reach, a condition in which both representation and traditional decoration are entirely abolished and a work of art becomes a purely subjective expression in an arbitrary and personal language.
Webster’s Revised Unabridged Dictionary, published 1913 by C. & G. Merriam Co.

Video 1:

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