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Extending Impressionism one step further:

The French art critic Felix Feneon coined the term 'Neo-Impressionism' in 1886, in reference to an art movement that was paradoxically both an extension of the original Impressionist movement and also a countering force to it. He said this in connection with the work seen in the last Impressionist exhibition by Camille Pissaro , Georges Seurat and Paul Signac. While the Impressionists were well-known for their theory on the depiction of light and color; employing small, rapid brushstrokes and stains of color to portray the fleeting quality of light and its influence on what we see, these artists took that process even further.

The obsession with light and its affect on color:

The Impressionists had worked on the premise that color no longer needed to be pre-mixed and applied to the canvas, then smoothed and glazed over again and again to blur the definitions between the. Colors were applied cleanly and the optical end result was an effect of color was not on canvas, but in the eye of the viewer. This would later evolve into the 'Pointillist' style, with individual spots, or 'points' of color sitting side by side to give the illusion of a new, combined shade and finally to give the impression of a very figurative theme. Renoir's clean brushstroke technique was now employed on the entirety of the canvas, almost as a means to fill the space left around the figures in tiny, meticulous movement. Monet's slightly blurred contour lines and pastels were the inspiration for the Neo-Impressionist's love of pale, bright pastels that gave their paintings a very light feel, lacking in density and having a luminescent quality about them. But unlike the Impressionists, who painted their figures and outdoor scenes with a nostalgic, almost romantic air about them, the Neo-Impressionists had a much more scientific and unsentimental approach. Emotion was replaced with rationality and logic, and many people consider the results cold and unsympathetic.

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