Neo-Impressionism emerged in late 19th-century France as a scientific approach to painting. Artists like Georges Seurat and Paul Signac used pointillism, applying small dots of pure color to create vibrant, luminous works.

This technique allowed for optical mixing of colors and exploration of social themes. Neo-Impressionist art reflected the changing landscape of industrialization and urbanization, addressing issues of class and social divisions through a systematic approach to color and composition.

Neo-Impressionism and Pointillism

Characteristics of Neo-Impressionism

• Emerged in France in the late 19th century as a response to the limitations of Impressionism, aiming to create a more systematic and scientific approach to painting
• Utilized scientific color theory based on the work of scientists such as Michel Eugène Chevreul and Ogden Rood, focusing on the optical mixing of colors rather than physical mixing on the palette
• Employed the pointillist technique, applying small, distinct dots of pure color to the canvas meant to blend optically when viewed from a distance
• Emphasized structure, precision, and the use of complementary colors, departing from the spontaneity and looseness of Impressionism

Key figures in Neo-Impressionism

• Georges Seurat (1859-1891) considered the founder of Neo-Impressionism, developed the pointillist technique (also known as divisionism) with major works including "A Sunday Afternoon on the Island of La Grande Jatte" (1884-1886) and "Bathers at Asnières" (1884), emphasizing the scientific application of color and the use of complementary colors
• Paul Signac (1863-1935) close friend and collaborator of Georges Seurat, adopted and further developed the pointillist technique with major works including "The Milliners" (1885-1886) and "Portrait of Félix Fénéon" (1890), wrote the book "From Eugène Delacroix to Neo-Impressionism" (1899) which helped establish the theoretical foundations of the movement

Optical effects of pointillism

• Creates unique optical and visual effects by applying small dots of pure color to the canvas in a systematic manner, with colors placed side by side rather than physically mixed on the palette
• Achieves optical mixing when viewed from a distance, as the individual dots of color appear to blend together, with the viewer's eye and mind mixing the colors optically to create the impression of a wide range of hues and tones
• Results in heightened vibrancy and luminosity due to the use of pure, unmixed colors, with the juxtaposition of complementary colors enhancing the overall brightness and intensity of the painting
• Varies the size and density of dots to create a sense of depth and volume, using larger, more widely spaced dots for highlights and areas of light, and smaller, denser dots for shadows and darker areas

Social themes in Neo-Impressionist art

• Explored social and political themes, reflecting the changing social landscape of the late 19th century and addressing issues such as industrialization, urbanization, and the rise of the working class
• Georges Seurat's "A Sunday Afternoon on the Island of La Grande Jatte" depicts a cross-section of Parisian society (from the bourgeoisie to the working class), highlighting social divisions and tensions with a static, almost frozen quality of figures suggesting social alienation and disconnection
• Paul Signac, an anarchist actively involved in left-wing political circles, often depicted the lives and struggles of the working class in works such as "The Demolisher" (1897-1899) and "The Time of Harmony" (1893-1895), reflecting his political beliefs and vision of a more egalitarian society
• Many Neo-Impressionist artists saw their work as a means of promoting social change and progress, using scientific color theory and the pointillist technique to create a more objective and democratic form of art, with the emphasis on structure, harmony, and rational organization of color serving as a metaphor for their envisioned ideal society