Post-Impressionism
Post-Impressionism is an umbrella term coined by the British critic Roger Fry to describe the diverse work of artists who came after Impressionism, broadly spanning 1880 to 1905. While they absorbed the Impressionist interest in colour and light, they rejected its perceived superficiality and sought something deeper — whether geometric structure (Cézanne), symbolic colour (Van Gogh), or primitive form (Gauguin). Their explorations laid the groundwork for nearly every major avant-garde movement of the 20th century.
Defining characteristics
- Bold, expressive colour beyond naturalistic observation
- Geometric simplification of form
- Personal and symbolic content
- Rejection of Impressionist "snapshot" approach
- Influence from Japanese woodblock prints
- Exploration of interior emotional states
Structure & Form
Artists who prioritised geometric order and the underlying structure of nature.
Paul Cézanne
1839–1906 · Pioneer
Called the "father of modern art," Cézanne reduced landscapes, still lifes, and portraits to their geometric essentials — a foundation that directly inspired Cubism.
The Large Bathers (1906)
Oil on canvas · Philadelphia Museum of Art
His most ambitious figurative composition, painted over seven years.
Mont Sainte-Victoire (1902–1904)
Oil on canvas · Philadelphia Museum of Art
One of many versions exploring the mountain near his home in Provence.
Colour & Expression
Artists who wielded colour and paint as vehicles for emotion and spirituality.
Vincent van Gogh
1853–1890 · Key figure
Dutch painter who transformed Impressionist colour into a vehicle for raw emotion and spiritual longing. His swirling, impastoed surfaces prefigure Expressionism.
The Starry Night (1889)
Oil on canvas · Museum of Modern Art, New York
Painted during his stay at the Saint-Paul-de-Mausole asylum in Saint-Rémy.
Sunflowers (1888)
Oil on canvas · National Gallery, London
Part of a series painted to decorate his Yellow House in Arles.
Paul Gauguin
1848–1903 · Key figure
Abandoned his career as a stockbroker to pursue painting, eventually settling in Tahiti. Developed Synthetism — bold outlines, flat colour areas, and symbolic content.
Where Do We Come From? What Are We? Where Are We Going? (1897–1898)
Oil on canvas · Museum of Fine Arts, Boston
His largest and most philosophical work, painted in Tahiti.