{"id":"neo-impressionism","no":466,"name":"Neo-Impressionism","ja":"新印象主義","era":"1886–1900","family":"知覚芸術","kind":"スタイル","collection":"Dictionary expansion 23","addedAt":"2026-08-18","source":{"title":"Tate — Art Terms: Neo-Impressionism","url":"https://www.tate.org.uk/art/art-terms/n/neo-impressionism"},"reference":{"status":"verified","pageUrl":"https://www.tate.org.uk/art/art-terms/n/neo-impressionism","credit":"Tate — Art Terms: Neo-Impressionism","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/A%20Sunday%20on%20La%20Grande%20Jatte%2C%20Georges%20Seurat%2C%201884.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:A%20Sunday%20on%20La%20Grande%20Jatte%2C%20Georges%20Seurat%2C%201884.jpg","credit":"Georges Seurat《グランド・ジャット島の日曜日の午後》1884–86 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Signac%20-%20Portrait%20de%20F%C3%A9lix%20F%C3%A9n%C3%A9on.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Signac%20-%20Portrait%20de%20F%C3%A9lix%20F%C3%A9n%C3%A9on.jpg","credit":"Paul Signac《フェリックス・フェネオンの肖像》1890 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Paul%20Signac%20-%20Blessing%20of%20the%20Tuna%20Fleet%20at%20Groix%20-%2062.36%20-%20Minneapolis%20Institute%20of%20Arts.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Paul%20Signac%20-%20Blessing%20of%20the%20Tuna%20Fleet%20at%20Groix%20-%2062.36%20-%20Minneapolis%20Institute%20of%20Arts.jpg","credit":"Paul Signac《グロワ島のマグロ漁船団の祝福》— Minneapolis Institute of Art / Public domain"}]},"essence":"印象派の直感を光学理論で置き換え、混ぜない純色の点を並べて網膜上で混色させる方法。分割主義と点描の規律は、後の網点印刷、モザイク、ピクセルによる画像構成と同じ問題を先に扱っている。","cues":["等間隔に置かれた点","補色の並置による振動","混ぜない純色","縁取りの点による額装効果"],"intents":["技術","信頼","静けさ"],"works":["一次資料と代表作から成立条件を比較する","別媒体へ応用できる構成原理を取り出す"],"recipe":{"type":"参照作品の文字・記号・スケールを観察する","layout":"視線と情報を支配する構造を一つ抽出する","material":"時代・地域・制作工程に固有の素材と挙動を確認する"},"avoid":"表面的な記号へ還元せず、時代・地域・技術・制作主体の文脈を確認する。","colors":["#e9e6dd","#67635d","#171615"],"motif":"graphic","pair":["op-art","pixel-art"],"study":["分割主義と点描の用語の違い","シュヴルールとルードの色彩論","網点印刷との構造的類似"],"en":{"essence":"A method that replaced Impressionist intuition with optical theory, setting down dots of unmixed pure colour to be blended on the retina. The discipline of Divisionism and Pointillism tackled, in advance, the same problems as later halftone printing, mosaic and pixel-based image construction.","cues":["Dots placed at even intervals","Vibration from juxtaposed complementaries","Pure colours never mixed","A framing effect from a dotted border"],"works":["Data-driven imagery that builds pictures from discrete points of colour","Print and screen campaigns exploiting halftone and pixel aesthetics with a fine-art pedigree"],"recipe":{"type":"Precise, light sans set small, letting the dot field dominate","layout":"An even, all-over lattice of dots; forms emerge only at viewing distance, with a dotted border as frame","material":"Unmixed complementary pigments in uniform touches; optical mixture instead of blended paint"},"avoid":"Avoid irregular, gestural dabs—once the dots lose their even discipline the optical mixture fails and the surface turns into loose Impressionism.","study":["The difference between the terms Divisionism and Pointillism","The colour theories of Chevreul and Rood","The structural kinship with halftone printing"]}}