{"id":"post-impressionism","no":492,"name":"Post-Impressionism","ja":"ポスト印象主義","era":"1880s–1900s","family":"絵画技法","kind":"スタイル","collection":"Dictionary expansion 25","addedAt":"2026-08-19","source":{"title":"Tate — Art Terms: Post-Impressionism","url":"https://www.tate.org.uk/art/art-terms/p/post-impressionism"},"reference":{"status":"verified","pageUrl":"https://www.tate.org.uk/art/art-terms/p/post-impressionism","credit":"Tate — Art Terms: Post-Impressionism","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Van%20Gogh%20-%20Starry%20Night%20-%20Google%20Art%20Project.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Van%20Gogh%20-%20Starry%20Night%20-%20Google%20Art%20Project.jpg","credit":"フィンセント・ファン・ゴッホ《星月夜》1889年 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Paul%20Cezanne%20-%20Mont%20Sainte-Victoire%20and%20Ch%C3%A2teau%20Noir%20-%20Google%20Art%20Project.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Paul%20Cezanne%20-%20Mont%20Sainte-Victoire%20and%20Ch%C3%A2teau%20Noir%20-%20Google%20Art%20Project.jpg","credit":"ポール・セザンヌ《サント＝ヴィクトワール山とシャトー・ノワール》1904年 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Paul%20Gauguin%20-%20Vision%20of%20the%20Sermon%20(Jacob%20Wrestling%20with%20the%20Angel)%20-%20NG%201643%20-%20National%20Galleries%20of%20Scotland.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Paul%20Gauguin%20-%20Vision%20of%20the%20Sermon%20(Jacob%20Wrestling%20with%20the%20Angel)%20-%20NG%201643%20-%20National%20Galleries%20of%20Scotland.jpg","credit":"ポール・ゴーギャン《説教のあとの幻影》1888年 — Wikimedia Commons / Public domain"}]},"essence":"印象主義の即興性に飽き足らず、構造・象徴・感情をそれぞれの方法で取り戻した画家たちの総称。一つの様式ではなく、点描・平坦な色面・うねる筆致という別々の答えが並立する。20世紀の抽象はここから分岐した。","cues":["構築された筆触の秩序","平坦で強い色面","感情を担う線のうねり","主題より形式の探究"],"intents":["高揚","技術","親密"],"works":["印象主義の次に何が起きたかを一枚で示す","同じ主題を別々の方法で解いた例を比較する"],"recipe":{"type":"様式ごとに書体を変え、統一を狙わない","layout":"面の構築を優先し、遠近を意図的に崩す","material":"厚みのある絵具と、色面の境界を残す"},"avoid":"一つの様式として扱わない。誰の解き方を指しているのかを毎回名指しする。","colors":["#e9e6dd","#67635d","#171615"],"motif":"graphic","pair":["impressionism","cloisonnism"],"study":["1910年ロジャー・フライによる命名","セザンヌの面と、ゴッホの筆触の違い","キュビスムとフォーヴィスムへの分岐"],"en":{"essence":"A collective name for painters who found the improvisation of Impressionism insufficient and recovered structure, symbol and emotion, each in their own way. It is not one style but several answers standing side by side, among them pointillism, flat fields of color and surging brushwork. Twentieth century abstraction branched off from here.","cues":["A constructed order of brushstrokes","Flat, forceful fields of color","Undulating line that carries emotion","Inquiry into form ahead of subject"],"works":["Showing in a single image what happened after Impressionism","Comparing cases where one subject was solved by different methods"],"recipe":{"type":"Change the typeface with each manner and do not aim for uniformity.","layout":"Give priority to building planes and break perspective on purpose.","material":"Thick paint, with the borders between fields of color left visible."},"avoid":"Do not treat it as a single style. Name each time whose solution you mean.","study":["The name coined by Roger Fry in 1910","The difference between Cézanne's planes and Van Gogh's touch","The branching into Cubism and Fauvism"]}}