Group of Seven vs Post-Impressionism
グループ・オブ・セヴン / ポスト印象主義
Group of Seven comes from Landscape Painting and Post-Impressionism from Painting Techniques. They are reached for with some of the same intent, which is where they get confused.
Group of Seven
A Canadian group that simplified northern trees, exposed rock, lakes, and clouds into broad contours and non-natural color, enlarging fast outdoor oil sketches into national landscape statements.
Post-Impressionism
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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.
| Group of Seven | Post-Impressionism | |
|---|---|---|
| Era | 1920–1933 | 1880s–1900s |
| Family | Landscape Painting | Painting Techniques |
| Kind | Style | Style |
| Cues | Wind-bent trees and exposed rock / Blue-green, violet, and orange simplified into large shapes / High viewpoints layering lake, island, and distance / Small-study brushwork enlarged onto exhibition canvases | A constructed order of brushstrokes / Flat, forceful fields of color / Undulating line that carries emotion / Inquiry into form ahead of subject |
| Best used for | Organizing lake, rock, and forest into strong color and contour · Examining national landscape imagery through both its attraction and its exclusions | Showing in a single image what happened after Impressionism · Comparing cases where one subject was solved by different methods |
| Type | Use a concise serif for place and season without bending letters along the landscape. | Change the typeface with each manner and do not aim for uniformity. |
| Composition | Weight one side with a foreground tree, then stack lake, island, mountain, and cloud in depth. | Give priority to building planes and break perspective on purpose. |
| Material | Place thick blue-green, violet, and orange oil paint as clear masses, prioritizing rock and canopy over detail. | Thick paint, with the borders between fields of color left visible. |
| Caution | Do not repeat the myth of untouched wilderness. Make Indigenous land and nation-building visible, and simplify contour more strongly than the Hudson River School. | Do not treat it as a single style. Name each time whose solution you mean. |