Impressionism vs Post-Impressionism
印象主義 / ポスト印象主義
Both sit in Painting Techniques, so the question is not what they belong to but how they behave. Both are read here as style. They are reached for with some of the same intent, which is where they get confused.
Impressionism
A movement that went outdoors and caught light itself with rapid strokes. It abandoned the contour line, laid shadows in complementary colors rather than black, and painted the same subject differently at each hour of the day. Nearly every avant-garde that followed defined itself by agreeing or disagreeing with it.
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.
| Impressionism | Post-Impressionism | |
|---|---|---|
| Era | 1860s–1880s | 1880s–1900s |
| Family | Painting Techniques | Painting Techniques |
| Kind | Style | Style |
| Cues | Short, divided touches of paint / Shadows made without black / Natural light outdoors / Composition that catches an instant | A constructed order of brushstrokes / Flat, forceful fields of color / Undulating line that carries emotion / Inquiry into form ahead of subject |
| Best used for | Building an image whose subject is light and the passage of time · Raising form from adjacent colors instead of contour | Showing in a single image what happened after Impressionism · Comparing cases where one subject was solved by different methods |
| Type | Keep the lightness of the hand and do not tighten the page with a rigid face. | Change the typeface with each manner and do not aim for uniformity. |
| Composition | Move off center and let the edge of the frame cut the subject. | Give priority to building planes and break perspective on purpose. |
| Material | Set unmixed colors side by side and leave white ground to make the light. | Thick paint, with the borders between fields of color left visible. |
| Caution | Imitating the brushwork alone produces nothing but blur. The real decision is which color goes into the shadow. | Do not treat it as a single style. Name each time whose solution you mean. |