Lokho okubizwa ngokuthi i-Post-Impressionism kwakungaphezu nje kokuthi "ngemva kwe-Impressionism." Kwakuyi- isikhathi sokuhlola okungenangqondo, izimfuno zomuntu siqu, kanye nokuqhuma buthule okwashintsha indlela esiqonda ngayo ukudweba. Phakathi kokuphela kwekhulu le-19 nasekuqaleni kwekhulu lama-20, isizukulwane sabaculi sakhathala ukukopisha nje iqiniso futhi sanquma ukudweba lokho ababekuzwa, ababekucabanga, nendlela ababebona ngayo umhlaba ngaphakathi.
Nakuba sikhuluma ngakho namuhla njengokungathi kuwukunyakaza okuhlangene, iqiniso liwukuthi i-Post-Impressionism yayiyi- i-hodgepodge yezitayela, amasu, kanye nokuzwela okuhluke kakhulu. Imisebenzi kaVan GoghUGauguin, uCézanne, uSeurat, noToulouse-Lautrec abazange basayine noma yimuphi umqulu noma bahlangane njengeqembu elizinzile, kodwa babelane ngento ebalulekile: ukusebenzisa umbala, isimo, kanye nomugqa webhulashi ukuveza umbono ozimele weqiniso nokuvula umnyango wezinyathelo ze-avant-garde zekhulu lama-20.
Kuyini i-Post-Impressionism futhi yavela nini?
Igama elithi “post-impressionism” laqanjwa ngumgxeki waseBrithani uRoger Fry ngo-1910 embukisweni eLondon onesihloko esithi "UManet kanye nama-Post-Impressionists"Kuyo, wahlanganisa imisebenzi kaCézanne, uGauguin, uVan Gogh, nabanye abaculi, iningi labo elase lishonile. Akekho kubo owazibiza ngokuthi yi-Post-Impressionists, kodwa leli gama lanamathela ekuchazeni isethi ebanzi yezitayela ezavela cishe phakathi kuka-1875 no-1905, ikakhulukazi eFrance.
Phakathi naleyo minyaka, i-Impressionism yayisiqalile ukubonisa izimpawu zokukhathala. Imibukiso yayo yayingaphumeleli ngendlela ebilindelwe, futhi abaculi abaningi babenomuzwa wokuthi ukuthambekela ekuthwebuleni isikhashana esikhanyayo Akazange azinake ezinye izinto ezingaba khona: imizwa, isakhiwo, uphawu, noma ukuzindla kwengqondo. Kulokhu kudumazeka kwavela izindlela ezahlukene kakhulu, esizihlanganisa namuhla ngaphansi kwegama elifanayo: ukunciphisa izimo zejiyometri, umbala ongavinjelwe, cishe ubuqili besayensi, izigcawu ezingavamile, noma imibono eseduze nebuhlungu.
Ngaphezu nje kokunyakaza okuhleliwe, i-post-impressionism yayiyisigaba sokuguquka esinqumayo. UbuFauvism nobuCubism abunakuqondwa ngaphandle kweminikelo yabo yobuchwepheshe kanye neyomqondo. Ukuveza imizwa futhi akunawo ubuciko besimanjeAbabhali bezinkulumo babezothola ugqozi kuVan Gogh, ubuqambi kanye nobuqambi obuvela kuGauguin, ubuqambi bukaCézanne, kanye nokuhlola okuthile okungabonakali nokuhlobisa okuvela kuSeurat, phakathi kwabanye.
Umongo womlando nowamasiko we-post-impressionism
I-Post-Impressionism yathuthuka e- ingxenye yokugcina yekhulu le-19 kanye neminyaka yokuqala yekhulu lama-20Lesi sikhathi sabuswa yiNguquko Yezimboni, ukukhula kwamadolobha amakhulu, kanye nokwanda kwempilo yomphakathi. Imishini enyathelisiwe, amaphosta okukhangisa, kanye nezinhlobo ezintsha zokuzilibazisa emadolobheni kwasakazeka kabanzi, futhi ngesikhathi esifanayo, isithakazelo kwisayensi sakhula, kokubili emikhakheni yemvelo kanye neyomphakathi.
Lesi simo sesimanje senza ubuciko baba yindawo yokucwaninga ehlala njalo. Ngemva kokuba ngokoqobo kanye nokucabanga ngemibono, Ukudweba akusekho ukulingisa okulula kwemvelo ukuze kube yindawo yokuhlola lapho konke kungabaza khona: indlela yokumelela isikhala, indima edlalwa umbala, ukuthi imizwa ibaluleke kangakanani, ukuthi umculi unendawo enjani emphakathini. Abadali abaningi bazizwa bedumele kakhulu kwezepolitiki nakwezenhlalo; "izwe langaphakathi" libonakala lithembekile kakhulu kunelangaphandle.
Ngenkathi umphakathi ugxila kakhulu kubantu abaningi, ama-Post-Impressionist aphikisana nalokho: Ngamunye ufuna izwi eliyingqayizivele kakhulu.Babengafuni ukumela iqiniso njengoba iso likubona (njengoba ama-Impressionist enza) noma njengoba ukuqonda kukuqonda (njengoba ku-Realism), kodwa njengoba bakubona ngokujulile. Ngakho-ke, imisebenzi yabo eminingi yayishaqisa, ingaqondakali, noma yenqatshwa ngokuphelele ukunambitheka kobunxiwankulu ngaleso sikhathi.
UVan Gogh, noma uGauguin, noma uCézanne abazange bathole ukuqashelwa okugcwele ngesikhathi sokuphila kwabo. Imidwebo yakhe ayizange ithandeke kubathengi noma kubagxeki abagcina imithetho.Naphezu kokuthengiswa okuhlukile kanye nokusekelwa ngezikhathi ezithile, umbukiso omkhulu wokubuyela emuva eLondon ngo-1910, lapho leli gama laqanjwa khona, wawungaphumelelanga emphakathini. Ngokumangalisayo, kwakungabaculi abavelele kamuva abababheka njengabachwepheshe abaphelele. Namuhla, ama-canvas abo athola imali eningi endalini.
Ngaleso sikhathi esifanayo, ukuvela kwezithombe kanye nokuvela kwemifanekiso namaphosta kwaholela abadwebi abaningi ukuba bacabange kabusha ngendima yabo. Ukube ikhamera ibingaqopha iqiniso ngokunembileKwakungenangqondo ukuqhubeka nokuncintisana naye. Yingakho kwashintsha indlela yokucabanga, uphawu, kanye nesakhiwo esichaza lesi sikhathi.
Izici eziyinhloko ze-post-impressionism
Nakuba kwakungeyona inhlangano efanayo, singabona uchungechunge lwezimpawu eziphindaphindayo, ezinama-nuances, kubaculi abaningi be-Post-Impressionist. Zonke zivela efa le-Impressionism, kodwa Bayayijika futhi bayinwebe ngezindlela zomuntu siqu.
1. Ukubaluleka kokuzikhethela ngaphezu kokuguquguquka
Kuze kube sekhulwini le-19, ubuciko baseNtshonalanga babusekelwe ekulingiseni imvelo. Ngisho ne-Romanticism, naphezu kokugcizelela kwayo imizwa, kanye ne-Impressionism uqobo, yaqhubeka ikhathazekile ngokubonakala "okukholekayo" komhlaba. Ama-Post-Impressionist aphula leso sithiyo: Kuvunyelwe ukuhlanekezela, ukweqisa, noma ukwenza lula amafomu kuye ngokuthi bafuna ukuveza ini.Emisebenzini efana nekaVan Gogh ethi "The Starry Night," izakhiwo zezwe ziyaguquguquka futhi ziphenduke ukuze ziveze isimo sakhe semizwa, hhayi isibhakabhaka esiqondile.
2. Umbala wezinjongo zokukhuluma nokubonisa
Ukusetshenziswa kombala mhlawumbe kuyisici esiphawuleka kakhulu. Ama-Post-Impressionists ayeka ukukopisha imibala yemvelo akhetha ukusebenzisa ama-palette aqinile, ngokuvamile angewona awemvelo, agcwele izimpawuEmidwebweni eminingi sithola izindawo ezinkulu ezinombala omsulwa, ezinokungafani okucacile futhi cishe azikho izigaba, okwenza isikhala sibe sincane futhi senze umbala ube ulimi lomculi. Ku-"The Vision After the Sermon" kaGauguin, isibonelo, isizinda esibomvu "asilingisi" lutho olungokoqobo: sidala isimo esingokomoya nesimangalisayo.
3. Amasu epulasitiki amasha
Lesi sikhathi siwumkhosi wokuhlolwa kobuchwepheshe. Izinsiza ezifana nalezi ezilandelayo ziyathuthukiswa: pointillism (izimo ezakhiwe ngamachashazi amancane anemibala), i-geometrication eyeqile yezinhlobo (uCézanne enciphisa imvelo ibe amasilinda, amakhoni kanye nezimbulunga), ukusetshenziswa kwemidwebo ebanzi negqamileukukhetha izindawo ezinombala oyisicaba ezinomthamo omncane kanye ukucindezela ngamabomu ukujula kwendawoOkungeziwe kulokhu kukhona ukushaywa kwamabhulashi okujiyile, amabala abonakalayo, ukuthungwa okuqinile, kanye nezingxube zezinto ezingajwayelekile.
4. Intshisekelo ezintweni ezingavamile, ezidumile kanye "nezakudala"
Njengoba sekwenzekile kakade ku-Impressionism, ubuciko baseJapan bunethonya elikhulu, kodwa manje ukugxila sekubanzi: Ama-Post-Impressionists aphinde abheka emasikweni asendulo angewona aweNtshonalanga, ubuciko bendabuko, kanye nobuciko obubizwa ngokuthi "basendulo".UGauguin wathola ugqozi eTahiti naseGibhithe likaFaro; uRousseau, ngaphandle kokushiya iFrance, wacabanga ngamahlathi aluhlaza asekelwe ezincwadini ezinemifanekiso kanye nasezindaweni zoo. Kule misebenzi, sithola imizimba yabantu ibheke phambili nemilenze isesimweni esihle, imidwebo eyisicaba, kanye nezithombe ezihlelekile ezikhumbuza imifanekiso yasendulo.
5. Ukuxubha okucacile noma okuhlelekile
Ngokungafani nokushaywa kwe-Impressionism okukhululekile nokubonakala sengathi kuzenzakalela, ama-Post-Impressionists asebenzise isitayela esinohlonze kakhulu. KuVan Gogh, ukushaywa kwe-brush kuyinto okugobile, okunesigqi, nokujiyileCishe kuqoshwe. KuCézanne, okuphindaphindayo nokwakhayo, njengokungathi wakha itshe lesithombe ngetshe. KuSeurat, omncane futhi oqondile, oncishisiwe waba amaphuzu acishe abe yizibalo. Ukuxubha kuyayeka ukufihlwa futhi kuba yingxenye ebalulekile yomyalezo.
6. Isakhiwo, isimo kanye nencazelo
Ngenkathi i-Impressionism igxile emoyeni nasekudlaleni kokukhanya, i-Post-Impressionism yabuyela ekudwebeni ukunambitheka kwe... isakhiwo esiqinile kanye nokwakheka okucatshangelwe kahleAbaculi abaningi benza izibalo zibe lula kuze kube yilapho zifinyelela ezingeni lokunemba okucishe kube yi-geometric, bahlele izindiza ngendlela eqinile yokwakhiwa, futhi bagcwalise izigcawu ngezimpawu. Imisebenzi ayisekho nje "imibono" yaleso sikhathi; iyizakhiwo ezikhuluma ngemibono, imizwa, noma ukugxekwa komphakathi.
I-Post-Impressionism vs Impressionism: Umehluko Obalulekile
I-Impressionism kanye ne-Post-Impressionism ziyahlangana ngokuhamba kwesikhathi futhi zihlanganyela intshisekelo ezindikimbeni zesimanje nombala okhanyayo, kodwa izinhloso zazo zihlukile. I-Impressionism ifuna ukukhombisa ukuthi iqiniso libukeka kanjani; i-Post-Impressionism, ukuthi lizizwa kanjani nokuthi lisho ukuthini..
Ku-Impressionism, okubaluleke kakhulu ukukhanya kwemvelo kanye nemiphumela yako ezimweni. Abadwebi bapenda ngaphandle, ngokusheshisa amabhulashi, bezama ukubamba umzuzu. Ukuxuba imibala kwenzeka ngqo emehlweni ombukeli, ngokuthinta okuncane, okuhlangene. Umsebenzi uhlala ungenaphuthaUmdwebi umane uqopha imibono ebonakalayo.
Ngakolunye uhlangothi, ku-post-impressionism, ukukhanya akube kusalokhu kuyisikhungo futhi kuba nje enye insiza yokuveza umbono. Ukuzithoba kungena endaweni ngenkaniIzilinganiso ziyasontwa, imibala iyaqiniswa, futhi izimpawu nezingathekiso ziyafakwa. Abaculi abaningi babuyela emsebenzini wesitudiyo, besuka ekupendweni emoyeni ukuze bakhe izigcawu ezibonisa ukukhanya okwengeziwe.
Izindikimba nazo ziyashintsha. I-Impressionism igxila ezindaweni, izigcawu zokuzilibazisa kobunxiwankulu, impilo yasemadolobheni, kanye nemvelo. I-Post-Impressionism yandisa ububanzi: Izwe elingaphansi komhlaba liyavela, imibono yomuntu siqu yenkolo, amaphupho afana namaphupho, iziqhingi ezingavamile, abantu abazimeleKonke lokhu ngenhloso enenjongo, ngokuvamile engokwefilosofi noma engokomzwelo.
Kalula nje, singasho ukuthi i-Impressionism iguqula ukukhanya kube umbala, kuyilapho i-Post-Impressionism iguqula imizwa nemibono ngesimo nombalaLowo mehluko yiwona ozovula indlela yokubonisa, i-cubism kanye nezinye "izimfundiso" zekhulu lama-20.
Ku-Impressionism, eyavela eFrance ekupheleni kwekhulu le-19, le nhlangano yayisekelwa kakhulu ngabathengisi nabaxhasi abathile, njengoPaul Durand-Ruel, abasize abaculi ukuba basinde ekwenqatshweni okusemthethweni; Ama-Post-Impressionist ayenobunzima obukhulu ekutholeni ukwesekwaUkuzimela kwakhe ngokweqile kanye nokungajwayelekile kweziphakamiso zakhe eziningi kwathusa ingxenye enkulu yomphakathi wobunxiwankulu, ababengazi kahle ukuthi bangawuqonda kanjani lo mbono omusha kangaka.
Abaculi Abaphambili Be-Post-Impressionist kanye Neminikelo Yabo
Nakuba amagama amaningi ayehlotshaniswa ne-Post-Impressionism, kuneqembu labaculi ngokuvamile ababhekwa njengengqikithi yalo. Ngamunye wabo waphishekela indlela yakhe, futhi kungenxa yalokhu kuhlukahluka ukuthi le nkathi kulula ukuyiqonda ngezindlela zabo.
UVincent van Gogh (1853-1890)
UVan Gogh cishe ungumuntu ubuso obuqashelwa kakhulu be-post-impressionismWazalelwa eNetherlands, wanquma ukuzinikela kakhulu ekudwebeni eneminyaka engu-27 futhi wathuthukisa iningi lomsebenzi wakhe eFrance. Wayeyithanda imibala yama-Impressionists kanye nemidwebo yaseJapan, kodwa akazange azigcinele ekuyilingiseni. Ukushaya kwakhe amabhulashi okugoba, okugcwele i-impasto, kanye ne-palette yakhe yombala ophuzi obukhali, oluhlaza okotshani, noluhlaza okwesibhakabhaka kwaguqula umdwebo ngamunye waba uhlobo lwe-X-ray engokomzwelo.
KuVan Gogh, umbala wawunenani elingokomfanekiso elijulile. Wayenganeliswa ukukopisha nje ithoni yangempela yentoWayiqinisa, wayihlanekezela, futhi wayihlobanisa nemizwa. Ku-"Café Terrace at Night," isibonelo, imibala ephuzi yekhefi ikhanya kakhulu kunalokho ukukhanya kwangempela okungakuveza, ukuze kuboniswe ukufudumala namandla enkundla. Lokhu kuphathwa kombala kumbeka njengomuntu oqondile we-Expressionism.
Impilo yakhe siqu yayiphawulwe ukungazinzi ngokomzwelo kanye nokugula kwengqondo. Ngesikhathi senkinga, waze wanquma indlebe yakhe, futhi izinkinga zakhe zengqondo zagcina ziholele ekuzibulaleni kwakhe eneminyaka engu-37 kuphela. Akathengisanga ngisho nomdwebo owodwa ngesikhathi sokuphila kwakhe, kodwa namuhla usebenza kanje. “Ubusuku Benkanyezi”“Ama-Sunflowers”, “Ama-Self-Portraits”, “Igumbi Lokulala e-Arles” noma “i-Café Terrace ebusuku” yizimpawu zobuciko baseNtshonalanga.
UPaul Gauguin (1848-1903)
UGauguin waqala njengomdwebi we-Impressionist, kodwa ngokushesha wakhathala ukulinganiselwa kwayo. Washiya impilo yakhe yobunxiwankulu, waya eBrittany kuqala wabe eseya ePolynesia, efuna indlela yokuphila "yakudala" eyayizophefumulela ubuciko obusha. Isitayela sakhe sisekelwe ku izindawo ezinkulu, eziyisicaba ezinombala ogqamile, imidwebo ephawuliwe, kanye nokushaja okunamandla okufanekisa, ethonywe kakhulu ubuciko bendabuko, besikhathi esiphakathi kanye nobezinto ezingavamile.
Emidwebweni efana nethi "The Yellow Christ," wathola ugqozi eziqoshweni zenkolo ezidumile zaseBreton, wanciphisa izinhlobo zaba amacebo alula futhi wagcwalisa imibala. Ezigcawini zakhe zaseTahiti, njengethi "Abesifazane baseTahiti" noma "Sivelaphi? Singobani? Siyaphi?", wahlanganisa izinganekwane zendawo, ukuzindla ngezinto ezenzekayo, kanye nokuzwela okukhulu. Ukusebenzisa kwakhe umbala ngesibindi kanye nokwenqaba kwakhe ubunjalo kwathonya ngqo ubuFauvism.
Ngemuva kwalokhu kuhlukahluka kukhona futhi isici esiphikisanayo: Umbono wakhe ngamasiko asePolynesia uhlotshaniswa nobukoloni bangesikhathi.Ubuhlobo bakhe namantombazane aseTahiti, awabonisa enqunu noma enqunu kancane, bube yindaba yokugxekwa okukhulu. Noma kunjalo, indima yakhe ekuguqukeni kombala kanye nezimpawu zemifanekiso ayinakuphikwa.
UPaul Cézanne (1839-1906)
Kwababhali-mlando abaningi, uCézanne ubaba weqiniso wobuciko besimanjeWahlanganyela kweminye imibukiso ye-Impressionist, kodwa ngokushesha wathatha indlela ehlukile, ikakhulukazi washiya iProvence. Lapho wazinikela ekuqondeni nasekuvuseleleni imvelo kusukela emiqulwini yayo ebalulekile: amasilinda, amakhoni, ama-sphere. Izindawo zakhe, izinto eziphilayo ezisaphila, kanye nezigcawu zabantu ababhukudayo kubonakala sengathi zenziwe ngamabhulokhi anombala ahlanganiswe njengezakhiwo.
Emisebenzini efana nethi "The Bathers" noma imibono yakhe eminingi yentaba iSainte-Victoire, isikhala asisaboniswa ngombono wakudala. Amafomu alula, izindiza ziyahlangana, futhi ibhulashi elifushane, elihambisanayo lishintsha umbala. ngaphandle kokusebenzisa i-chiaroscuro yendabuko. Ngale ndlela, uCézanne ulungiselela ngqo isisekelo se-Cubism kaPicasso noBraque, abazothatha ukuhlaziywa kwakhe kwesakhiwo bayise ezingeni eliqine kakhulu.
Imisebenzi yakhe ayizange ihlonishwe ngesikhathi sokuphila kwakhe, kodwa ngemva kokufa kwakhe abaculi abaningi abasebasha babembheka njengochwepheshe ophelele. UPicasso noMatisse bambiza ngokuthi "ubaba wethu sonke." Phakathi kwemidwebo yakhe eyaziwa kakhulu kukhona ethi "The Bathers," "Woman in Blue," "Basket of Apples," kanye nethi "The House of Mary on the Path to Château Noir."
UGeorges Seurat (1859-1891)
USeurat uvame ukuhlukaniswa njengoNeo-Impressionist, kodwa iminikelo yakhe ifanelana kahle nomoya wePost-Impressionist. Wayengomunye wabokuqala ukuhlukana neqembu le-Impressionist ngokuthuthukisa isitayela sakhe. ubuqhophololo noma ukwahlukana, inqubo esekelwe ekusebenziseni amachashazi amancane anombala omsulwa eceleni ukuze ingxube ivele ngokubonakalayo ku-retina yombukeli.
Ethonywe yimibono yesayensi yombala kanye nokucabanga okuhle kwesikhathi sakhe, uSeurat wafuna indlela ecishe ibe yizibalo ukuze afinyelele ukukhanya okukhulu kanye nokuqina ezinhlotsheni. Emisebenzini efana nethi “A Sunday Afternoon on the Island of La Grande Jatte” noma “A Bather at Asnières”, Izibalo ziba zizinzile futhi zibe nomthamo, zisuka emthonjeni ofiphele nowesikhashana wama-Impressionists.Naphezu kwalokhu, wayelokhu enesithakazelo ezigcawini zokuzilibazisa zobunxiwankulu, amasekisi, kanye nezindawo zasemadolobheni.
Impilo yakhe yayimfushane kakhulu: washona eneminyaka engaphezudlwana nje kwengu-30 ubudala. Nokho, inqubo yakhe yaqhubeka noPaul Signac futhi yathandwa ngabaculi abaningi ababebona ku-poillism indlela eya ezinhlotsheni zokuhlobisa nezingabonakali.
UHenri de Toulouse-Lautrec (1864-1901)
Wazalelwa emndenini wezicukuthwane, uToulouse-Lautrec waba ngumlobi omkhulu wezindaba Ukuphila kwasebusuku eParis ngasekupheleni kwekhulu le-19. Imidwebo yakhe, ama-lithograph, nama-posters agxile kuma-cabaret, amahholo okudansa, amakhonsathi ekhefi, kanye nezindawo zokudayisa imizimba yabantu baseMontmartre, ikakhulukazi eMoulin Rouge. Wayenesifiso sokudweba nokudweba, wasebenza ngamafutha, i-pastel, i-gouache, futhi ngaphezu kwakho konke, i-lithography.
Isiginesha sakhe siqu ukusebenzisa kwakhe umugqa: Imidwebo enamandla, ngezinye izikhathi ephinde yalungiswa noma yalungiswa, ihlanganiswe nezindawo ezinombala oyisicaba kanye nohlaka oluqinileWathola ugqozi emibhalweni yaseJapan futhi waphakamisa iphosta yokukhangisa yaba yisikhundla sobuciko obuphezulu, ethonya ngokunamandla umklamo wezithombe wekhulu lama-20. Phakathi kwemisebenzi yakhe eyaziwa kakhulu kukhona ethi "At the Moulin Rouge," "In Bed: The Kiss," kanye namaphosta akhe adumile eMoulin Rouge kanye ne-Aristide Bruant.
UHenri Rousseau (1844-1910) kanye namanye amagama ahlobene nawo
UHenri Rousseau, isikhulu sentela kanye nomdwebi ozifundisayo, uvame ukuhlotshaniswa ne-Post-Impressionism ngenxa yesitayela sakhe esingenalwazi kanye nesitayela sakhe Izindawo zehlathi eliluhlaza kanye nezindawo ezinhle kakhuluAkazange ashiye iFrance noma abone ihlathi langempela; wathola ugqozi ezincwadini zezingane, ezingadini zezitshalo, kanye nasezindaweni zokulondoloza imvelo. Ubuciko bakhe obungenalwazi babukelwa phansi abagxeki abaningi kodwa bahlonishwa ngabaculi abanjengoPicasso ngenxa yobusha bawo namandla awo okuqamba. Imisebenzi efana nethi "The Sleeping Gypsy" kanye nethi "The Dream" manje ibhekwa njengeyisisekelo sokuqonda ubuqambi kanye nokuzwakala okufana namaphupho kwekhulu lama-20.
Abaculi abafana no U-Émile Bernard, amaNabis (uVuillard, uBonnard), uHenri Rousseau, ngisho nabaqophi bezithombe abanjengo-Auguste Rodin noCamille ClaudelLaba baculi bamuva badlulisela kulolo lwazi olufanayo ngokuvezwa kwesimo, ubuso obukhanyayo kanye nokuhlukana nemithetho yezemfundo.
Izitayela kanye ne-sub-currents ngaphakathi kwe-post-impressionism
Isambulela se-Post-Impressionist sihlanganisa izindlela eziningi ezahlukene. Singakhomba ezinye izindlela noma amasu avelele asisiza ukuthi sihambe kule nethiwekhi yezitayela zomuntu siqu.
Ukukhomba
Iphefumulelwe nguGeorges Seurat noPaul Signac, i-pointillism ihlanganisa yakha isithombe usebenzisa amachashazi amancane anombala omsulwaisetshenziswa ngesineke esicishe sibe sibi kakhulu. Uma ukude, iso lihlanganisa la maphuzu futhi libone izimo eziqinile nezikhanyayo. Imisebenzi ebalulekile efana nethi "A Sunday Afternoon on the Island of La Grande Jatte" noma "Bathers at Asnières" ikhombisa izigcawu ezinkulu, lapho ukukhanya kubonakala sengathi kudlidliza kusuka ngaphakathi kobuso obupendiwe uqobo.
I-Japonism
Ukuthakasela kwe ubuciko baseJapanLesi sitayela, esasivele sithonye i-Impressionism, safinyelela kwelinye izinga kuVan Gogh nakwamanye ama-Post-Impressionist. Bephefumulelwe yimidwebo kaHokusai noHiroshige, bamukela ukwakheka okungalingani, imibala eyisicaba, imigqa egqamile, kanye nemibono engajwayelekileUVan Gogh waze wafika ezingeni lokukopisha ngqo imibhalo yesiJapane, njengaku-"Plum Blossom (after Hiroshige)" noma "Bridge in the Rain (after Hiroshige)", nakweminye imidwebo, njenge-"Portrait of Père Tanguy", wasebenzisa imibhalo yesiJapane njengesizinda esigcwele incazelo.
Ubukhulu
Lokho okubizwa ngokuthi ubuqambi bubonakala nge- intshisekelo emasikweni angewona aweNtshonalanga kanye nesitayela esenziwe lula ngamabomu noma "esingenalwazi"UGauguin ubonisa lokhu ngokuya eTahiti, lapho edweba khona izigcawu ngezithombe eziqinile, ezilinganiselwe kahle ezizungezwe izimpawu zenkolo noma zezinganekwane. URousseau wenza kanjalo ngendlela yakhe, ecabanga ngamahlathi nezithombe ezilele noma ezilahlekile emcabangweni, njengaku-"The Sleeping Gypsy." Le ndlela kamuva yathonya ubuCubism kanye nabaculi abaningi ababefuna "esikhathini sakudala" indlela yokuvuselela bebhekene nesiko lezemfundo laseYurophu.
I-Impressionism kanye ne-Post-Impressionism: Ukubuka Okufushane Ngomsuka We-Break
Ukuze uqonde ngokugcwele igxathu elimele i-Post-Impressionism, kuyasiza ukukhumbula ukuthi laba badwebi bavelaphi. I-Impressionism yavela eFrance ekupheleni kwekhulu le-19 njengendlela yokusabela ngokumelene nemfundo eqinile. UMonet, uRenoir, uDegas, uPissarro kanye nenkampani babefuna ukuthwebula umbono wokukhanya odlulayo ezintweni, ukupenda ngaphandle, ngokushaywa ngamabhulashi okuxekethile nemibala emsulwa ngaphandle kokuxubana kwangaphambili kuphalethi.
Umdwebo odumile kaMonet othi "Impression, Sunrise" wanikeza igama lawo, cishe ngokuhlekisa, kulo lonke iqembu. Ama-Impressionist enqatshwa yiSalon esemthethweni futhi kwadingeka ahlele imibukiso yawo, njengombukiso odumile eNadar Gallery ngo-1874. Lapho, kwaqubuka ihlazo: Abagxeki bashaqeka yilawo mabala ayeqondakala kuphela uma ebhekwa kude..
I-Impressionism yayibonakala ngokusetshenziswa ngqo kwemibala emsulwa, ukugwema i-chiaroscuro yendabuko, ukuvelela kokukhanya kwemvelo, nokudweba ngaphandle. Yayibonisa izigcawu zansuku zonke, izindawo ezinhle, nezikhathi zokuzijabulisa, kokubili zasemakhaya nezasemadolobheni. ESpain, ithonya layo lafika kamuva, ngezithombe ezifana nalezi U-Darío de Regoyos, u-Aureliano de Beruete noma u-Joaquín Sorolla, owavumelanisa inqubo ye-Impressionist nezindikimba zendawo kanye nokukhanya.
Nokho, kusukela ngawo-1880 kuqhubeke, abaculi abaningi baqala ukuzwa ukuthi i-Impressionism yayingasekho. Amafomu ancibilika kakhulu ekukhanyeni kangangokuthi umuzwa womthamo nendawo walahleka. Abanye babefuna ukubuyisa umdwebo, abanye ukwengeza imizwa, abanye ukufuna isakhiwo esiqinile noma ukuphenya umbala ngendlela ehlelekile.Kusukela kule ndawo yokuzalela, kwazalwa i-post-impressionism, engaqondakali njengekhefu eliphelele, kodwa njengokuvela kwemvelo kanye nokunqoba okubucayi.
Nakuba i-Impressionism yayisekelwa kakhulu ngabathengisi namakhasimende athile, njengoPaul Durand-Ruel, owasiza abaculi ukuba basinde ekwenqatshweni okusemthethweni, Ama-Post-Impressionist ayenobunzima obukhulu ekutholeni ukwesekwaUkuzimela kwakhe ngokweqile kanye nokungajwayelekile kweziphakamiso zakhe eziningi kwathusa ingxenye enkulu yomphakathi wobunxiwankulu, ababengazi kahle ukuthi bangawuqonda kanjani lo mbono omusha kangaka.
Ifa Lobu-Post-Impressionism Ebuciko Besimanje
Umthelela we-Post-Impressionism emlandweni wobuciko mkhulu kakhulu. Abalingiswa bayo abaphambili babengagcini nje ngokufuna "ukupenda ngendlela ehlukile," kodwa ukwandisa lokho umdwebo ongakusho futhi ukwenzeKulelo phupho kwavela imiphumela eminingana eyayizophawula ikhulu lama-20.
Okokuqala, i-Post-Impressionism igcina inkolo ukubaluleka kokubonakaliswa komuntu ngamunyeAbaculi abasalindelekile ukuba balandele isikole noma isitayela esifanayo; ngamunye unelungelo lokuthuthukisa ulimi lwakhe, noma ngabe lungakhululekile noma aluqondakali. Lo mbono womsebenzi njengokubonakaliswa okuyingqayizivele kobuntu bomdali uzoba yisihluthulelo sazo zonke izinhlangano ezisebenza phambili.
Okwesibili, ushiya ifa elikhulu lobuchwepheshe. UCézanne uvula indlela ye-geometris ezoholela ku-Cubism, njengoba kuboniswe Abesifazane base-Avignon UPicasso; uVan Gogh uphefumulela i-Expressionism ngemibala yakhe egqamile; uGauguin noRousseau bakhuthaza i-Primitivism kanye ne-Fauvism ngemibala yabo egqamile kanye nokukhanga kwabo ngezinto ezingavamile; uSeurat noSignac bakhomba indlela eya ezintweni ezithile ezingabonakali nezihlotshisiwe. Akukho "ism" yekhulu lama-20 engakwazi ukuthola isikweletu kulaba badwebi.
Okwesithathu, kuhlanganisa ukusetshenziswa kwe umbala njengethuluzi elizimele lencazeloNgemva kwe-Post-Impressionism, akekho owayengakhawulela umbala ekulingiseni imvelo: wawungaveza imizwa, imibono, izimpawu, imizwa. Le nkululeko ye-chromatic yayizosetshenziswa kakhulu yizintshukumo ezifana ne-Fauvism, i-Abstract Expressionism, kanye neningi lezinto. ubuciko besimanje.
Okokugcina, i-Post-Impressionism isiza ekuhlukaniseni umngcele phakathi kwabantu “abafanele” kanye “nabangafaneleki”. Impilo yasebusuku, umhlaba ongaphansi komhlaba, amahlathi asunguliwe, ingaphakathi elithobekile, noma imibono eseduze yomdwebi Zithola isikhundla esifanayo nezihloko ezinkulu zomlando noma zenkolo. Ukudweba kuzivulela ulwazi lomuntu kuzo zonke izinto eziyinkimbinkimbi, kusukela kokwansuku zonke kuya kokufana nephupho.
Uma sibheka igumbi eligcwele uGauguin, uCézanne, uSeurat noma uToulouse-Lautrec namuhla, esinakho phambi kwethu umphumela wesikhathi lapho abadwebi abambalwa banquma khona ukuthi ubuciko abusakwazi ukuqhubeka nokukopisha umhlaba njengoba unjalo. Ukuzimisela kwakhe ukuletha imizwa ejulile, izakhiwo ezintsha, nemibala engenakwenzeka ku-canvas Kwakuyindawo yokuqala kwakho konke esikuqonda njengobuciko besimanje, futhi kuyaqhubeka nokuba umthombo ongapheli wokuphefumulela abaculi nabathandi bobuciko emhlabeni wonke.
