But how can Pointillism Neo-Impressionist and Impressionism be differentiated? And in what do they resemble? Pointillism and Impressionism arise both from the same need: to grasp the reality of the nature and landscape in its luminous essence and by trying to capture it on the canvas through the use of color rather than drawing.
In spite of the common starting point, their path as well as their final outcomes are of diametrically opposition. The Impressionist painter is positioned in front of the landscape with a romantic spirit. While the Pointillist does exactly the opposite. His ways of painting are rational, detached, methodical, time-consuming and consistence. There is no space for instinct. The search for a representation of light as truthful as possible, is being carried out by Pointillists following some theories that are taking hold in those years.
It is precisely in doing this work that Chevreul noted an interesting thing: to restore properly a missing piece of a tapestry, in fact, it is necessary to take into account the influence of the colors presented around the gap. He found out that when two colors juxtaposed, slightly overlapping or very close, they would have had the effect of another different color if perceived by the human eye from a certain distance.
Chevreul noted that if each color lying on a white sheet, on its sides, an aura of its complementary color can be perceived. Thus, by combining two complementary colors, the aura of one reinforces the other, which mutually increase the brightness.
Now that you know the theory behind, try to take any Pointillist paintings, carefully observed it closely, and count how many times a color of each presented point is matched to its complementary. You will certainly be surprised to never have noticed this particularity before. Another fundamental finding is thanks to the physicist Nicholas Ogden Rood. The synthesis of his research can be summarized in this way: the juxtaposing of primary color creates a more intense, bright and pleasant presentation of it than the effects obtained by mixing directly the pigments.
In facts, Rood claimed that the light and the colored material to be clear, the colors in the tube behave in completely different ways. He exploits how the eye combines colors in close proximity to each other. We see impressionism in more than paintings. In this sketch by Degas, we see a study of a dancer. The movement and form have been captured loosely and quickly.
We have just enough detail to know what the subject matter is. Paul Getty Museum. In this drawing by Seurat, we are given detail in the values of the scene but very little movement. Seurat used a heavily textured paper upon which he would build up value in the crevices of the paper producing a stippling effect similar to that of pointillism. The woman appears very solid and still and seems to be posing rather than strolling. Primarily using Seurat's method of pointillism to depict figures often results in a stiff and slightly abstracted scene.
It is a matter of the artist applying small, individual dots of colour to form an image. There were two principle artists who saw to the Pointillist tradition being carried on: Pierre Seurat and Paul Signac.
Also known as Divisionism, Pointillism is a sophisticated pictorial technique. It compels our eye and mind to merge and assimilate colour on a wide chromatic range.
This is a relatively original approach as the spotted touches of the paint brush oblige the viewer to take a few steps back in order to see the emergence of the work as a whole.
Like Impressionist artists, Pointillists depict landscapes, portraits and seascapes; their aim being to paint soothing scenes in open air. Rather than mixing colours on a palette, Pointillists apply raw colour directly onto the canvas. Using round or square touches of the paintbrush, their blending of tones and pigments takes place on the surface of the canvas as they work, not on a palette beforehand.
This technique was a complete break with the traditional practices of the 19th century. The Pointillist theory holds that dots can only be distinguished from one another when viewing the work from a certain distance. Thanks to this technique that spaces out the applied colours, some areas of the canvas remain untouched and can still be seen. This gives the work an even brighter effect.
Raw pigments retain their natural brilliance by virtue of not being mixed together…this is what makes Pointillism so innovative. Imagine yourself in front of an easel. Brushes in hand, paint tubes nearby, all you need to do is paint. Except for as a Pointillist artist, you have one giant constraint…you will have to get by without mixing your paints on the palette or on the canvas. Yes, it seems daunting. One may wonder why the artists went to so much trouble. But their reasons are simple, they wanted to revolutionise art and offer up a new definition of what it means to be a an artist.
To do this, they relied on scientific theories about time and optical phenomena. Charles Henry, a French librarian and editor who was interested in the subject, wrote a book called the Chromatic Circle in which he demonstrated how positioning colours on a circle can help create new colour combinations.
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