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or ne·o-im·pres·sion·ism  (nē′ō-ĭm-prĕsh′ə-nĭz′əm)
A movement in late 19th-century painting led by Georges Seurat that was stricter and more formal than impressionism in composition and employed pointillism as a technique.

ne′o·im·pres′sion·ist adj. & n.


or Ne•o-Im•pres•sion•ism

(ˌni oʊ ɪmˈprɛʃ əˌnɪz əm)

a late 19th-century French artistic theory and practice, characterized chiefly by the use of pointillist techniques.
ne`o-im•pres′sion•ist, n., adj.


See also: Art
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References in periodicals archive ?
WHO among the French Neo-Impressionists is best known for his pointillist technique?
Thus, the exhibition examines the reception of Cezanne, Gauguin, and Van Gogh, the Neo-Impressionists with Signac, the Fauves with Matisse and the Cubists with Picasso in relation to the German Expressionist artists of Die Brucke (The Bridge) and Der Blaue Reiter (The Blue Rider).
The neo-impressionists instituted a new form of impressionism based on two theories of color relationships presented by the French chemist Michel Eugene Chevreul: optical mixing, in which two juxtaposed colors can be seen to blend together to suggest a third, and simultaneous contrast, in which the perception of a particular hue is influenced by the ones that are placed next to it.
The pointillist style landscapes and interiors are reminiscent of neo-impressionists in their quiet, contemplative nature.
It seems that moderately priced and easy-on-the-eye 19th-century European paintings did quite well, with Anderson's of Los Angeles selling a few neo-Impressionists and Berko selling the likes of Frans Verhas's The Little Rascal, one of two pictures sold to a local buyer for 150,000.
Here Antliff 's narrow focus on self-proclaimed anarchist artists excludes all but French neo-Impressionists such as Camille Pissarro, Paul Signac and Maximilien Luce, with a passing mention of Belgian Theo van Rysselberghe.
But Llandeilo-based William Wilkins, a Welsh artist of international standing whose technique is akin to the neo-Impressionists school of work expounded by Georges Seurat, said that to dismiss all conceptual art as a nonsense was akin to sensationalism itself.
For these minor works demonstrated the degree to which Signac at his most pictorially intelligent stood head and shoulders above his fellow Neo-Impressionists, save Seurat.
Georges Seurat and the neo-impressionists applied color systematically, according to current theories about optics.