The term neo-impressionism was first used by art critic Félix Fénéon (1861-1944) in 1886 to describe the work of Georges Seurat (1859-1891), Paul Signac (1863-1935) and their disciples.
Also called divisionism and pointillesme, neo-impressionism is a movement and style focused on the vivacity of colors. As part of posttimpressionism, neoimpressionism was based on scientific theories about color. The artists juxtaposed small brush strokes or dots in pure colors, without prior mixing, to give a more vibrant effect to their paintings. The intention was that the colours should blend in the eyes of the spectator and appear brighter and brighter than those previously mixed. The technique was based on the color theories published by chemist Michel Eugène Chevreul (1786-1889) in his 1839 book The Law of the Simultaneous Contrast of Colors, which addressed the problems related to the dyes used in the production of goblin tapestries. He discovered that color perception is influenced by those near or near, and his theory of simultaneous contrast addressed this point. Although the actual colors do not change, he maintained, the visual sensations change, and the most intense effects can be obtained by juxtaposing complementary colours - or colours on either side of the chromatic wheel - such as red and green, blue and orange, and purple and yellow.

Seurat and his disciples distanced themselves from the spontaneity of impressionism, but continued their exploration of bright colors. The use of adjacent complementary colors has become a method used by all neo-impressionists and most post-impressionists.

MAIN ARTISTS: GEORGES SEURAT • CAMILLE PISSARRO • PAUL SIGNAC • THÉO VAN RYSSELBERGHE • HENRI-EDMOND CROSS