Neo-Impressionism

2018 ◽  
Author(s):  
Lynn M. Somers
Keyword(s):  
Systematic Approach ◽  
New Work ◽  
Avant Garde ◽  
Painted Surface ◽  
Sunday Afternoon ◽  
Georges Seurat ◽  
Camille Pissarro

Neo-Impressionism (1886–1906) comprised a group of avant-garde painters in France who explored a systematic approach to painting that revived Classical ideals while critiquing Impressionism’s prevailing aesthetic of spontaneity and improvisation. Led by the young, Parisian-born Georges Seurat, a rebellious École des Beaux-Arts-trained painter and anarchist, the Neo-Impressionists first gained attention at the eighth and final Impressionist exhibition in Paris in 1886. There, Seurat and his student Paul Signac, accompanied by the older Camille Pissarro, and his son Lucien, staged their bold new work. Its centerpiece was Seurat’s monumental Sunday Afternoon on the Island of La Grande Jatte (1884–1886), a visual manifesto to Neo-Impressionist precepts. In his review, art critic and activist Félix Fénéon coined the label néo-impressionisme to describe compositions that forcefully advanced Impressionism’s vibrant coloristic experiments. He detailed Seurat’s method of juxtaposing small, regularized touches of adjacent and complementary colors as ‘optical painting." Termed "divisionism," unblended pigments would theoretically "recombine on the retina" of the observer, resulting in a brilliant synthesis of hue and light on the painted surface. The methodical application of dots was termed "pointillism."

Seurat, Georges-Pierre (1859–1891)

2018 ◽  
Author(s):  
Lynn M. Somers
Keyword(s):  
Pablo Picasso ◽  
Henri Matisse ◽  
Avant Garde ◽  
Sunday Afternoon ◽  
Paul Gauguin ◽  
Vincent Van Gogh ◽  
Painting Technique ◽  
French Painting ◽  
Gallery System ◽  
Figure Paintings

Born in Paris in 1859 to a bourgeois family, painter and draughtsman Georges-Pierre Seurat enjoyed a brief but mature career as the leading French Neo-Impressionist. His invention of Divisionism (or "chromo-luminarism"), a painting technique grounded in science and the study of optics, challenged the spontaneity and fluidity of Impressionism, which by the 1880s had been largely subsumed by a capitalist gallery system. In 1886, at the eighth and final Impressionist exhibition, Seurat debuted his monumental Sunday Afternoon on the Island of La Grande-Jatte (1884–1886), a "patient tapestry" of line and color that led the art critic and activist Félix Fénéon to coin the term néo-impressionisme. Equally shaped by the Renaissance frescoes of Piero della Francesca and the Baudelairean praise of the ephemerality of modern life, La Grande-Jatte symbolically closed a chapter in French painting. Seurat’s systematic aesthetic produced an indelible impact on fin de siècle artists such as Vincent van Gogh, Paul Gauguin, Henri de Toulouse-Lautrec, Henri Matisse, and later Pablo Picasso, Robert Delaunay, and André Breton’s Surrealism, firmly establishing him as integral to the 20th-century avant-garde. Seurat’s oeuvre includes approximately 500 drawings and 6 major figure paintings, an astonishing output for a career that lasted only 11 years.

Coda

2017 ◽  
Author(s):  
Alix Beeston
Keyword(s):  
United States ◽  
Object Relations ◽  
Roland Barthes ◽  
New Work ◽  
Art Practice ◽  
Avant Garde ◽  
In Series ◽  
The Subject

Building on new work that acknowledges the abstract and self-reflexive elements of Walker Evans’s photography, as well as his contributions to avant-garde art practice in the 1930s, this chapter analyzes select images from his 1938 photographic sequence, American Photographs. Evans’s photobook represents the modern United States as a vast machine for constituting subjectivities—but a machine that might be recalibrated or reverse engineered. It therefore emblematizes the subversive power of the woman-in-series in composite modernist writing: a figure who upsets the subject–object relations of this writing, bidding us to enter into the “shared hallucination” that is initiated, for Roland Barthes, by photography.

Psychoanalysis as Innovative Technology

2003 ◽  
Vol 33 (3) ◽  
pp. 443-452
Author(s):  
Miles F. Shore
Keyword(s):  
Technological Innovation ◽  
Subjective Experience ◽  
Innovative Technology ◽  
New Work ◽  
Traditional Methods ◽  
Personal Lives ◽  
Avant Garde ◽  
Gathering Data ◽  
Personal Element

Although the early psychoanalysts tended to be protective of information about their personal lives, new work shows how their characters and relationships influenced the evolution of their profession. Yet, this personal element, significant and often overlooked as it is, offers only one approach to explicating this history. Psychoanalysis can also be understood as a technological innovation—in this case, a novel means of gathering data that completely disrupted traditional methods of analyzing human subjective experience. This view of psychoanalysis is a particularly effective way to show how events shaped practitioners' behavior, even as their behavior shaped events. Thus does it offer a complementary explanation for why the adherents of psychoanalysis so often assumed the contradictory roles of avant-garde revolutionaries and protectors of the true faith.

scholarly journals What Is a Sustainable Coworking Space?

2020 ◽  
Vol 12 (24) ◽  
pp. 10547
Author(s):  
Kolja Oswald ◽  
Xiaokang Zhao
Keyword(s):  
Q Methodology ◽  
Systematic Approach ◽  
New Work ◽  
Sustainable Mobility ◽  
Socially Responsible ◽  
Community Factors ◽  
Coworking Spaces ◽  
Insight Into ◽  
Do So

Coworking is a trend that is becoming increasingly popular and is often associated with sustainability. However, a lack of consensus exists on what a sustainable coworking space is. This study addresses this by investigating what is currently understood by a sustainable coworking space. Q-methodology is used to analyze 27 participants’ subjective ideas about what a sustainable coworking space is, resulting in four distinct perspectives. The four perspectives are identified as follows: 1. “New Work”, 2. “Resourceful Society”, 3. “Incubator, and 4. “Environmental”. These perspectives have distinct opinions on what important sustainability aspects in the context of coworking spaces are. Whilst some prioritize environmental and community factors, others have a mixed focus. Additionally, the four perspectives share some common beliefs. All of them believe in the importance of sustainable mobility, as well as in the moderate importance of encouraging their members to be socially responsible. These findings offer insight into the different understandings of coworking space sustainability. This is important because currently this field is under-researched, and a more systematic approach to sustainability in this field is needed. This research lays the foundation to do so and helps work toward a better understanding of coworking in a sustainability and innovative context.

›Beredsamkeit‹ in Lessing’s Zur Geschichte und Litteratur: A reply to Herder

Rhetorik ◽  
2014 ◽  
Vol 33 (1) ◽  
Author(s):  
Staffan Bengtsson
Keyword(s):  
Public Space ◽  
German Literature ◽  
New Work ◽  
Similar Form ◽  
Johann Gottfried Herder ◽  
Avant Garde ◽  
The Public ◽  
Public Arena ◽  
The Bible ◽  
Leading Journals

AbstractTowards the end of Ueber die neuere Deutsche Litteratur (1767), Johann Gottfried Herder publicly makes the call that homiletics is in need of a »completely different kind of eloquence«. Ciceronian eloquene in Germany did not have any public space except from the pulpit, and the eloquence from the pulpit made the public passive, because the preacher pronounced sentences like a judge in a court. Herder turned instead to the Bible as a book that is in need of interpretation, to literature as a public arena where different opinions could meet, to the reader as a detective, and to the story of creation as the secret model by which to create an all-embracing perspective from a diversity of viewpoints. Herder took a series of isolated judgments (fragments) from leading journals of his day and shaped these broken pieces into a puzzle pieces (fragments in a new sense) which can be put together as an image of German literature. Although it challenged the division between painting and poetry of Laokoon, Lessing adopted this form of presentation in his new work Zur Geschichte und Litteratur (1773-1777), but retorted on a grander scale by presenting puzzle pieces from manuscripts of the Herzog August Library. At this time, Herder, Goethe and Lessing could be seen as an avant-garde bound together by a similar form of presentation.

Reading Longer Words: Insights Into Multisyllabic Word Reading

2017 ◽  
Vol 2 (1) ◽  
pp. 86-94 ◽  
Author(s):  
Lindsay Heggie ◽  
Lesly Wade-Woolley
Keyword(s):  
Systematic Approach ◽  
Word Reading ◽  
Explicit Instruction ◽  
Working Memory Capacity ◽  
Reading Difficulties ◽  
Instructional Programs ◽  
Morphological Knowledge ◽  
Morphological Complexity ◽  
Reading Accuracy ◽  
Grade 3

Students with persistent reading difficulties are often especially challenged by multisyllabic words; they tend to have neither a systematic approach for reading these words nor the confidence to persevere (Archer, Gleason, & Vachon, 2003; Carlisle & Katz, 2006; Moats, 1998). This challenge is magnified by the fact that the vast majority of English words are multisyllabic and constitute an increasingly large proportion of the words in elementary school texts beginning as early as grade 3 (Hiebert, Martin, & Menon, 2005; Kerns et al., 2016). Multisyllabic words are more difficult to read simply because they are long, posing challenges for working memory capacity. In addition, syllable boundaries, word stress, vowel pronunciation ambiguities, less predictable grapheme-phoneme correspondences, and morphological complexity all contribute to long words' difficulty. Research suggests that explicit instruction in both syllabification and morphological knowledge improve poor readers' multisyllabic word reading accuracy; several examples of instructional programs involving one or both of these elements are provided.

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