Editing Post-Impressionism (section)

==Overview==
The Post-Impressionists were dissatisfied with what they felt was the triviality of subject matter and the loss of structure in Impressionist paintings, though they did not agree on the way forward. [[Georges Seurat]] and his followers concerned themselves with [[pointillism]], the systematic use of tiny dots of colour. [[Paul Cézanne]] set out to restore a sense of order and structure to painting, to "make of Impressionism something solid and durable, like the art of the museums".<ref>Huyghe, Rene: ''Impressionism''. (1973). Secaucus, N.J.: Chartwell Books Inc., p. 222. {{OCLC|153804642}}</ref> He achieved this by reducing objects to their basic shapes while retaining the saturated colours of Impressionism. The Impressionist [[Camille Pissarro]] experimented with [[Neo-impressionism|Neo-Impressionist]] ideas between the mid-1880s and the early 1890s. Discontented with what he referred to as romantic Impressionism, he investigated [[pointillism]], which he called scientific Impressionism, before returning to a purer [[Impressionism]] in the last decade of his life.<ref>Cogniat, Raymond (1975). Pissarro. New York: Crown, pp. 69–72. {{ISBN|0-517-52477-5}}.</ref> [[Vincent van Gogh]] often used vibrant colour and conspicuous brushstrokes to convey his feelings and his state of mind.

Although they often exhibited together, Post-Impressionist artists were not in agreement concerning a cohesive movement. Yet, the abstract concerns of harmony and structural arrangement, in the work of all these artists, took precedence over [[Realism (arts)|naturalism]]. Artists such as Seurat adopted a meticulously scientific approach to colour and composition.<ref name="MoMA">{{Cite web|url=https://www.moma.org/collection/|title=The Collection &#124; MoMA|website=The Museum of Modern Art}}</ref>