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Original Paintings ship FREE to Canada and US Locations (US Customs may charge Duty)
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"My painting style is to use dots of colour. applied with a round brush. I taught myself to do this many years ago and at the time was unaware of pointillism. I simply referred to what I did as 'painting with dots' and found a growing interest in how the dots allowed me to explore how everything was connected around us. It wasn't until my visit to a public art gallery in Houston, Texas, that I saw artwork by a group of artists using dots to create their paintings. This group included Seurat, Signac, Cross and Luce: historically they worked their way of paintings is known as pointillism. My painting style seems may possibly be described as contemporary pointillism. Below are some descriptions I've collected about pointillism that share more about the genesis of the painting style and the artists who developed it." - Jim Pescott
Pointillism, a painting style dating back to the 1880's in Paris, France, was a revolutionary painting technique pioneered by Georges Seurat and Paul Signac as a a reaction against the prevailing movement of Impressionism. Pointillism, demanded a much more scientific approach than Impressionism. Along with Seurat and Signac, leading members of the group included their fellow artists Henri-Edmond Cross and Maximilian Luce. Other well-known artists who briefly made works in Pointillist style were van Gogh, and early in their careers in their careers, Picasso, Mondrian and Kandinsky.
The movement's name derives from a review of Seurat's work by French art critic, Félix Fénéon, who used the expression peinture au point (“painting by dots”). Seurat actually preferred the label "Divisionism" – or, for that matter, Chromoluminarism – but it was Pointillism that stuck.
Pointillism is regarded as a Neo-Impressionist movement. Which is to say, it grew out of – and beyond –Impressionism. when Seurat developed a system of notation, dots, that juxtaposed pure colours and would theoretically yield a greater luminosity than could otherwise be achieved, because the collocated strokes of colour would fuse in the viewer’s eye, avoiding the ‘muddiness’ of palette mixing or blending colours on the canvas.
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