Neoimpressionismus[1] fuit motus artis a Georgio Seurat conditus. Cuius magnum opus, Postmeridianum diei solis La Grande Jatte in insula, motum coepit cum primum apud salonSocietatis Artificum LiberorumLutetiaeexhibitum esset.[2] Eodem tempore, summa cultura Francica recentiore, multi pictores novas rationes petebant. Scaenaeurbanae, regionis situs, et litora potissimum assectatores neoimpressionismi trahebantur. Interpretatio linearumcolorumque in scientia condita apud descriptiones neoimpressionistarum suae artis aequaevae multum valebat. Rationes pointillisticae et divisionisticae saepe hic commemorantur, quia ratio praevalens motu neoimpressionistico incipiente erat.
Postmeridianum diei solis La Grande Jatte in insula.Pictura olearia a Georgio Seurat annis ab 1884 ad 1886 facta. Nunc in Instituto Artis Sicaginiensi exhibita.
Nonnulli arguunt neoimpressionismum primum motum avant-garde verum in pictura factum esse.[3] Nam neoimpressionistae motum saeculo undevicensimo cito creare poterant, partim propter eius coniunctionem artam cum anarchismo, qui posteriores manifestationes artisticas affecerit.[3] Motus modusque imagines harmonias a scientia aequaeva, ratione anarchistica, et disceptatione circa valorem artis academicae abigere conabantur. Artifices huius motus "promiserunt ut rationes opticas et psycho-biologicas adhiberent ad grandem synthesin rerum idealium et realium, temporariarum et necessariarum, scientificarum et temperamentalium petendam."[4][2]
Caroli AngrandPar in via, 1887, oleum in textili, 38.5 x 33 cm, Museum OrsayLutetiae
Theodori van RysselbergheImago Aliciae Sethe, 1888, Musée départemental Maurice Denis "The Priory"Sancti Germani in Laya
Camilli Pissarro, Faenum secatum Eragny-sur-Epte, 1889, oleum in textili, 73 × 60 cm, collectio privata
Georgii SeuratLe Chahut, 1889-90, oleum in textili, 170 x 141 cm, Kröller-Müller Museum
Pauli SignacImago Felicis Fénéon, 1890 (pro scaena rhythmicarum mensurarum et angulorum, tincturarum et colorum), oleum in textili, 73.7 x 92.5 cm, Museum Artis ModernaeNovi Eboraci
Georgii Lemmen, Ora ad Heist, 1891, oleum in tabula lignea, 37.5 x 45.7 cm, Museum Orsay Lutetiae
Anglice "promised to employ optical and psycho-biological theories in pursuit of a grand synthesis of the ideal and the real, the fugitive and the essential, science and temperament."
Blanc, Charles. The Grammar of Painting and Engraving. Chicago: S.C. Griggs and Company, 1891. .
Broude, Norma, ed. 1978. Seurat in Perspective. Englewood Cliffs Novae Caesareae: Prentice-Hall. ISBN 0138071152.
Cachin, Françoise. 1971. Paul Signac. Grenovici Connecticutae: New York Graphic Society. ISBN 0821204823.
Clement, Russell T., et Annick Houzé. 1999. Neo-impressionist painters: a sourcebook on Georges Seurat, Camille Pissarro, Paul Signac, Théo van Rysselberghe, Henri Edmond Cross, Charles Angrand, Maximilien Luce, and Albert Dubois-Pillet. Westport Connecticutae: Greenwood Press. ISBN 0313303827.
Dorra, Henri. 1994. Symbolist Art Theories: A Critical Anthology. Berkeleiae: University of California Press.
Hutton, John G. 2004. Neo-Impressionism and the Search for Solid Ground: Art, Science, and Anarchism in Fin-de-siecle France. Rubribaculi: Louisiana State University Press. ISBN 0807118230.
Meighan, Judith. 2002. In Praise of Motherhood: The Promise and Failure of Painting for Social Reform in Late-Nineteenth-Century Italy. Nineteenth-Century Art Worldwide 1(1).
Puppo, Dario del. 1994. Il Quarto Stato. Science and Society 58(2): 13.
Rewald, John. 1946. Georges Seurat. Novi Eboraci: Wittenborn & Co.
Roslak, Robyn. 2007. Neo-Impressionism and Anarchism in Fin-de-Siecle France: Painting, Politics and Landscape.
Signac, Paul. 1899. D’Eugène Delacroix au Neo-Impressionnisme.PDF.
Ward, Martha. 1996. Pissarro, Neo-impressionism and the Spaces of the Avante-Garde. Sicagi: Chicago University Press. ISBN 0226873242.
Winkfield, Trevor. 2001. The Signac Syndrome. Modern Painters Autumn: 66-70.