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date: 13 November 2019


  • Robbert Ruigrok


Term applied generally to Belgian Neo-Impressionism and more specifically to the work produced after 1904 by the movement’s exponents, in which they combined aspects of Realism, Impressionism and Neo-Impressionism; it was also applied from 1910 in the Netherlands to describe the late phase of Dutch Impressionism that is comparable stylistically with Fauvism. The term derives from Vie et Lumière, the name of a group formed by Emile Claus and others. After Georges Seurat’s death in 1891 some Belgian Neo-Impressionists turned away from the painting movement in favour of decorative arts. When the avant-garde group Les XX was superseded in 1894 by the Libre Esthétique (1894–1914), Claus and other Belgian Impressionists sought a more national, often Flemish identity, enhanced by the nationalist tendency to pay homage to the century-old Dutch Flemish tradition of landscape painting, and by the Romantic–Realist style taught at Belgian academies and practised by the schools of Kalmthout, Tervuren and Dendermonde....

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