THE CONCEPT OF COLOR IN THE CREATIVE PHILOSOPHY OF POST-IMPRESSIONIST ARTISTS

Abstract

The aim of the article is to analyze the main features of the color concept in the creative philosophy of the representatives of post-impressionism: neo-impressionists (chromoluminarists), synthetists and symbolists. Two main approaches to the rethinking of color, which were popular in the late nineteenth and early twentieth centuries, are analyzed: the scientific one, common among the chromoluminarists, and the philosophical one, which was used by the synthetists and symbolists. The defining task of the study is to reveal the coloristic innovation of the Post-Impressionists and its influence on the further development of modern art. Methods are based on the art historical and cultural analysis of the works of Paul Gauguin, Vincent Van Gogh, Paul Cézanne, Pierre Bonnard, Odilon Redon, Felix Vallotton, Paul Ranson and other famous post-impressionists. Results. The main conceptual provisions of the coloristic philosophy of the representatives of Post-Impressionism are determined, the embodiment of this philosophy in individual works of art is analyzed, and the vision of color symbolism by different Post-Impressionist artists is compared. The scientific novelty lies in a comprehensive study of the development of the concept of color in the creative philosophy of the main trends of Post-Impressionism: chromoluminarism, synthesis, including The Nabis group, and symbolism. Conclusions. The results of the research provide convincing arguments in favor of the fact that the fullness of artists' self-expression in color was first achieved in the post-impressionist period. The color philosophy of the Post-Impressionists got rid of the strict canons of academic painting, the requirements for realism, subordination to lighting and the situation inherent in early Impressionism. Therefore, it was able to give rise to the coloristics of many modernist art movements, innovative graphics, and lay the foundation for modern pixel design.