Neo-Impressionism: Difference between revisions

The influence of Seurat and Signac on some Italian painters became evident in the First Triennale in 1891 in Milan. Spearheaded by [[Vittore Grubicy de Dragon|Grubicy de Dragon]], and codified later by [[Gaetano Previati]] in his ''Principi scientifici del divisionismo'' of 1906, a number of painters mainly in Northern Italy experimented to various degrees with these techniques. [[Giuseppe Pellizza da Volpedo|Pellizza da Volpedo]] applied the technique to social (and political) subjects; in this he was joined by [[Angelo Morbelli]] and [[Emilio Longoni]]. Among Pelliza’s Divisionist works were ''Speranze deluse'' (1894) and ''Il sole nascente'' (1904).<ref>''Il Sole Nascente'' is in the [[Galleria Nazionale d'Arte Moderna]], Rome.</ref> It was, however, in the subject of landscapes that Divisionism found strong advocates, including Segantini, Previati, Morbelli, and [[Carlo Fornara]]. Further adherents in painting genre subjects were [[Plinio Nomellini]], [[Rubaldo Merello]], Giuseppe Cominetti, Angelo Barabino, [[Camillo Innocenti]], Enrico Lionne, and Arturo Noci. Divisionism was also an important influence in the work of Futurists Gino Severini (''Souvenirs de Voyage'', 1911); [[Giacomo Balla]] (''Arc Lamp'', 1909);<ref>''Arc Lamp'' is in the [[Museum of Modern Art]], New York</ref> [[Carlo Carrà]] (''Leaving the scene'', 1910); and [[Umberto Boccioni]] (''The City Rises'', 1910).<ref name=Tosini/><ref>''The City Rises'' is also in the [[Museum Of Modern Art|MoMA]]</ref><ref>Derived from paragraph in [http://www.pellizza.it/Testi%20-%20Divisionismo.htm Associazione Pellizza da Volpedo] {{webarchive|url=https://web.archive.org/web/20131109063341/http://www.pellizza.it/Testi%20-%20Divisionismo.htm |date=2013-11-09 }}, which cites Enciclopedia dell'arte, Milano (Garzanti) 2002, and also see Voci del Divisionismo italiano in Bollettino Anisa, N. 12 Anno XIX, n. 1, May 2000.</ref>