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Post-Impressionism

Post-Impressionism is a predominantly French art movement that developed between 1886 and 1905, from the last Impressionist exhibition to the birth of Fauvism. Post-Impressionism emerged as a reaction against Impressionists' concern for the naturalistic depiction of light and colour. Due to its broad emphasis on abstract qualities or symbolic content, Post-Impressionism encompasses Les Nabis Neo-Impressionism, Cloisonnism, Pont-Aven School, Synthetism, along with some Impressionists' work; the movement was led by Paul Cézanne, Paul Gauguin, Vincent van Gogh, Georges Seurat. The term Post-Impressionism was first used by art critic Roger Fry in 1906. Critic Frank Rutter in a review of the Salon d'Automne published in Art News, 15 October 1910, described Othon Friesz as a "post-impressionist leader". Three weeks Roger Fry used the term again when he organized the 1910 exhibition and the Post-Impressionists, defining it as the development of French art since Manet. Post-Impressionists extended Impressionism while rejecting its limitations: they continued using vivid colours thick application of paint, real-life subject matter, but were more inclined to emphasize geometric forms, distort form for expressive effect, use unnatural or arbitrary colour.

The Post-Impressionists were dissatisfied with what they felt was the triviality of subject matter and the loss of structure in Impressionist paintings, though they did not agree on the way forward. Georges Seurat and his followers concerned themselves with Pointillism, the systematic use of tiny dots of colour. Paul Cézanne set out to restore a sense of order and structure to painting, to "make of Impressionism something solid and durable, like the art of the museums", he achieved this by reducing objects to their basic shapes while retaining the saturated colours of Impressionism. The Impressionist Camille Pissarro experimented with Neo-Impressionist ideas between the mid-1880s and the early 1890s. Discontented with what he referred to as romantic Impressionism, he investigated Pointillism, which he called scientific Impressionism, before returning to a purer Impressionism in the last decade of his life. Vincent van Gogh used colour and vibrant swirling brush strokes to convey his feelings and his state of mind.

Although they exhibited together, Post-Impressionist artists were not in agreement concerning a cohesive movement. Yet, the abstract concerns of harmony and structural arrangement, in the work of all these artists, took precedence over naturalism. Artists such as Seurat adopted a meticulously scientific approach to composition. Younger painters during the early 20th century worked in geographically disparate regions and in various stylistic categories, such as Fauvism and Cubism, breaking from Post-Impressionism; the term was used in 1906, again in 1910 by Roger Fry in the title of an exhibition of modern French painters: Manet and the Post-Impressionists, organized by Fry for the Grafton Galleries in London. Three weeks before Fry's show, art critic Frank Rutter had put the term Post-Impressionist in print in Art News of 15 October 1910, during a review of the Salon d'Automne, where he described Othon Friesz as a "post-impressionist leader". Most of the artists in Fry's exhibition were younger than the Impressionists.

Fry explained: "For purposes of convenience, it was necessary to give these artists a name, I chose, as being the vaguest and most non-committal, the name of Post-Impressionism. This stated their position in time to the Impressionist movement." John Rewald limited the scope to the years between 1886 and 1892 in his pioneering publication on Post-Impressionism: From Van Gogh to Gauguin. Rewald considered this a continuation of his 1946 study, History of Impressionism, pointed out that a "subsequent volume dedicated to the second half of the post-impressionist period": Post-Impressionism: From Gauguin to Matisse, was to follow; this volume would extend the period covered to other artistic movements derived from Impressionism, though confined to the late 19th and early 20th centuries. Rewald focused on such outstanding early Post-Impressionists active in France as van Gogh, Gauguin and Redon, he explored their relationships as well as the artistic circles they frequented, including: Neo-Impressionism: ridiculed by contemporary art critics as well as artists as Pointillism.

Pont-Aven School: implying little more than that the artists involved had been working for a while in Pont-Aven or elsewhere in Brittany. Symbolism: a term welcomed by vanguard critics in 1891, when Gauguin dropped Synthetism as soon as he was acclaimed to be the leader of Symbolism in painting. Furthermore, in his introduction to Post-Impressionism, Rewald opted for a second volume featuring Toulouse-Lautrec, Henri Rousseau "le Douanier", Les Nabis and Cézanne as well as the Fauves, the young Picasso and Gauguin's last trip to the South Seas. Rewald wrote that "the term'Post

Chaitanya Bishnoi

Chaitanya Bishnoi is an Indian cricketer who plays for Haryana. He made his Twenty20 debut on 6 January 2016 in the 2015–16 Syed Mushtaq Ali Trophy. In January 2018, he was bought by the Chennai Super Kings in the 2018 IPL auction, he was released by the Chennai Super Kings ahead of the 2020 IPL auction. Bishnoi studied at Durham University, he won a half-palantinate in cricket as a member of Hatfield College. His brother, Bhavya Bishnoi, has played first-class cricket, his parents and Renuka Bishnoi are politicians in Haryana, his grandfather, Bhajan Lal, was a Chief Minister. Chaitanya Bishnoi at ESPNcricinfo

The Razors

The Razors is a punk rock band from Namur, Belgium formed in late 1977 and split in September 1978. Influenced by The Ramones and the early British punk rock scene, the Razors made theirs this new principle: "We don't know how to play music. Well, who cares? Let's do it anyway!" They played short and fast 1-2-3-4 style punk rock songs. The lyrics, when not playing covers from The Stooges or Sham 69, were written by Chris Azoeuf alias Chris Toulouse and were politically oriented, their concerts were characterized by "some" disruptance and some ended in a mess... After the split, each went into other musical projects, playing again with one or another and from time to time. Pascal Gabriel alias Gaby Siclet and Chris set up the Bananas for a few months. Rudï and Chris along with Marcel Deroeck formed Acné Juvénile. Gaby, soon after, left for London and since has pursued a productive musical career. Over the years and a lot of work and more behind the mixing board, we could see his trace from to there.

Chris Azoeuf, alias Chris Toulouse: lead vocals. Jean-Pol Sohet, aliasBob Fuckly: drums and backup vocals. Pascal Gabriel alias Gaby Siclet: backup vocals. Rudy Peret alias Rudï: guitar and backup vocals. Jean-Louis Pierlot as occasional saxophonist.??/??/1978: Le Magic Bus. 1978-03-18: First Belgian Punk Contest. 1978-04-13: Bourse du Commerce. Organisé par le mensuel de rock'music "La Gazette". Au programme: The Razors, Back Lavatory et The Kids.??/??/1978: Place du Vieux Marché. 1978-04-30: Grimmerin. With X-Pulsion. 1978-04-30: Festival. With Cell 609 and Boule and the Fixators??/??/1978: Place du Vieux Marché.??/??/1978: Collège. 1978-05-20: Super Nouba d'En Attendant. With Mad Virgins, Streets...??/??/1978: Hôtel de Ville.??/??/1978: Le Magic Bus. 1978-06-27: Le Florio.??/??/1978: Le Chat Pitre en Folie.??/??/1978: Bas Enhaive.??/??/1978: Citadelle. Dans le décor historique des vieux murs de la un concert plein d'énergie. La gendarmerie à cheval à chargé pour arrêter le concert... et les Razors ne voulaitent pas arrêter...

One song on the live LP'First Belgian Punk Contest'. 5 songs on the live LP'First Belgian Punk Contest vol. 2'. Punk rock in Belgium