后印象主义

Post-Impressionism emerged in the late 19th century as artists sought to go beyond the confines of Impressionism's focus on natural light and fleeting moments.
后印象主义在19世纪末兴起，艺术家们力求超越印象派对自然光线和瞬间景象的限制。
Vincent van Gogh's bold use of color and expressive brushstrokes epitomize the Post-Impressionist style.
梵高大胆的用色和富有表现力的笔触是后印象派风格的典型代表。
Paul Cézanne's paintings, with their structured compositions, were pivotal in the transition from Post-Impressionism to Cubism.
保罗·塞尚的作品以其结构化的构图，在后印象派与立体主义的过渡中起到了关键作用。
Georges Seurat's pointillist technique, seen in "A Sunday Afternoon on the Island of La Grande Jatte," is a distinctive feature of Post-Impressionism.
乔治·修拉的点彩技法，如在《大碗岛的星期日下午》中所见，是后印象派的一个显著特征。
Post-Impressionist artists often explored the emotional and psychological aspects of human experience, as seen in Edvard Munch's "The Scream.
后印象派艺术家经常探索人类经验的情感和心理层面，如爱德华·蒙克的《呐喊》所示。
Henri de Toulouse-Lautrec captured the vibrant Parisian nightlife in his works, reflecting the social commentary aspect of Post-Impressionism.
亨利·德·图卢兹-劳特雷克在其作品中捕捉了巴黎夜生活的活力，体现了后印象派的社会评论方面。
The Fauvists, influenced by Post-Impressionism, used wild, vivid colors to convey emotions, pushing the boundaries further.
受后印象派影响的野兽派使用狂野、鲜艳的色彩来传达情感，进一步挑战了艺术的界限。
Post-Impressionism marked a period of artistic experimentation where form and color theory were redefined.
后印象派标志着一个艺术实验的时期，形式和色彩理论被重新定义。
The works of Paul Gauguin, particularly his explorations of non-Western cultures, exemplify the search for new aesthetic expressions within Post-Impressionism.
保罗·高更的作品，尤其是他对非西方文化的探索，体现了在后印象派中寻找新的美学表达的努力。
By challenging traditional perspectives and techniques, Post-Impressionist artists paved the way for modern art movements such as Expressionism and Surrealism.
通过挑战传统视角和技术，后印象派艺术家为现代艺术运动，如表现主义和超现实主义，铺平了道路。