Post-Impressionism is a catch-all term for the many and disparate reactions against the naturalism, and issues of light and color, which had inspired the Impressionists. Emerging around 1886, at the time of the Impressionist's eighth and last exhibition, and declining along with Fauvism in 1905, the movement embraces various trends, including the Neo-Impressionism of Seurat, and the Symbolism of Gauguin. The term 'Post-Impressionism' was devised by English critic Roger Fry, in 1910, for an exhibition in London which also included works by Manet, Cézanne, van Gogh, and many others.

• Symbolic and highly personal meanings were important to Post-Impressionists such as Gauguin and van Gogh. Rejecting the Impressionists' interest in the external, observed world, they instead looked inside themselves for content.
• As the Post-Impressionists turned away from describing effects of light and color, abstract form and pattern became increasingly important to them. Gauguin and van Gogh sought to create harmonious surface patterns, while Cézanne sought to introduce more structure, and a clearer sense of space and volume, to the Impressionists' fascination with natural light, by using color applied in regular, repetitive brushstrokes.
• Although the movement was predominantly French, it inspired similar developments throughout Europe. Painters such as Edvard Munch, Arnold Bocklin, James Ensor, Duncan Grant, Vanessa Bell, and London's Camden Town Group, were all important to its development, or were powerfully shaped by it.

Post-Impressionism emerged out of the stylistic disagreements and personal animosities that eventually brought down Impressionism. Yet it was itself never a cohesive movement, and the label embraces a number of very different groups who all attempted to replace Impressionism as the leading avant-garde of the late nineteenth century. Indeed, many of its foremost figures were rivals in method and approach: Gauguin and Seurat both detested one another and shared a low opinion of each other's styles; and while van Gogh revered the work of Degas and Rousseau, he was skeptical of Cézanne.

The artist who, perhaps more than any other, signaled the beginning of the new trend, was Georges Seurat. His Pointillism (or Divisionism, or Neo-Impressionism, as it is variously called) sought a new, scientific approach to color. But other artists, such as Gauguin, van Gogh, and Cézanne, would soon prove equally important, and they all differed greatly.

Paris was unquestionably the fount of the movement, and artists from Britain, America, the Netherlands, and elsewhere, flocked there in the hopes of absorbing the city's rich culture and joining its artistic elite. However, the emphasis on symbolic and expressive content in Post-Impressionism meant that the life of the city, considered as a subject for art, was no longer the draw it had been to the previous generation, and many painters matured elsewhere. Cézanne spent most of his career in Provence; van Gogh led a peripatetic existence, touching down in France, Belgium and Holland; and, in what is by far the most famous renunciation of Paris, Gauguin settled in Tahiti.

Despite the myriad approaches and ideologies associated with Post-Impressionists, they were united by their desire to overturn the superficiality of Impressionism. They felt that the Impressionists had allowed their preoccupations with technique, and the effects of natural light, to overshadow the importance of subject matter. But their impulses led them to solve this problem in different ways. Some, like Cézanne, sought greater pictorial structure, and they placed great emphasis on the specific context of a particular landscape or still life. Others, like Gauguin, sought a deeper engagement with expressive and symbolic content: they created paintings "de tete" (from memory or imagination), and they expressed a strong connection with the subject matter that inspired the work, whether it derived from religion, literature or mythology. These artists - Symbolists, or Synthetists - also placed greater emphasis on harmonious surface design: Gauguin was one of the first artists to refer to his work as "abstract."

In the fall of 1888, van Gogh and Gauguin shared a small apartment and studio space (famously known as The Yellow House), in Arles, in the south of France, and in the process forged a rocky, but mutually beneficial, relationship. They experimented with new approaches to painting, rejecting academic approaches to realistic depiction and fine finish, as well as the Impressionist's fixation with light and color. Instead they worked with thickly applied paint in saturated hues, to create rich surface patterns.

Although most of the Post-Impressionists were drawn to symbolic and expressive content, some, such as Paul Signac and Georges Seurat, extended the Impressionists' interests in color theory. Known as Pointillists and Neo-Impressionists, they applied color in dense fields of tiny dots in order to mimic the vivid and vibrating appearance of natural light.

Many of the Post-Impressionists were drawn to primitivism in their search for more vivid styles and symbolic content. Among them, Henri Rousseau was championed as a pioneer: completely self-taught, his highly imaginative landscapes and jungle scenes, such as The Sleeping Gypsy (1897), and The Dream (1910), proved highly influential, inspiring the Fauves, Cubists, and Surrealists. Rousseau's paintings were modern not so much due to their subject matter, but because of the artist's approach to abstract form and surface pattern, and the fact that he painted almost entirely from imagination.

One of the most important Post-Impressionists - and arguably the one who bridged the gap between Impressionism and various early twentieth century styles - was Paul Cézanne. Matisse and Picasso both reportedly referred to him as "the father of us all." His late work is characterized by abstract exercises in the articulation of space and volume through color. Rather than describe the overall impression of a scene, Cézanne sought to articulate its underlying structure, often in ways which suggest that the landscape is built up from the simplest geometric components. As he once famously wrote in a letter to the Symbolist painter Emile Bernard, "Treat nature in terms of the cylinder, the sphere, the cone, all in perspective."

It was not until 1910 that the term "Post-Impressionism" was coined, when English artist and critic Roger Fry organized an exhibition for London's Grafton Galleries, entitled "Manet and the Post-Impressionists." The exhibition was dominated by van Gogh, Cézanne, and particularly Gauguin, and also included works by the Fauves. Manet was a lesser presence: although today he is generally associated with the Impressionists, Fry felt that he was early in his rejection of that group's naturalism. Fry acknowledged in the catalogue that the label, Post-Impressionism, embraced many styles - at one stage he had even considered referring to the group as 'expressionists' - and its lack of precision points to disparity in the styles and interests of the artists it encompassed.