到十九世纪末后期印象派崛起代替了印象派。后期印象派的特点是和印象派相反，对自然的认识是主观的，因此有所谓主观的变形。这些画家作画时，不完全忠实于客观物体的形状根据自己的认识，去掉对象繁琐的细节而使之单纯化，或集中其特点使之夸大、因此在画面上出现的就是画家内心世界的表白，而不是客观存在的真实了。他们认为欣赏一幅风景和看窗外的风景是完全不同的，意思是说窗外的风景一旦搬到画面上，已经不再是自然美“而是经过画家主观感情渲染的艺术美”了。这派有四个重要的画家就是塞尚（Paul Cézanne），梵高（Vincent van Gogh），哥更（Paul Gauguin）和路沙（Henri Rousseau）。

In the late 19th century, Post-Impressionism emerged, replacing Impressionism. The characteristics of Post-Impressionism were contrary to Impressionism in that its understanding of nature was subjective, leading to what is known as subjective deformation. When these painters created their works, they did not adhere strictly to the objective shapes of objects. Instead, based on their own perceptions, they simplified the forms by eliminating intricate details or exaggerated certain features. As a result, what appeared on the canvas was an expression of the artist's inner world, rather than a faithful representation of objective reality.

These painters believed that appreciating a landscape and looking at the same landscape through a window were entirely different experiences. This implies that once the outdoor scenery is transferred to the canvas, it no longer represents natural beauty but rather becomes "artistic beauty rendered through the subjective emotions of the artist." Four important painters associated with this movement are:

Paul Cézanne: Known for breaking down scenes into geometric shapes and exploring the structure of forms. His work laid the groundwork for Cubism.
Vincent van Gogh: Renowned for his bold use of color and expressive brushstrokes, creating emotionally charged works like "Starry Night" and "Sunflowers."
Paul Gauguin: His art often featured exotic and symbolic subjects, inspired by his travels. Gauguin's use of vivid colors and simplified forms contributed to Post-Impressionist developments.
Henri Rousseau: While not strictly a Post-Impressionist, Rousseau's work, such as his jungle scenes, contributed to the broader exploration of new styles and ideas.
Post-Impressionism marked a shift towards a more subjective and expressive approach to art, laying the groundwork for further artistic developments in the early 20th century.