Luminism had many similarities with Neo-Impressionism and Pointillism. They differed from each other in their conception of color and light. You could actually say that luminism was a more extreme form of pointillism. Very strong, radiant light effects, screaming bright stripes of paint that almost hurt the eyes, characterize the work of the Dutch luminists. At the beginning of the 20th century, Dutch art was briefly but heavily dominated by luminism. Domburg on Walcheren in Zeeland, where the light would be brighter and blonder than in the rest of the Netherlands, became a center of neo-impressionism at the hands of Jan Toorop and a genuine luminist movement emerged. In the summer between 1903 and 1922, artists gathered around him, some of whom depicted the sensation of light on Walcheren in a free pointillé: Otto van Rees, Mies Elout-Drabbe, Ferdinand Hart Nibbrig and Toorop himself, among others. In 1909 and 1910, Piet Mondrian also ventured to paint in short, strong strokes and bright prismatic colors. In Amsterdam, his work together with that of Jan Sluijters and Leo Gestel would lead to the so-called "Amsterdam luminism", which was rampant around 1911. Ferdinand Hart Nibbrig stuck to a fine stipple technique that he freely combined with color smears here and there. Together with Co Breman and, for a short time, with Hendrik Jan Wolter, he formed the Laren pointillists, who painted blond, sun-headed Gooi landscapes.