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Post Impressionism

Post Impressionism. How was Impressionism influenced by Japanese Woodcuts? Remember C-FID! C-cropping F-flatness I-Intimate moments D-Decorative patterns. REVIEW. Hiroshige, Plum Orchard van Gogh, 1887 1857. Differences between Impress. And Post-Impress.:

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Post Impressionism

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  1. Post Impressionism

  2. How was Impressionism influenced by Japanese Woodcuts? Remember C-FID! C-cropping F-flatness I-Intimate moments D-Decorative patterns REVIEW

  3. Hiroshige, Plum Orchard van Gogh, 1887 1857

  4. Differences between Impress. And Post-Impress.: Impressionists focused on reproducing the natural world but lost the use of line, shape and color (only reflected) Post-Impressionists wanted to restore color and shape to art, while others wanted to restore subjectivity rather than painting from nature. The P.I. created abstract versions of reality to reinforce that art is DIFFERENT from nature (breaking with the tradition since the Renaissance) Post-Impressionism

  5. TOULOUSE-LAUTREC, At the Moulin Rouge, 1892–1895*. Oil on canvas, 4’ x 4’ 7”. Art Institute of Chicago, Chicago

  6. Short in stature (only 4’6”), turns to art scene in Monmartre Was inspired by Degas (Japanese prints=flatness) Also POSTERS! Elevated graphic arts!!! Toulouse-Lautrec

  7. Henri de Toulouse-Lautrec. The Hangover (Suzanne Valadon),1887-1889. Oil on canvas.

  8. 1894, 1st woman painter admitted into the Societe National des Beaux Arts—her son, Maurice Utrillo will eclipse her as a painter Worked as a model for Renoir, Lautrec, etc.—Learned by watching but had her own style Degas was the first to buy one of her paintings SUZANNE VALADON

  9. Suzanne Valadon, The Blue Room, 1923*

  10. GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886*. Oil on canvas, 6’ 9” x 10’. The Art Institute of Chicago

  11. Known for Pointilism (Divisionism is the proper term!) using small dabs of complementary colors directly ON THE CANVAS rather than mixed prior Complementary colors side by side mix in the viewers eye with greater luminosity Seurat is influenced by Chevreul’s new idea called COLOR THEORY Seurat

  12. VINCENT VAN GOGH, Starry Night, 1889*. Oil on canvas, 2’ 5” x 3’ 1/4”. Museum of Modern Art, New York

  13. Trained to be an art dealer but then left to become a missionary (then a painter). Socialist--progress=alienation Largely self-taught Supported by his art dealer brother, Theo KNOW ABOUT HIS STYLE—vibrant colors, swirling brushstrokes, thick globs of paint (IMPASTO) Took Seurat’s Divisionism and blended it with Impressionism EXPRESSIONIST– the artist’s feelings are core and reality is subjective VAN GOGH

  14. VINCENT VAN GOGH, Night Café, 1888*. Oil on canvas, 2’ 4 1/2” x 3’. Yale University Art Gallery, New Haven

  15. Associated color With mood Yellow=happiness Saw color as music 1st sunflowers were Painted for Gauguin’s Bedroom as deco

  16. GAUGUIN • Originally a stockbroker with 5 children but left his family to pursue art on his own in Paris, then leaves Europe for Tahiti to paint • His style: inspiration from stained glass, Japanese prints, and cloisonne enameling • PRIMITIVISM--art movement of late 19th century characterized by exaggerated body proportions, animal totems, geometric designs and stark contrasts • He considered his style synthetism- • Synthesized the subject with the artist’s • Feeling, using line, shape, color, etc.

  17. PAUL GAUGUIN, Vision after the Sermon or Jacob Wrestling with the Angel, 1888*. Oil on canvas, 2’ 4 3/4” x 3’ 1/2”. National Gallery of Scotland, Edinburgh.

  18. Gauguin, Day of the God, 1894*

  19. PAUL GAUGUIN, Where Do We Come From? What Are We? Where Are We Going? 1897*. Oil on canvas, 4’ 6 3/4” x 12’ 3”. Museum of Fine Arts, Boston

  20. “Father” of Modern Art (contact with the Impressionists but creates his own “language”. Known as a Post-Impressionist) • Took landscape paintings into “something solid and durable” • His still lifes will influence Cubism (Braque and Picasso) CÉZANNE

  21. Color patches—used to capture true colors of surrounding land. Varied colors– warmer colors placed closer towards view, while cooler colors receding in background but did not use the theory of atmospheric perspective and backgrounds are flat. Multiple viewpoints—not like a camera, more real (Cubist) Underlying shapes—rectangles, triangles, etc. “Treat nature as a cylinder, sphere, or cone”. 4 Techniques used by Cezanne

  22. PAUL CÉZANNE, Mont Sainte-Victoire, c. 1885-87*.

  23. PAUL CÉZANNE, Mont Sainte-Victoire, 1902–1904*. Oil on canvas, 2’ 3 1/2” x 2’ 11 1/4”. Philadelphia Museum of Art

  24. PAUL CÉZANNE, Basket of Apples, ca. 1895*. Oil on canvas

  25. Cezanne, The Large Bathers, 1906*

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