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CHAPTER 29 FIN DE SIÈCLE

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Page 1: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

CHAPTER 29FIN DE SIÈCLE

Page 2: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:
Page 3: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

POST-IMPRESSIONISM

Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work: Vincent van Gogh

Instead of reproducing the colors exactly as he saw them before his eyes, as Impressionists did, he explored the capabilities of colors and distorted forms to express his emotions as he confronted nature.

Paul GauguinHe rejected objective representation in favor or subjective expression. Unlike the Impressionists but like van Gogh, he believed color above all must be expressive.

Georges SeuratHe was less concerned with the recording of immediate color sensations than he was with their careful and systematic organization into a new kind of pictorial order.

Paul CézanneHe felt that Impressionism lacked form and structure. His objective was to create a lasting structure behind the formless and fleeting visual information the eye absorbs.

Page 4: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Katsushika Hokusai

The Great Wave off Kanagawa

1857color woodblock print9 7/8 x 14 3/4 in.

Page 5: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Ando Hiroshige

Plum Garden, Kameido

1857color woodblock print36 x 24 cm

Page 6: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Henri de Toulouse-Lautrec

At the Moulin Rouge

1892-1895oil in canvas4 ft. x 4 ft. 7 in.

Page 7: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Vincent van Gogh

The Night Café

1888oil on canvas2 ft. 4 1/2 in. x 3 ft.

For Van Gogh, the primary purpose of color in his paintings was to express emotion “of an ardent temperament.”

Page 8: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Vincent van Gogh

Starry Night

1889oil on canvas2 ft. 5 in. x 3 ft. 1/4 in.

Page 9: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Vincent van Gogh

Starry Night

1889oil on canvas2 ft. 5 in. x 3 ft. 1/4 in.

Application of paint:The thickness, shape, and direction of his brush strokes create a tactile counterpart to his intense color schemes. He moved the brush vehemently back and forth or at right angles, or squeezed dots or streaks onto the canvas from a paint tube.

Page 10: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Paul Gauguin

The Vision after the Sermon

1888oil on canvas2 ft. 4 3/4 in. x 3 ft. 1/2 in.

Gauguin's use of color differed from Van Gogh's in that his color areas are flatter, often visually dissolving into abstract patches or patterns.

Page 11: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Paul Gauguin

Where Do We Come From? What Are We? Where Are We Going?

1897oil on canvas4 ft. 6 13/16 in. x 12 ft. 3 in.

Gauguin spent the last ten years of his life in Tahiti.

Page 12: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Paul Cézanne

The Basket of Apples

ca. 1895oil on canvas2 ft. 3/8 in. x 2 ft. 7 in.

"I want to make of Impressionism something solid and lasting like the art in the museums”

Paul Cézanne.

Page 13: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Mount Sainte Victoire

Page 14: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Paul Cézanne

Mount Sainte Victoire

1885oil on canvas

Page 15: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Paul Cézanne

Mount Sainte Victoire

1897oil on canvas

Page 16: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Paul Cézanne

Mount Sainte-Victoire

1902-1904oil on canvas2 ft. 3 1/2 in. x 2 ft. 11 1/4 in.

The role color played in Cézanne's paintings:To create the effects of distance, depth, structure, and solidity.The power of colors to modify the direction and depth of lines and planes.

Page 17: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

NEOIMPRESSIONISM

Page 18: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Georges SeuratA Sunday on La Grande Jatte1884-1886oil on canvas6 ft. 9 in. x 10 ft.

The French painter who used the work of color theorists like Chevreul and Rood to develop a scientifically precise method of applying paint was Georges Seurat.The technique did he develop for applying color to canvas was called Pointillism (or divisionism): the separation of carefully observed colors into their component parts. The artist applies these pure component colors to the canvas in tiny dots or daubs. The shapes on the canvas become comprehensible only from a distance, where the viewer’s eye blends the dots.

Page 19: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

successive contrasts (afterimages)

Page 20: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Georges Seurat

A Sunday on La Grande Jatte

1884-1886oil on canvas6 ft. 9 in. x 10 ft.

Page 21: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

SYMBOLISM“avant-garde”

“Front guard,” a synonym for any particularly new or cutting-edge cultural manifestation, derived from nineteenth-century French military usage where the avant-garde were soldiers sent ahead of the army’s main body to reconnoiter and make occasional raids on the enemy.

Avant-garde refers to people or works that are experimental or innovative, particularly with respect to art, culture, and politics.

Page 22: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Pierre Puvis de ChavannesThe Sacred Grove1884oil on canvas2 ft. 11 1/2 in. x 6 ft. 10 in.

By the end of the nineteenth century, a major change occurred in the artist's vision of reality:The representation of nature had become completely subjectivized to the point that artists did not imitate nature but created free interpretations of it.

Puvis de Chavannes was admired by members of the Academy because of his classicism while the avant-garde artists admired him because of his vindication of imagination and artistic independence from the world of materialism and the machine.

Page 23: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Arnold Böcklin

Self-Portrait with Death Playing the Violin

1872oil on canvas

Page 24: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Franz von Stuck

The Sin

1893oil on canvas

Page 25: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Gustave Moreau

Jupiter and Semele

ca. 1875oil on canvas7 ft. x 3 ft. 4 in.

Three stylistic characteristics of the work of Gustave Moreau.Gorgeous color.Intricate line.Richly detailed shape.

Page 26: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Gustave Moreau

Oedipus and the Sphinx

1864oil on canvas81 1/4 x 41 1/4 in.

Page 27: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Odilon Redon

The Cyclops

1898oil on canvas2 ft. 1 in. x 1 ft. 8 in.

According to Redon, his originality consisted in: “Bringing to life, in a human way, improbable beings and making them live according to the laws of probability, by putting … the logic of the visible at the service of the invisible.”

Page 28: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Henri RousseauThe Sleeping Gypsy1897oil on canvas4 ft. 3 in. 6 ft. 7 in.

The work of Henri Rousseau can be related to that of the Symbolists through his reliance on dream and fantasy, but his style differs from theirs in the following way:

His visual, conceptual, and technical naiveté was compensated for by a natural talent for design and an imagination teeming with exotic images of mysterious tropical landscapes.

Page 29: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Edvard MunchThe Scream1893oil, pastel and casein on cardboard2 ft. 11 3/4 in. x 2 ft. 5 in.

The major themes in the work of Edvard Munch:

The pain of human life, the powerlessness of humans before the great natural forces of death and love and the emotions associated with them.

Page 30: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Edvard Munch

The Dance of Life

1900oil on canvas

49 1/2 x 75 1/2 in.

Page 31: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Jean-Baptiste Carpeaux

Ugolino and His Children

1865-1867marble6 ft. 5 in. high

Stylistic influences are most evident in the sculpture of Jean‑Baptiste Carpeaux:

Realism, Baroque, classicism, and Michelangelo.

Page 32: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Augustus Saint-Gaudens

Adams Memorial

1891bronze5 ft. 10 in. high

The style Augustus Saint Gaudens utilized for his ‑monument to Mrs. Henry Adams was considered Classical.

Page 33: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Auguste Rodin

Walking Man

1905bronze6 ft. 11 3/4 in. high

Concerns Rodin shared with the Impressionists:

The effect of light on the three-dimensional surface.

Concerns he shared with Muybridge and Eakins:

The human body in motion.

Page 34: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Auguste Rodin

Burghers of Calais

1884-1889bronze6 ft. 10 1/2 in. high

What did the commisioners of the Burghers of Calais find offensive in the work?The roughly textured figures, the bedraggled impression of the burghers, and the absence of a platform to separate the sculpture from the viewing public.

Page 35: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

ARTS AND CRAFTS

The Arts and Crafts movement originated in England.

The goal of the movement was to decry the impact of rampant industrialism and to create an “art made by the people for the people as a joy for the maker and the user.”

Page 36: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

William Morris

Green Dining Room

1867

The type of objects its members produced included interior decorative objects such as wallpaper, textiles, furniture, books, rugs, stained glass, pottery, windows, lights, and wainscoting.

Page 37: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Charles Rennie Mackintosh

Ingram Street Tea Room

Glasgow, Scotland

1900-1902

The Scottish artists who practice the ideas of the Arts and Crafts movement:

William Morris and Charles Rennie and Margaret Macdonald Mackintosh.

Two adjectives that describe the designs of husband and wife:Precisely geometricRhythmical

Page 38: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

ART NOUVEAUThe style that developed out of the ideals of the Arts and Crafts movement was given different names in different countries:

in France, Belgium, Holland, England and the United States:

L’Art Nouveauin Germany:

Jugendstilin Spain:

Modernismoin Italy:

Floreale or Liberty

Page 39: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Victor Horta

staircase in the Van Eetvelde House

Brussels, Belgium

1896

Four sources from which Art Nouveau artists drew inspiration:

The Arts and Crafts movement

Japanese prints

Symbolism

Post-Impressionists such as Van Gogh and Gauguin

Page 40: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Aubrey Beardsley

The Peacock Skirt for Oscar Wilde’s Salome

1894pen-and-ink illustration

The sort of forms were preferred by Art Nouveau artists included the twining plant form, tendrils, and delicate tracery.

The English Graphic artist who worked at the intersection of Art Nouveau and symbolism was Aubrey Beardsley

Page 41: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Antonio Gaudi

Casa Milá

Barcelona, Spain

1907

Gaudi’s architectural style:Sculpturally modeled, imaginative, free-form masses with an emphasis on surface.

Page 42: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Gustav Klimt

The Kiss

1907-1908oil on canvas5 ft. 10 3/4 in. x 5 ft. 10 3/4 in.

Page 43: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Gustav Klimt

Judith II

1909oil on canvas178 x 46 cm

Page 44: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Gustav Klimt

Death and Life

1908-11oil on canvas

70 1/8 x 78 in.

Page 45: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Louis Comfort Tiffany

Lotus Table Lamp

ca. 1905leaded favrile glass, mosaic and bronze2 ft. 10 1/2 in. high

Page 46: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Alexandre-Gustave Eiffel

Eiffel Tower

Paris, France

1889wrought iron984 ft. high

Page 47: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Alexandre-Gustave Eiffel

Eiffel Tower

Paris, France

1889wrought iron984 ft. high

Page 48: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Henry Hobson Richardson

Marshall Field wholesale store

Chicago, Illinois

1885-1887

Page 49: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Louis Henry Sullivan

Guaranty Building

Buffalo, New York

1894-1896

Page 50: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

Louis Henry Sullivan

Carson, Pirie Scott Building

Chicago, Illinois

1899-1904

Page 51: Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work:

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