Impressionism
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Post Impressionism Many Small Movements, 1880-1920 Post Impressionism Post Impressionism c. 18801920 Nabis Neo- Cloisonnism Impressionism Post Impressionism School of Pont Aven Synthetism Symbolism Influence on Modern Art Impressionism Cézanne Gauguin Nabis Fauvism Van Gogh Expressionism Early Abstractionists Fauvism Cubism Futurism Artists associated to movements: School of PontCloisonnism Nabis Aven (1888) (1888) (c.1888) •Anquetin •Gauguin •Denis •Bernard •Bernard •Vuillard •(Gauguin) •Bonnard •Sérusier •Roussel •Vallotton Synthetism (1889) •Gauguin •Schuffenecker •Bernard •Serusier •Ranson Paul Cézanne ‘House of the Hanged Man’ 1873 Paul Cézanne ‘Landscape, Auvers’, 1873 Pissarro ‘Gelée blanche’, 1873 Paul Cézanne ‘The Bathers Resting’, 1875-76 Paul Cézanne ‘The Bathers’, 1900-5 Adolphe-William Bouguereau, ‘The Bathers’, 1884 Comparison… Paul Cézanne ‘Still Life with Compotier’ 1879-1882 Cézanne’s Still Lives He was fascinated by the relation of colour to modelling Brightly coloured, round solids (e.g. Apple) was ideal He was interested in achieving a balanced design, therefore he stretched the bowl to the left to fill a void. As he wanted to study all the shapes on the table and their relationship, he simply tilted it forward to make them come into view. Everything (apart from the bowl & glass) has been reduced to its essential form – either spherical or rectangular – enforcing a great sense of weight and mass. Curves echo round the canvas. To achieve a sense of depth without sacrificing the brightness of colours. To achieve an orderly arrangement without sacrificing the sense of depth – all sacrifices EXCEPT for maintaining the conventional ‘correctness’ of outline. He was not out to distort nature; but he did not mind much if it became distorted in some minor detail if it helped obtain the desired effect. Paul Cézanne ‘Still Life with Plaster Cupid’ c.1895 Paul Cézanne ‘Table, Napkin, and Fruit’, 1895-1900 Paul Cézanne ‘Apples and Oranges’, c. 1899 Paul Cézanne 'Mont Sainte-Victoire seen from Bellvue‘, c. 1882-1885 Paul Cézanne ‘Mont Sainte-Victoire’, 1902-4 Georges Seurat ‘The Bathers, Asnières’, 1883-4 ‘Student’s text book of Colour: or, Modern Chromatics with Applications to Art & Industry’, 1881 by Ogden Rood, American Physicist ‘Principle of Harmony & Contrast of Colours and their application to the Arts’, 1839 – by Michel-Eugène Cheureul George Seurat ‘Sunday Afternoon on the Island of La Grande Jatte’, 1883-1886 Georges Seurat ‘The Lighthouse at Honfleur’, 1886 Paul Signac ‘Breakfast (The Dining Room)’ c. 1886/87 Paul Signac ‘Portrait of Félix Fénéon’, 1890 George Seurat ‘Circus’, 1890-91 Paul Signac ‘Red Buoy, Saint Tropez’, 1895 Paul Gauguin ‘La Bergère bretonne’, 1886 Louis Anquetin ‘Evening: Avenue de Clichy’ 1887 Emile Bernard ‘View from the Bridge at Asnières’, 1887 Louis Anquetin ‘Girl Reading a Newspaper’, 1890 Emile Bernard ‘Buckwheat Harvesters at PontAven’, 1888 Emile Bernard ‘Women on a Prairie’, 1888 Paul Gauguin ‘The Vision after the Sermon (Jacob and the Angel)’, 1888 Emile Bernard ‘Self-Portrait with Portrait of Gauguin’, 1888 Paul Gauguin ‘Self Portrait: Les Misérables’, 1888 Vincent Van Gogh ‘The Bridge in the Rain (After Hiroshige)’, 1887 Hokusai Paul Gauguin ‘Portrait of Van Gogh painting’, 1888 Vincent Van Gogh ‘Sunflowers’, 1888 Paul Gauguin ‘Le Christ jaune (The Yellow Christ)’ 1889 Emile Bernard ‘Paysannes Bretonnes’, c1889 Vincent Van Gogh ‘The Bridge in the Rain (After Hiroshige)’, 1887 Hokusai Paul Gauguin ‘Portrait of Van Gogh painting’, 1888 Vincent Van Gogh ‘Sunflowers’, 1888 Vincent van Gogh ‘Vincent’s Chair with his Pipe’, 1888-9 Vincent Van Gogh ‘Room at Arles’, 1889 Vincent Van Gogh ‘Self Portrait’, 1889 Vincent van Gogh ‘A Corner of the Garden of St Paul's Hospital at St Rémy’, 1889 Vincent van Gogh ‘A Cornfield with Cypresses’, 1889 Vincent Van Gogh ‘Portrait of Dr Gachet’, 1890 Vincent van Gogh ‘Farms near Auvers’, 1890 Vincent van Gogh ‘Wheatfield with Crows’, 1890 Paul Gauguin ‘Harvest: Le Pouldu’, 1890 Émile Bernard ‘Sortie d'église à Médréac’, 1891 Paul Sérusier ‘Les Lavandières de Bellangenet’, ca. 1892 Paul Gauguin ‘Spirit of the Dead Watching’, 1892 Henri Toulouse-Lautrec ‘Divan Japonaise’, 1893 Henri Toulouse-Lautrec ‘Jane Avril au Jardin de Paris’, 1893 Paul Gauguin ‘Breton Peasant Women’, 1894 Paul Gauguin ‘Where do we come from? What are we? Where are we going?’ 1897 Paul Serusier ‘Landscape in the Bois d’Amour (The Talisman)’, 1888 “[Gauguin said] How do you see these trees? They are yellow. Well then, put down yellow. And that shadow blue. Render it with pure ultramarine. Those red leaves? Use vermilion” Paul Sérusier ‘Roof Tops in Paris’, c. 1891 Pierre Bonnard ‘The Two Poodles’, 1891 Pierre Bonnard ‘Intimité’, 1891 Maurice Denis ‘July’, 1892 Edouard Vuillard ‘Les coulisses du Théâtre de l'Oeuvre’, c.1894 Maurice Denis ‘Homage to Cezanne’, 1900 “Remember that a picture before being a battle horse, a nude, or some anecdote is essentially a flat surface covered in colours assembled in a certain order.” Denis Cézanne Cézanne realised that the eye takes in a scene both consecutively and simultaneously – and in his work, the single perspective gives way to a shifting view, acknowledging that perspective changes as the eyes and head move. Cézanne Here, as with Cézanne’s other landscapes, he renders depth and space with COLOUR, rather than traditional forms of linear perspective and tonal modelling. “Colour must reveal every interval in depth.” Cézanne The image shows the recession of cool colours and advance of warm colours (and variations in intensity). Cézanne The image has a restricted colour palette of pale greens, earth colours and a wide range of blues. Cézanne Cézanne’s work stood apart from the ‘Impressionists’, as he was still concerned with maintaining form, rather than purely focusing on the effects of light. Cézanne Cézanne uses ‘directional’ brushstrokes, with the different planes of the landscape being placed in parallel lines; equal and separate brushstrokes. Cézanne He is painting from a high viewpoint – which tips the landscape up, flattening it closer to the picture plane and cuts down the sky area.
