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Europe and America, 1870 to 1900: Post-Impressionism

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Europe and America, 1870 to 1900: Post-Impressionism Europe and America, 1870 to 1900: Post-Impressionism 1 Post-Impressionism • Understand the differences in emotional expression and subject choices between the Impressionists and the Post- Impressionists. • Understand the Post-Impressionist experimentation with form and color. • Recognize the individuality of the Post-Impressionist artists and the styles each one developed. 2 Henri de Toulouse-Lautrec Figure 31-14 HENRI DE TOULOUSE-LAUTREC, At the Moulin Rouge, 1892–1895. Oil on canvas, 4’ x 4’ 7”. Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection). 4 5 HENRI DE TOULOUSE-LAUTREC 6 HENRI DE TOULOUSE- LAUTREC 7 HENRI DE TOULOUSE-LAUTREC, Jan Avril Dancing, oil on cardboard, 1892 8 HENRI DE TOULOUSE-LAUTREC 9 HENRI DE TOULOUSE- LAUTREC, Portrait of Vincent van Gogh 10 Figure 31-15 GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, 6’ 9” x 10’. The Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926). 11 12 13 14 Chris Jordan – Cans Seurat, 2007 & Georges Seurat – Sunday Afternoon at the Grande Jatte: Made out of 106,000 aluminum cans- the number consumed in the U.S. every 30 seconds. 15 Figure 31-18 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. 16 Figure 31-19 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 (Tompkins Collection). 17 Vincent van Gogh, Self-Portrait Vincent van Gogh, Self-Portrait van Gogh, The Potato Eaters, 1885 20 Vincent van Gogh, Sower with Setting Sun, after Millet, 1888 left: Hiroshige, "The Plum Garden in Kameido" right: Van Gogh, "Flowering Plum Tree" left: Hiroshige, "Great Bridge, Sudden Shower at Atake" right: Van Gogh, "The Bridge in the Rain" 23 Figure 31-16 VINCENT VAN GOGH, Night Café, 1888. Oil on canvas, 2’ 4 1/2” x 3’. Yale University Art Gallery, New Haven (bequest of Stephen Carlton Clark). 24 Figure 31-17 VINCENT VAN GOGH, Starry Night, 1889. Oil on canvas, 2’ 5” x 3’ 1/4”. Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest). 25 van Gogh, Wheatfield with Crows, July, 1890. Possibly his last painting before he commits suicide. 26 Post-Impressionist Form • Examine the extraordinary art of Cezanne and his interest in form, paving the way for Cubism. 27 PAUL CÉZANNE, Mont Sainte-Victoire, 1897. Oil on canvas 28 Figure 31-20 PAUL CÉZANNE, Mont Sainte-Victoire, 1902–1904. Oil on canvas, 2’ 3 1/2” x 2’ 11 1/4”. Philadelphia Museum of Art, Philadelphia (The George W. Elkins Collection). 29 PAUL CÉZANNE, Mont Sainte-Victoire Seen from Les Lauves 1904–1906. Oil on canvas 30 Figure 31-21 PAUL CÉZANNE, Basket of Apples, ca. 1895. Oil on canvas, 2’ 3/8” x 2’ 7”. The Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926). 31 Cezanne, Still Life with Skull, 1895 32 Cezanne, Still Life with Water Jug, 1892-3 33 Discussion Questions In what ways did the Modernist art of the later 19th century break from the past? How did Modernist artists call attention to the ‘facts’ of art making? Why did the public find the subjects, forms, and techniques of the Impressionists shocking? What are some key elements of the Post-Impressionist painters? How did their work inspire other artists? What would you consider the most important breakthrough in architecture? 34 .
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