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Paris 1800s An Education in Art Georges Seurat was He studied art at the born in Paris on 2nd École Municipale de December 1859. He had Sculpture et Dessin. an older sister and an He finished his older brother. schooling in November 1879 and did a year of military service. Bathers at Asnières Seurat spent 1883 painting ‘Bathers at Asnières’. Seurat drew crayon pictures of models and made small oil sketches at the riverside to get an idea of how the light would affect his subjects. The Creation of Pointillism Georges Seurat created a whole new painting technique. He used the science of optics, and realised that if tiny dots of pure colour were painted close together, then the human eye would blend the dots to make a solid colour. Television screens work in Close up it is hard to see a the same way; clear image but when seen tiny pixels blend together to from a distance, a whole form a whole image of the subject painted image. can be seen. Harmony Seurat believed that a painter could use colour to create harmony in art like a musician uses melody and notes to create harmony. Seurat’s First Pointillist Painting Seurat’s first masterpiece where he displayed the pointillist technique was ‘A Sunday Afternoon on the Island of La Grande Jatte’. It took 2 years to paint and was completed in 1886. Click on the painting for a closer look. In the Woods at Pontaubert La Parade du Cirque The Seine at La Grande Jatte The Eiffel Tower At the End Georges Seurat died at the young age of 31 at his parents’ house on 29th March 1891. It is thought he died from meningitis, pneumonia or diphtheria. His son died 2 weeks later from the same illness. His final painting, 'The Circus', was left unfinished. His legacy lived on and his artist friends continued to paint in the new style that Georges Seurat had created – pointillism..

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Famous Impressionist Artists Chart
Impressionist Artist 1 of the Month Name: Nationality: Date Born:________Date Died:________ Gallery: ©Nadene of http://practicalpages.wordpress.com January 2010 2 Famous Impressionist Artist Edgar Degas Vincent Van Gogh Georges Seurat Paul Cezanne Claude Monet Henri de ToulouseToulouse----LautrecLautrec PierrePierre----AugusteAuguste Renoir Paul Gauguin Mary Cassatt Paul Signac Alfred Sisley Camille Pissarro Bertha Morisot ©Nadene of http://practicalpages.wordpress.com January 2010 3 Edgar Degas Gallery: Little Dancer of Fourteen Years , Ballet Rehearsal, 1873 Dancers at The Bar The Singer with glove Edgar Degas (19 July 1834 – 27 September 1917), born HilaireHilaire----GermainGermainGermain----EdgarEdgar De GasGas, was a French artist famous for his work in painting , sculpture , printmaking and drawing . He is regarded as one of the founders of Impressionism although he rejected the term, and preferred to be called a realist. [1] A superb draughtsman , he is especially identified with the subject of the dance, and over half his works depict dancers. Early in his career, his ambition was to be a history painter , a calling for which he was well prepared by his rigorous academic training and close study of classic art. In his early thirties, he changed course, and by bringing the traditional methods of a history painter to bear on contemporary subject matter, he became a classical painter of modern life. http://en.wikipedia.org/wiki/Edgar_Degas ©Nadene of http://practicalpages.wordpress.com January 2010 4 Vincent Van Gogh Gallery: Bedroom in Arles The Starry Night Wheat Field with Cypresses Vincent Willem van Gogh (30 March 1853 – 29 July 1890) was a Dutch Post-Impressionist painter whose work had a far-reaching influence on 20th century art for its vivid colors and emotional impact.
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Post-Impressionism and the Late Nineteenth Century College, Cambridge
164. Paul Cézanne, Still Life with Apples, c. 1875-77. Oil on canvas, 19.1 x 27.3. King’s Post-Impressionism and the Late Nineteenth Century College, Cambridge The term post-Impressionism, meaning “After Impressionism,” designates the work of Life with Apples (fig. 164), of c. certain late 19th-century painters, whose diverse styles were significantly influenced 1875-77, painted at the height of by Impressionism. Like the Impressionists, the Post-Impressionists were drawn to his Impressionist period, Cézanne bright color and visible, distinctive brushstrokes. But Post-Impressionist forms do not subordinates narrative to form. He dissolve into the medium and their edges. whether outlined or defined by sharp color condenses the rich thematic asso- separations, are relatively clear. ciations of the apple in Western im- Within Post-Impressionism two important trends evolved. These are exemplified on agery with a new structured abstrac- the one hand by Cézanne and Seurat, who reassert formal and structural values; and tion. Cézanne’s punning assertion on the other by Gauguin and van Gogh, who explore emotional content. Both trends that he wanted to “astonish Paris set the stage for major trends in early 20th-century art. Certain Post-Impressionist with an apple” [see Box] is nowhere artists were also influenced by the late 19th century Symbolist movement. more evident than in this work. Seven brightly colored apples are set on a slightly darker surface. Each is a sphere, outlined in black and built up with patches of color- Paul Cézanne reds, greens, yellows, and oranges-like the many facets of a crystal.
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Georges Seurat – Sunday Afternoon on the Island of La Grand Jatte
LESSON PRESENTATION INSTRUCTIONS VALUE POINTILLISM Artist: Georges Seurat – Sunday Afternoon on the Island of La Grand Jatte Students will paint a picture in the style of Seurat. Time Required: 1 hour Lesson Objectives: Artist appreciation. Demonstrate how the use of color in different values creates depth and light. Materials: 8”x10” canvas board, or poster board Removable tape Acrylic paints Paper plate for palette Cotton swabs Procedure: 1. Before class, apply tape around border of canvas board. 2. Discuss artist and artwork. Define and explain value and Pointillism. 3. Demonstrate techniques: Show how two different colors of dots placed close together create the illusion of the color they would create when mixed; how to change the value of a color by adding darker or lighter colors to create shadows and light; and how the space between the dots affect the value of a single color. 4. Students will use cotton swabs dipped lightly in paint to build up a picture using all dots. Students are encouraged to fill the entire page with color – leaving no white spaces, up to and onto the taped edge. White paint is where white is represented in the picture. 5. Carefully remove tape only after painting is complete. Tips or Options: Paper without removable tape can be used and then trimmed to get a “clean” edge. This project could be done with oil pastels. Students enjoy looking at the art prints with a magnifying glass. GRADE 4 – LESSON PRESENTATION NOTES VALUE Pointillism: Dots of paint put close to each other, which the eye turns into blocks of color.
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I Dream of Painting, and Then I Paint My Dream: Post-Impressionism
ART HISTORY Journey Through a Thousand Years “I Dream of Painting, and Then I Paint My Dream” Week Thirteen: Post-Impressionism Introduction to Neo-Impressionisn – Vincent Van Goh – The Starry Night – A Letter from Vincent to Theo – Paul Gaugin - Gauguin and Laval in Martinique - Paul Cézanne, Turning Road at Montgeroult - Paul Cézanne, The Basket of Apples - Edvard Munch, The Scream – How to Identify Symbolist Art - Arnold Bocklin: Self Portrait With Death - Fernand Khnopff, I Lock my Door Upon Myself Der Blaue Reiter, Artist: Wassily Kandinsky Dr. Charles Cramer and Dr. Kim Grant: "Introduction to Neo-Impressionism” smARThistory (2020) Just a dozen years after the debut of Impressionism, the art critic Félix Fénéon christened Georges Seurat as the leader of a new group of “Neo-Impressionists.” He did not mean to suggest the revival of a defunct style — Impressionism was still going strong in the mid- 1880s — but rather a significant modification of Impressionist techniques that demanded a new label. Fénéon identified greater scientific rigor as the key difference between Neo-Impressionism and its predecessor. Where the Impressionists were “arbitrary” in their techniques, the Neo- Impressionists had developed a “conscious and scientific” method through a careful study of contemporary color theorists such as Michel Chevreul and Ogden Rood. [1] A scientific method Pierre-Auguste Renoir, Bal du Moulin de la Galette, 1876, oil on canvas, 131 x 175 cm (Musée d’Orsay) This greater scientific rigor is immediately visible if we compare Seurat’s Neo- Impressionist Grande Jatte with Renoir’s Impressionist Moulin de la Galette. The subject matter is similar: an outdoor scene of people at leisure, lounging in a park by a river or dancing and drinking on a café terrace.
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Degas: a New Vision and Seurat's Circus Sideshow
Michelle Foa exhibition review of Degas: A New Vision and Seurat’s Circus Sideshow Nineteenth-Century Art Worldwide 16, no. 2 (Autumn 2017) Citation: Michelle Foa, exhibition review of “Degas: A New Vision and Seurat’s Circus Sideshow,” Nineteenth-Century Art Worldwide 16, no. 2 (Autumn 2017), https://doi.org/ 10.29411/ncaw.2017.16.2.13. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Foa: Degas: A New Vision and Seurat’s Circus Sideshow Nineteenth-Century Art Worldwide 16, no. 2 (Autumn 2017) Degas: A New Vision Museum of Fine Arts, Houston October 16, 2016 – January 16, 2017 Previously at: National Gallery of Victoria, Melbourne June 24 – September 18, 2016 Seurat’s Circus Sideshow The Metropolitan Museum of Art, New York February 17 – May 29, 2017 Catalogues: Degas: A New Vision. Henri Loyrette. Melbourne, Victoria: Council of Trustees of the National Gallery of Victoria, 2016. 287 pp.; color illus.; bibliography; checklist. $35 ISBN: 9781925432114 Seurat’s Circus Sideshow. Richard Thomson, with contributions by Susan Alyson Stein, Charlotte Hale, and Silvia A. Centeno. New York: The Metropolitan Museum of Art, 2017. 144 pp.; 117 color illus.; bibliography; checklist; index. $30 ISBN: 9781588396150 Edgar Degas and Georges Seurat exhibited together only once, at the eighth and final Impressionist show in the spring of 1886. At that moment, Seurat was moving to the forefront of Paris’s modern art world, and A Sunday on the Grande Jatte–1884 (1884–86) would soon become a landmark in modern French painting.
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Seurat and Matisse: Influence, Tradition, and the Legacy of Divisionism
Seurat and Matisse: Influence, Tradition, and the Legacy of Divisionism By: Justin Earp Faculty mentor: Seth McCormick Abstract In a historical context, Georges Seurat is and will always be regarded as the quintessential divisionist painter. He launched an artistic revolution, beginning with his work to establish a radically new style to close out the nineteenth century, and continuing into his indirect influence on Henri Matisse, who helped to revolutionize twentieth century art and beyond. Seurat was a diligent worker who left nothing to chance in constructing his work. He studied and grinded through every minute detail of the process, and if it were not for this diligence, we may not have seen neo-impressionism become the juggernaut of a movement that we know it as today. Seurat’s influence on his contemporaries was clear, as he was able to amass a group of artists who adopted his style and artistic ideals. It is difficult to say just how much differently the story of twentieth century art might have been told if Matisse never delved into Seurat’s ideals, but it is safe to say that art history would have been changed. Whatever the reasons for Matisse’s decision to begin the Fauvist movement are largely irrelevant to the fact that Seurat’s influence challenged Matisse to learn more about himself as an artist. His trials and tribulations through divisionism guided him toward an outlet of expression that he had been searching for all along. It helped him find freedom and originality, and many artists who followed would be greatly influenced.
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< Paul Cézanne >
Still Life: Plate of Peaches, 1879-80. Oil on canvas, 59.7 x 73.3 cm. Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K. Thannhauser 78.2514.4 < PAUL CÉZANNE > Paul Cézanne’s (b. 1839, Aix-en-Provence, France; d. 1906, Aix-en-Provence) complex still lifes are an important part of his quest for empirical truth in painting. Because these THE GREAT U inanimate objects did not move, like human “I will astonish Paris with an apple,” he subjects might, during the painting sessions, once said.3 and they were available any time of day or PAUL CÉZANNE night, they were an ideal subject for a slow- Cézanne set up his still lifes with great care. working, analytical artist like Cézanne. A testimony by an acquaintance describes his Sometimes the fruit or flowers he used method of preparing a still life: “No sooner P HEAVAL would wither and die before the painting was the cloth draped on the table with innate was completed and would need to be taste than Cézanne set out the peaches in replaced by paper flowers and artificial fruit. such a way as to make the complementary colors vibrate, grays next to reds, yellows to His work was motivated by a desire to give blues, leaning, tilting, balancing the fruit at the sculptural weight and volume to everyday angles he wanted, sometimes pushing a one- objects. In Cézanne’s still lifes ambiguities sous or two-sous piece [French coins] under abound. As if by magic, the tablecloth we them. You could see from the care he took see in Still Life: Plate of Peaches is able to how much it delighted his eye.”4 But when levitate several pieces of fruit without any he began to paint, the picture might change visible means of support.
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Georges Seurat
Georges Seurat This is the great and famous artist, Georges Seurat. He was born on December 2, 1859. He had a brother, Emile, and a sister, Marie-Berthe. He started drawing when he was very young and took his first art class when he was sixteen years old! He died in 1891. Seurat was born in Paris, France. France is across the Atlantic Ocean in Europe. It would take about nine hours to get there by plane. George Seurat used pointillism to create his paintings and works of art. Pointillism means painting with dots. Georges Seurat saw that painting with dots made his art very bright and colorful. Can you see the tiny dots in this piece of art? When Seurat would paint, he would put dots of two different colors next to each other to make it seem like one color. For example, when you mix yellow and blue, what color do you get? This is a color wheel using Seurat’s technique of pointillism. Can you see how the dots of color put on top of each other make other colors? Here is another one of Seurat’s paintings, The Circus. You can see that the closer up you get, the better you can see each of the dots that Seurat made with his brush! Here are some other examples of artwork using the pointillism technique. Sunday Afternoon on the Island of La Grande Jatte The Island of La Grande Jatte still exists in France. This is a picture of where people think Seurat may have painted his picture! But, we don’t know for sure.
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Impressionism and Post-Impressionism
09.10.2010 ART IN THE SECOND HALF OF THE NINETEENTH CENTURY: IMPRESSIONISM AND POST-IMPRESSIONISM Week 2 WORLD HISTORY ART HISTORY ARCHITECTURAL HISTORY Marx and Engels issue Communist Manifesto, 1848 Smirke finished British Museum Gold discovered in California 1849 The Stone Broker, Courbet 1850 Bibliotheque Sainte-Genevieve (Neo- Renaissance) 1852 The Third Class Carriage by Daumier Houses of Parliment, London (Neo-Gothic) 1854 Crystal Palace, First cast-iron and glass structure 1855 Courbet’s Pavillion of Realism Flaubert writes Madame Bovary 1856-1857 Mendel begins genetic experiments 1857 REALISM First oil well drilled, 1859-60 Red House by Philip Webb (Arts &Crafts) Darwin publishes Origin of Spaces Steel developed 1860 Snapshot photography developed U.S. Civil War breaks out 1861 Corot Painted Orpheus Leading Eurydice 1862 Garnier built Paris Opera (Neo-Baraque) Lincoln abolishes slavery 1863 Manet painted Luncheon on the Grass Suez Canal built 1869 Prussians besiege Paris 1871 1873 First color photos appear IMPRESSIONISM 1874 Impressionists hold first group show Custer defeated at Little Big Horn, 1876 Bell patents telephone Edison invents electric light 1879 1880 VanGogh begins painting career Population of Paris hits 2,200,000 1881 1882 Manet painted A Bar at the Folies-Bergère 1883 Monet settles at Giverny First motorcar built 1885 First Chicago Skyscraper built 1886 Impressionists hold last group show 1888 Portable Kodak camera perfected Hitler born 1889 Eiffel Tower built 1901 1902 1903 POSTIMPRESSIONISM 1905 1 09.10.2010 REALISM VALUES: Real , Fair, Objective INSPIRATION: The Machine Age, Marx and Engel’s Communist Manifesto, Photography, Renaissance art TONE: Calm, rational, economy of line and color SUBJECTS: Facts of the modern world, as the artist experienced them; Peasants and the urban working class; landcape; Serious scenes from ordinary life, mankind.
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Pittura Ideista: the Spiritual in Divisionist Painting1
Pittura ideista: The Spiritual in Divisionist Painting1 Vivien Greene The Divisionists were a loosely associated group of late-nineteenth-century painters intent on creating a distinctly Italian avant-garde art. Their mission was underpinned by modernist and nationalist aspirations,2 while their painting method drew on scientific theories of optics and chromatics and relied on the application of brushstrokes of individual, often complementary, colors to craft shimmering surfaces that capitalized on light effects.3 Although the movements’ members generally aligned I am grateful to those who read this essay: firstly, at its inception, Giovanna Ginex, more recently, Jon Snyder, and, lastly, my anonymous readers. I am also thankful to all my colleagues at the museums and archives named herein who gave me access to artworks and documents and supported my research efforts, even long distance. 1 This article is a recast and expanded version of an earlier essay of mine, “Divisionism’s Symbolist Ascent,” in Radical Light: Italy’s Divisionist Painters, 1891-1910 (exh. cat.), ed. Simonetta Fraquelli (London: National Gallery; Zurich: Kunsthaus Zurich, 2008), 47-59. My title borrows from a term that the Divisionist artist and critic Vittore Grubicy De Dragon developed to differentiate Italian Symbolism from similar tendencies among other artists and in other nations, calling it pittura ideista. See especially Vittore Grubicy De Dragon, “Pittura Ideista,” in Prima esposizione triennale Brera 1891. Tendenze evolutive nelle arti plastiche: Pensiero italiano 9 (Milan: Tipografia Cooperativa Insubria, 1891), 47-50. Grubicy’s moniker was probably inspired by G.-Albert Aurier’s concept of “art idéiste,” a term bandied about then, which was most famously discussed in his “Le Symbolisme en peinture: Paul Gauguin,” Mercure de France 2 (March 1891): 155-64.
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(At the Cirque Fernando) by Henri Toulouse-Lautrec
Equestrienne (At the Circus Fernando) 1887–1888 By Henri de Toulouse-Lautrec THE ART INSTITUTE OF CHICAGO Department of Museum Education Division of Teacher Programs Crown Family Educator Resource Center Henri de Toulouse-Lautrec enjoyed breaking the rules. When Henri de Toulouse-Lautrec he came across an idea that interested him, he tried it—re- gardless of whether it was acceptable or not. Toulouse-Lautrec loved life and took inspiration from everything he came across. As a young man, he became interested in the circus and in Equestrienne (At the circus performers, and when a fellow artist showed him how to look at subjects as if they were cut off or “cropped” like a Circus Fernando) photograph, he took up that idea as well.1 Painted when he was only 24 years old, Equestrienne (At the Circus Fernando) 1887-1888 became one of his most well-known works. Oil on Canvas, 100.3 x 161.3 cm (39.5" x63.5") Toulouse-Lautrec: Childhood and Training As his name implies, Henri Marie Raymond de Toulouse- Joseph Winterbotham Collection, 1925.523 Lautrec-Montfa was born into a wealthy family on November 24, 1864. As a young child, his parents were aware that his physical development was not normal as he often was ill, his leg bones broke easily, his speech was unclear, and he didn’t grow taller as he aged. Discussing Toulouse-Lautrec’s condition in 1994, biographer Julia Frey calls it congenital (something he was essentially born with) and states, “Although posthumous diagnosis is always risky, experts on endocrine disorders say that Henry was probably suffering from a genetic mishap which caused fragility at the growth end of the bones, hindering normal bone development and causing pain, deformation and weakness in the skeletal structure.”2 She adds, “As he entered adolescence, Henry’s long bones began to atrophy at the joints where the adolescent growth spurt would typically manifest itself.”3 His cousins also showed such symptoms, making this a genetic defect within the family.
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A Bouquet of Five Art Movements a Crash Course in 19Th & 20Th Century Art Movements and Using Its Inspiration to Paint Flowers
A Bouquet Of Five Art Movements A crash course in 19th & 20th century art movements and using its inspiration to paint flowers. Did you know that according to Wikipedia there are over 180 art movements? For this week’s project we are going to spend time looking at just 5 of these movements and these were hugely influential during the nineteenth and twentieth centuries. They are: Day 1 - Impressionism Day 2 - Fauvism Day 3 - Cubism Day 4 - Abstract art Day 5 - Pop Art Day 6 challenge to create a picture for a Contactless Creativity group painting in the style of your preferred art movement Each day I will give you a little background information on the day’s art movement and its styles of painting. Then the task will be to create your own painting in the style of the art movement. The overall theme for the pictures is Flowers, however, if you have an alternative subject then you are very welcome to use that. At the end of the week the plan is for you to do a picture of a flower in your preferred art movement style and then pass it back to the Corn Exchange volunteer when they pick up your pack for it to be placed together to make a large piece of wonderful Contactless Creativity art work to be displayed somewhere at the Corn Exchange. A wonderful picture of loads of bright and colourful flowers will surely cheer us all up after lockdown! Materials For this week, I have provided you with simple materials: ❖ A couple of pencils and pencil sharpener ❖ A couple of paint brushes ❖ Tin of watercolours ❖ A4 sketchbook for you to keep.
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