Paul Signac His Life & Work
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Artists' Journeys IMAGE NINE: Paul Gauguin. French, 1848–1903. Noa
LESSON THREE: Artists’ Journeys 19 L E S S O N S IMAGE NINE: Paul Gauguin. French, 1848–1903. IMAGE TEN: Henri Matisse. French, Noa Noa (Fragrance) from Noa Noa. 1893–94. 1869–1954. Study for “Luxe, calme et volupté.” 7 One from a series of ten woodcuts. Woodcut on 1905. Oil on canvas, 12 ⁄8 x 16" (32.7 x endgrain boxwood, printed in color with stencils. 40.6 cm). The Museum of Modern Art, 1 Composition: 14 x 8 ⁄16" (35.5 x 20.5 cm); sheet: New York. Mrs. John Hay Whitney Bequest. 1 5 15 ⁄2 x 9 ⁄8" (39.3 x 24.4 cm). Publisher: the artist, © 2005 Succession H. Matisse, Paris/Artists Paris. Printer: Louis Ray, Paris. Edition: 25–30. Rights Society (ARS), New York The Museum of Modern Art, New York. Lillie P. Bliss Collection IMAGE ELEVEN: Henri Matisse. French, 1869–1954. IMAGE TWELVE: Vasily Kandinsky. French, born Landscape at Collioure. 1905. Oil on canvas, Russia, 1866–1944. Picture with an Archer. 1909. 1 3 7 3 15 ⁄4 x 18 ⁄8" (38.8 x 46.6 cm). The Museum of Oil on canvas, 68 ⁄8 x 57 ⁄8" (175 x 144.6 cm). Modern Art, New York. Gift and Bequest of Louise The Museum of Modern Art, New York. Gift and Reinhardt Smith. © 2005 Succession H. Matisse, Bequest of Louise Reinhardt Smith. © 2005 Artists Paris/Artists Rights Society (ARS), New York Rights Society (ARS), New York/ADAGP,Paris INTRODUCTION Late nineteenth- and early twentieth-century artists often took advantage of innovations in transportation by traveling to exotic or rural locations. -
Art Assignment #8
Art Assignment #8 Van Gogh Unit Van Gogh Reading/Reading Guide Due Friday, May 15, @4p Dear Art Class, Please read pages 39-61 of the van Gogh book and answer questions 79-139 of the reading guide. Please start this assignment right away. Try to pace yourself and answer at 15 questions per day. If you are part of Google Classroom turn in your google doc there. Please start a new Google Doc with questions and answers. Good luck! Hope everyone is doing well! Mr. Kohn VAN GOGH BOOK READING GUIDE QUESTIONS Pages 39-61 Vincent the Dog 1883-85 I am getting to be like a dog, I feel that the future will probably make me more ugly and rough, and I foresee that “a certain poverty” will be my fate, but, I shall be a painter. --Letter to Theo, December 1883 Vincent came home ready to give his parents another chance to do the right thing. If only his father would apologize for throwing him out of the house, they could all settle down to the important business of Vincent’s becoming an artist. Mr. van Gogh didn’t see it that way. He and Vincent’s mother welcomed their thirty-year-old problem child, but they were ambivalent at the prospect of having him back in the nest. After a few days Vincent wrote humorously yet bitterly to Theo, comparing himself to a stray dog. 39 Dear brother, I feel what Father and Mother think of me instinctively(I do not say intelligently). They feel the same dread of taking me in the house as they would about taking in a big rough dog. -
The Maria at Honfleur Harbor by George-Pierre Seurat
The Maria at Honfleur Harbor By George-Pierre Seurat Print Facts • Medium: Oil on canvas • Date: 1886 • Size: 20 ¾” X 25” • Location: National Gallery Prague • Period: • Style: Impressionism • Genre: Pointillism • Prounounced (ON-flue) • Seurat spent a summer painting six landscapes at Honfleur Harbor. They, for the most part, convey the idea of peaceful living that Seurat must have been experiencing during the summer vacation in which he created these pieces. In none of the paintings are waves crashing to shore nor is the wind forcefully blowing something. Another strange thing to note is that in none of the Honfleur paintings is there the easily recognizable shape of a human being. Maybe Seurat sees crowds of people as causes of stress and therefore never incorporates them into his Honfleur works. It is possible that this is the reason why there's an innate calmness to the six paintings. Artist Facts • Pronounced (sir-RAH) • Born December 2, 1859 • Seurat was born into a wealthy family in Paris, France. • Seurat died March 29, 1891 at the age of just 31. The cause of his death is unknown, but was possibly diphtheria. His one-year-old son died of the same disease two weeks later. • Seurat attended the École des Beaux-Arts in 1878 and 1879. • Chevreul, who developed the color wheel, taught Seurat that if you studied a color and then closed your eyes you would see the complementary color. This was due to retinal adjustment. He called this the halo effect. Thus, when Seurat painted he often used dots of complementary color. -
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. -
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. -
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. -
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. -
AC Post-Impressionism 4C.Qxp
Post-ImpressionismPost-Impressionism Nathalia Brodskaïa Author: Nathalia Brodskaïa Layout: BASELINE CO LTD 33 Ter – 33 Bis Mac Dinh Chi St., Star Building; 6th floor District 1, Ho Chi Minh City Vietnam © Confidential Concepts, Worldwide, USA © Parkstone Press International, New York, USA © Pierre Bonnard, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris © Maurice Denis, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris © Ker Xavier Roussel, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris © Jan Verkade © Édouard Vuillard, Artists Rights Society (ARS), New York, USA/ ADAGP, Paris All rights reserved. No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification. ISBN: 978-1-78042-802-4 Nathalia Brodskaïa POST-IMPRESSIONISM CONTENTS Introduction 7 Major Artists 23 Paul Cézanne 25 Neo-Impressionism 61 Vincent van Gogh 79 Paul Gauguin 117 Henri de Toulouse-Lautrec 159 The Nabis 179 Notes 194 Index 195 6 INTRODUCTION he term ‘Post-Impressionism’ has only one meaning: ‘after Impressionism’. Post- Impressionism is not an art movement, nor an art style; it is a brief period at the T end of the nineteenth century. Impressionism being a phenomenon unique to French painting, the idea of Post-Impressionism is also closely linked to French art. Generally, the beginning of the Post-Impressionist era dates from 1886, from the moment of the eighth and final joint Impressionist Art exhibition. -
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. -
< 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. -
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. -
(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.