Neo postimpresslaura


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Neo postimpresslaura

  1. 1. NEO-IMPRESSIONISM AND Grand Canal in Venice (1905), Paul Signac POST-IMPRESSIONISMWheatfield with crows (1890), Van Gogh
  2. 2. INDEX• Neo-impressionism – Main features – Artists and works of art (Georges Pierre Seurat and Paul Signac) – A Sunday afternoon on the Island of La Grande Jatte, Georges Seurat a. Description b. Style of the painting: Neo-impressionist features• Post-impressionism – Main features – Artists and works of art (Paul Gauguin, Henry de Toulouse- Lautrec, Vincent Van Gogh, Paul Cézanne) – The sower, Vincent Van Gogh a. Description b. Meaning c. Style of the painting: Post-Impressionist features• Sources
  3. 3. Neo-Impressionism: main featuresIt’s an artistic movement developedat the end of the 19th century andheaded by Georges Seurat and PaulSignac, who exhibited their paintingsin 1884 in the Societé des ArtistesIndépendants in Paris. Thebeginning of this movement takesplace inside Impressionism, but itpresented a new conception ofcolours and lines.This movement is also known asPointillism or Divisionism. The Eiffel Tower (1889), Georges Seurat
  4. 4. • Big importance to volume. • Forms are conceived in a geometry of pure, well defined masses (but without contours). • Order and clarity in paintings. • Application of the principle of the optic mixture: hues are divided into pure basic colours, so that the eye builds them from a specific distance. • Use of pointillism: paintings are painted by using small brushstrokes or points in different colours to reach the optic mixture. • The main themes: ports, riverbanks and circus scenes.The circus (1890-91) Georges Seurat The Circus Sideshow (1887-88)
  5. 5. MAIN NEO-IMPRESSIONIST ARTISTSGEORGES PIERRE SEURAT (FRENCH) Bathers at Asnières (1884) The channel of gravelines (1890) Le Bec du Hoc, Grandcamp (1885) Gray weather, Grande Jatte (1888)
  6. 6. PAUL SIGNAC (FRENCH)Grand Canal in Venice (1905) The Papal Palace, Avignon (1900)Portrait of Felix Feneon (1890) Breakfast (The dining room) (1886-87)
  7. 7. A Sunday Afternoon on the island of La GrandeMaterial: oil on canvas.Present location: Art Institute of JatteChicago.A Sunday Afternoon on the island of LaGrande Jatte is a very important work ofart from the French Neo-ImpressionistGeorges Pierre Seurat. It is verymysterious, because it doesnt expressemotions, but workday scenes: peoplefrom Paris enjoying an afternoon at apark. Seurat was 25 when he painted itand he spent two years painting it(1884-1886).Seurats canvas includes 3 dogs, 8 boatsand 48 people who congregate on aSunday to enjoy nature. There aremodern characters such as soldiers,boaters, the fashionably and casuallydressed, the old and the young, families,couples, and single men and women.He focused on the landscape and the peoples shapes. Only the elegance of individuals was important for him.All the elements are balanced. Although the park is a noisy place (there is a man blowing his bugle, childrenrunning around, dogs, etc.) it transmits an impression of silence. He suggested a sense of timelessness in thefrozen quality of the figures.People seem to be alone, but not lonely. All the figures coexist in peace. He reaches to represent a beautiful,sunlit and silent world.
  8. 8. STYLE OF THE PAINTING: NEO-IMPRESSIONIST FEATURES In this masterpiece, Seurat used the technique of pointillism, which was innovative then. Instead of traditional brushstrokes, he used a lot of tiny and contrasting dots which, together, form a unique colour in the human eye. Seurat is regarded as the father of the Neo- impressionist art movement and A Sunday Afternoon on the Island of La Grande Jatte is considered to be the beginning of the movement. Although pointillism was used a lot during this period, the theory of light and colour and the artistic impression really define the style. The use of complementary or contrasting base colours in tiny proportions mixes the colour on its own. It reflected better the experience of a real world. Georges Pierre Seurat
  9. 9. Post-Impressionism: main featuresPost-Impressionism is a term used todescribe the pictorial styles at the end ofthe 19th century and the beginning of the20th century after Impressionism. It wasintroduced by the British critic Roger Fry,after an exhibition of paintings from PaulCézanne, Paul Gauguin and Vincent vanGogh that was celebrated in London, in1910. It involves different personal styles,presenting them as an extension ofImpressionism and a rejection of itslimitations. La toilette (1896), Henry de Toulouse-Lautrec
  10. 10. • Interest for the construction of the form, picture and expressiveness of objects and human figures. • The bodies of the painting are geometric. • Use of contrasts to define forms and planes. • Use of pure and bright colours with a lot of emotions. • Subjective vision of the world in paintings. • Exotic themes (Gauguin) and low backgrounds (Toulouse-Lautrec). • Simplified and static compositions which look for harmony (Gauguin).La Goulue (1891) Henry de Toulouse-Lautrec Salon at the Rue des Moulins (1894)
  11. 11. MAIN POST-IMPRESSIONIST ARTISTS PAUL GAUGUIN (FRENCH)Garden in Vaugirard (1881) The yellow Christ (1889) Where do we come from? What we are? Where are we going? (1897)
  12. 12. HENRY DE TOULOUSE-LAUTREC (FRENCH)At the Moulin Rouge (1892-95) Aristide Bruant (1889)At the circus Fernando (1887-88)
  13. 13. VINCENT VAN GOGH (DUTCH) Bedroom in Arlés (1888)The Starry Night (1888) The potato eaters (1885) The red vineyard (1888)
  14. 14. PAUL CÉZANNE (FRENCH)Sainte-Victoire mountain (1885) Boy in a red waistcoat (1888-90) The card players (1890)
  15. 15. The sower•Material: oil on canvas.•Present location: Van Gogh Museum (Amsterdam).These paintings were painted in Arles in 1888 by Vincent van Gogh. Van Gogh painted severalsowers in different compositions, drawing influence from Millet, one of Vincent Van Goghsheroes. Millet also painted a painting called The sower. •DESCRIPTION On The sower, a modest, calm figure of a man is sowing the land. The field in which the sower throws new seeds was painted with touches of blue and yellow. Some flickers of black represent the birds in the sky and vertical traces were used for the stalks of grain. In the centre of the background there is a huge and burning yellow sun in the sky. On another Van Gogh’s version of The sower, the figure of the sower is in the foreground, on the right, next to an old and big tree with very few leaves. The sun continues to be big and yellow, but in this case, it’s just behind the sower.The sower (1850), Millet’s version
  16. 16. • MEANING OF THE PAINTINGS Van Gogh based the fields on the parable of the Sower in Saint Matthew’s Gospel, which is about the Last Judgement. God sows the seeds of the spirit in the soil of humanity and returns on the Last Day to reap the harvest. That accounts for the grandeur of both paintings. In the drama, nature becomes more important than people in the painting. The most important elements are the sun and the ploughed earth. Van Gogh placed the sun in the middle of the painting as if it had to be revered. In the second painting, the sun is still more important, because it looms over the shoulders of the sower and right on the horizon line, there is a domineering terrible presence. • STYLE OF THE PAINTINGSVersions of The sower, Van Gogh Van Gogh showed a personal interpretation of these traditional scenes, introducing the impressionist style to the countryside, with very electric and short brushstrokes and the use of a lot of vibrant colours. It includes brilliant colours. The optical effect of the painting is definitely a post-impressionist feature. By the standards of Impressionism, those big yellow suns are childish. For Monet, yellow was a particular wavelength of visible light. For Van Gogh, colours were filled with meaning. Van Gogh believed that every colour had its own light. Colour played a role in his painting almost completely separated from any description of visual experience. What counted in the paintings was the overall colour effect, not the particular things in the scenes. He also used perspective in the painting.
  17. 17. Sources• Blanco Carrasco, Cristina and Pérez Fons, Paqui(2011). Social Sciences History 4th Year ESO, Spain.• Neoimpresionismo. 2012. Wikipedia. La enciclopedia libre. 17th Apr. 2012.<http://>• Neoimpresionismo. Toda Cultura. 3rd April 2012. <>• Seurat, Georges. A Sunday Afternoon on the Island of La Grande Jatte. Artchive. 3rd Apr. 2012 <>• Totally History. 2011. Totally History. 3rd Apr. 2012. <>• Seurat and the making of La Grande Jatte. 2004. The Art Institute of Chicago. 3rd Apr. 2012. <>• Color theory. 2012. Wikipedia. La enciclopedia libre. 15th Apr. 2012.<>• Life of Van Gogh. 2011. Life of Van Gogh. 15th Apr. 2012. <>• Tiempos modernos. 2011. Blogger. 15th Apr. 2012. <>• Counterlights Peculiars. 2008. Blogger. 15th Apr. 2012. <>