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Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
Chapter 30 19th Century Art In Europe And The United States 4
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Chapter 30 19th Century Art In Europe And The United States 4

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  • Vincent van GoghSunflowers1888oil on canvasAttempts to express emotion and feelings through color.
  • Henri de Toulouse-LautrecAt the Moulin Rougec. 1892-1895123x141 cmFocused on the nightlife of Paris. Colors and mask-like features suggest decadence, social commentary. Gaslight illuminated these nightly places, creating a greenish glow on interior spaces. Influenced by Japanese woodblock prints – much like Degas. Referred to as “mini-Degas”. Both specialized in movements and private moments as well as cropping. (Remind the CF-ID) Worked also with lithographs and posters, popularizing the media in the 1890s. Nightlife seen from “elbow height”. Although born into high aristocracy, childhood accident had him broke both of his legs. This deformed him, gave him a short stature with a child’s legs and the torso of a man.
  • Transcript

    • 1. Chapter 30: 19th Century Art in Europe and the United States
      Post-Impressionism
      Magister Ricard
      AP Art History
    • 2. 19th Century Artistic Developments: The “-isms”
    • 3. The Birth of “Modern Art”
    • 4. What is Post-Impressionism
      Artists were dissatisfied with Impressionism
      Lacked line, shape, color – loose brushwork did not create solidity
      Wanted to restore color and shape or even subjectivity (don’t just copy nature)
      Moves away from objectivity (positivism)
      Did not want to simply capture a passing moment
      Like Impressionism, was based in France
      Thrived from 1880-1905
    • 5. Who are the Post-Impressionists?
      Seurat
      Gaugin
      Cezanne
      Toulouse-Lautrec
      Van Gogh (Dutch, but worked in France)
    • 6. The Schism in Post-Impressionism
    • 7. Mount Sainte Victoire
    • 8.
    • 9. Paul Cézanne
      Mount Sainte Victoire
      1897oil on canvas
    • 10. Paul Cézanne
      Mount Sainte-Victoire
      1902-1904oil on canvas2 ft. 3 1/2 in. x 2 ft. 11 1/4 in.
    • 11.
    • 12.
    • 13.
    • 14. Color Theory: Test
    • 15. Color Theory: What do you see?
    • 16.
    • 17.
    • 18.
    • 19.
    • 20.
    • 21.
    • 22. Conclusion
      Impressionism – 1870’s and 1880’s
      Post Impressionism – late 1880’s and 1890’s
      Impressionists interested in capturing a moment in time and how the moment is reflected by light and color
      Transitory nature of their art is conveyed through cropped edges, informal arrangements
      Post Impressionists not satisfied
      Seurat and Cezanne played with color and shape
      Gaugin and Van Gogh explored the world as an observed thing
    • 23. Impressionism and Post Impressionism

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