Art History 2009 Class 7 Lecture Part 2


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Second half of Dick Nelson's April 16 lecture covers post-impressionism.

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Art History 2009 Class 7 Lecture Part 2

  1. 1. Post-Impressionism: Moving towards more personal interpretations. ABSTRACTION EXPRESSION FANTASY
  2. 2. Toulouse-Lautrec Portrait of Van Gogh Van Gogh Self-portrait Van Gogh Portrait
  3. 3. Van Gogh: Potato Eaters Empathy with a brush without clients.
  4. 4. Eastern Influence. Van Gogh The Blooming Plumtree
  5. 5. Van Gogh: Patch of Grass Van Gogh Patch of Grass Impressionist’s influence could not restrain personal expression.
  6. 6. Van Gogh Sunflowers
  7. 7. Psychological attachment to color. Van Gogh Café Terrace at Night
  8. 8. Toulouse-Lautrec: Subjects from Paris night life.
  9. 9. Toulouse-Lautrec Moulin Rouge Patronage Personal and social deformities.
  10. 10. The Entertainers of Lautrec’s world.
  11. 11. Lautrec: Toilet Degas The Bath Candid moments Unusual views Lautrec The Toilet
  12. 12. Lautrec: Two Half-naked Women
  13. 13. Lautrec Bed
  14. 14. Lautrec Nobility in search of another nobility? Lautrec: Portrait of Justine Dieuhl
  15. 15. Gauguin: Where Do We Come From? What Are We? Where Are We Going? A search for a reality beneath appearances.
  16. 16. Shapes and Colors For their own sake. Gauguin: Les Alyscamps, Arles
  17. 17. Gauguin: Swineherd
  18. 18. Why so flat & stylized? Gauguin: Spirit of the Dead Watching The “Noble Savage”. Portrayal of the significance of reality.
  19. 19. “…if you see a blue tree in the forest and you like the color, paint it all blue!” Paying homage to color for its own sake. Gauguin The White Horse
  20. 20. Photograph of Gauguin The Great Escape From Convention. Gauguin: Self-Portrait
  21. 21. Controlled arrangements of form and color. Seurat: Sunday Afternoon
  22. 22. Art Takes From Science Chevreul was a French chemist who restored old tapestries. During his restorations of tapestries he noticed that the only way to restore a section properly was to take into account the influence of the colors around the missing wool; he could not produce the right hue unless he recognized the surrounding dyes. Chevreul discovered that two colors juxtaposed, slightly overlapping or very close together, would have the effect of another color when seen from a distance. The discovery of this phenomenon became the basis for the Pointillist technique of the Neoimpressionist painters. Neo-Impressionism/Pointillism/Divisionism Seurat Profile
  23. 23. Cezanne: Self-Portrait Paul Cezanne: The Father Of Modern Art
  24. 24. Cezanne: Still-life With Apples Particulars surrender to the Universal
  25. 25. Cezanne: Still-life More than one side to every story…
  26. 26. Cezanne The Card Players Paying homage to the canvas; not the subjects.
  27. 27. Cezanne: Mt. St. Victoire Spatial illusion in mutation. Perceptual rules of nature no longer serve as the guide.
  28. 28. Wanda’s Quote “We have to reconnect to that wild stream of creativity; and again I think that education has practically banished creativity because we've so siphoned it through a tunnel of the rational that you're fortunate if you can come out at the other end with any imagination still intact; and I even speak to graduates of our art institutions and our music conservatories, that very often they succumb to technique and they kill the wild spirit of the soul that has entered that learning place in order to discipline the wildness, to find language for it, but not to domesticate it.” Mathew Fox
  29. 29. Art and plants thrive in fertile soil. For some, art is only there for the picking. They plant and harvest endlessly, with little thought of replenishing or rotating the crop. But there are those artists and patrons who replenish, and in so doing, harvest a crop rich in both tradition and insight. Their soil encourages new growth and a mutation of endless Art & Plants varieties of new visual and tactile experiences. And then there are those who plant a new variety of seed which germinates to become esoteric concepts. Their soil bears abundant fruit, rich in verbal, philosophical, social and political pronouncements for a chosen few. This crop is not a feast for the eye or touch of a hand, for such qualities are no longer recognized by these artist or their followers. © 2009Richard Nelson