19 c postimp sym pics

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  • The bright red contrasting with the black and white does experimentation with color
  • Stages of life, cont narr. Color and form instead of trying to rep light on a surface
  • Close up, dots of color near each other are called pointalism, the blue and yellow dots are close to each other and from far away it is seen as green
  • Experimenting with form, what makes the basic form
  • Very geometric shapes He is the grandfather of cubism
  • 19 c postimp sym pics

    1. 1. Post-Impressionism
    2. 2. Post-Impressionism• differences in emotional expression and subject choices between the Impressionists and the Post- Impressionists.• Post-Impressionist experimentation with form and color.• individuality of the Post-Impressionist artists and the styles each one developed.
    3. 3. Figure 29-34 VINCENT VAN GOGH, The Night Café, 1888. Oil on canvas, approx. 2’ 4 1/2”x 3’. Yale University Art Gallery, New Haven (bequest of Stephen Carlton Clark, B.A., 1903).
    4. 4. Figure 29-35 VINCENT VAN GOGH, Starry Night, 1889. Oil on canvas, approx. 2’ 5” x 3’ 1/4”. Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest).
    5. 5. Figure 29-36 PAUL GAUGUIN, The Vision after the Sermon or Jacob Wrestling with theAngel, 1888. Oil on canvas, 2’ 4 3/4” x 3’ 1/2”. National Gallery of Scotland, Edinburgh.
    6. 6. Post-Impressionist Experimentation• experimentation with form and color.
    7. 7. Figure 29-37 PAUL GAUGUIN, Where Do We Come From? What Are We? Where Are We Going?, 1897. Oil on canvas, 4’ 6 13/ 16” x 12’ 3”. Museum of Fine Arts, Boston (Tompkins Collection).
    8. 8. Figure 29-38 GEORGES SEURAT, detail of A Sunday on La Grande Jatte, 1884–1886.
    9. 9. Figure 29-39 GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, approx. 6’ 9” ´ 10’. The Art Institute of Chicago, Chicago
    10. 10. Post-Impressionist Form• the extraordinary art of Cezanne and his interest in form, paving the way for Cubism.
    11. 11. Figure 29-40 PAUL CÉZANNE, Mont Sainte-Victoire, 1902–1904. Oil on canvas, 2’ 3 1/2” x 2’ 11 1/4”. Philadelphia Museum of Art, Philadelphia.
    12. 12. Figure 29-41 PAUL CÉZANNE, The Basket of Apples, ca. 1895. Oil on canvas, 2’ 3/8” x 2’7”. The Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926).
    13. 13. Symbolism• issues of imagination, fantasy, and formal changes in the art of the Symbolists.• “modern psychic life” in the art of the Symbolists.
    14. 14. Figure 29-42 PIERRE PUVIS DE CHAVANNES, The Sacred Grove, 1884. Oil on canvas, 2’ 11 1/2” x 6’ 10”. The Art Institute of Chicago, Chicago (Potter Palmer Collection).
    15. 15. Figure 29-43 GUSTAVE MOREAU, Jupiter andSemele, ca. 1875. Oil on canvas, approx. 7’ x 3’ 4”. Musée Gustave Moreau, Paris.
    16. 16. Figure 29-43 GUSTAVE MOREAU, Jupiterand Semele, ca. 1875. Oil on canvas, approx. 7’ x 3’ 4”. Musée Gustave Moreau, Paris.
    17. 17. Figure 29-44 ODILON REDON,The Cyclops, 1898. Oil on canvas, 2’ 1” x 1’ 8”. Kröller-Müller Museum, Otterlo, The Netherlands.
    18. 18. Figure 29-45 HENRI ROUSSEAU, The Sleeping Gypsy, 1897. Oil on canvas, 4’ 3” x 6’ 7”. Museum of Modern Art, New York (gift of Mrs. Simon Guggenheim).
    19. 19. Rousseau
    20. 20. Figure 29-46 EDVARD MUNCH,The Cry, 1893. Oil, pastel, and casein on cardboard, 2’ 11 3/4” x 2’ 5”. National Gallery, Oslo.

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