4. Henri de Toulouse-Lautrec
was born on November 24,
1864 in Albi, France, the son
of a count and countess. His
parents separated and Henri
lived with his mother in Paris.
She quickly realized he had
artistic talent. Henri suffered
from several genetic problems.
His legs stopped growing
when he was about 12, so he
had an adult upper body, but
the legs of a child.
5. Because of his
disabilities, he
focused only on his
art. He lived
in the tawdry
part of Paris with
outcasts,
entertainers and
prostitutes who
became his models.
6. Inspired by Degas.
His work had an
almost caricature
look.
He popularized the
poster as an art
form
7. When a nearby cabaret opened,
Toulouse-Lautrec was hired to
create a series of posters
advertising it. While making
posters gave him a good source of
income, other artists frowned on it
as commercial. He didn’t care.
9. Toulouse-Lautrec spent
a lot of time in and
around the Moulin
Rouge, his paintings
were of the dancers
and their patrons.
There was always a
table for him at the
cabaret, and his work
was displayed on the
walls.
Toulouse-Latrec
“Jane Avril Leaving the Moulin Rouge”
1892
11. During a career of less
than 20 years, Toulouse-
Lautrec created 737
paintings, 275 watercolors,
262 prints and posters,
over 5000 drawings, and
some ceramics and
stained glass. He
specialized in capturing
people in their work
environment, often gaudy
night life creatures seen in
an unglamorous way. He
created detailed crowd
scenes where every
person could be identified
as a real individual.
12. Shepard
Fairey
“Obey (Andre the
Giant Has a
Posse)” (1989)
&“Hope” (2008)
Toulouse-Lautrec
“Ambassadeurs: Aristide Bruant”
1892.
13. Henri Toulouse-
Lautrec died at his
family’s estate in
Malrome, France
on September 9,
1901. He was 36
years old.
14. •  Born to wealthy parents in Aix-
en-Provence, near the
Mediterranean coast,
Cezanne had a privileged
childhood. He was well-
educated at a boarding-
school.
•  To please his father, he
studied law for two years but
eventually convinced his
family to support his desire to
be an artist.
•  This is an early painting of his
father.
•  What is the source of light?
•  What do you know about the
father from looking at this
portrait?
15. •  He followed his school friend,
Emile Zola, to Paris for two
years. At the time, he was
painting in a dark, thick paint.
This painting is of his mother
and sister.
•  In Paris, he became friends with
Pissaro, an important
Impressionist. Under Pissaro’s
influence, Cezanne’s approach
to his canvasses changed to
lighter colors and more complex
shapes.
•  How many patterns do you see?
•  Does this look real to you?
•  How does this painting make
you feel?
16. “Still Life with Apples and Oranges” “Still Life with Plate of Cherries”
1895-1900 1885-87
•  Cezanne is perhaps best known for his still life work.
•  As he created his still-life paintings, he was very aware of the composition of
each painting.
•  He was working with colors and shapes to create work that was new.
•  Where is your eye drawn in these paintings? What do you see first?
19. •  Cezanne believed that all
forms in nature were
based on the cone, the
sphere or the cylinder.
•  He studied optics,
particularly
“binoclularism”: the way
each eye works
separately and together
to create depth
perception.
•  Look at this work through
each eye separately, and
then together. How does
the painting change?
• What shapes do you see in the painting?
• Do the objects in the painting seem to be actual objects that would feel
heavy if you picked them up?
• What do you think Cezanne is trying to do with this kind of artwork?
• What is the point of this painting?
20.
21. •  Cezanne also painted
both landscapes and
figures.
•  Here, the bottle divides
the painting, highlighting
the dark and light shades
in the men’s clothes.
•  His later portraits are
much more about volume
and color than the actual
people. Notice the
fullness and solidity of
the player’s jackets.
What kinds of shapes do you
see? How does the use
of light and dark shadows
help highlight the
volume?
22.
23.
24. •  In 1880, Cezanne’s brother-
in-law bought a house near
Ste.-Victoire, in southern
France.
•  To Cezanne, the mountain
provided an ideal subject to
show the volume,
permanence, and firmness
that he believed were the
purpose of art.
•  He painted this mountain over
and over again at different
times of the year and from
different angles.
Do you see a sphere? A cone? A “Monte Sainte-Victoire”
cylinder? 1882-1885
Does it feel realistic?
26. •  After 1890, Cezanne became
more of a recluse. He
retreated to the country,
foregoing even occasional trips
to Paris.
•  He fell out with friends and
family, including a bitter fight
with his friend Zola.
•  In 1906 he was caught in a
rainstorm while walking back
from his studio. He contracted
pneumonia and died several
days later.
•  By the time of his death, artists
were making pilgrimages to his
home celebrating his genius.
What do you see in this painting?
How is it different from others we
have seen?
“Rocks Near the Caves above Chateau Noir” Do you like this? Do you like it
1904 more or less than his other
work?
27. •  Picasso famously said
Cezanne was “the father
of us all”– truly a giant to
the artists of the 20th
century.
•  Cubists often point to
Cezanne as the starting
point of their style of art.
Think about his
landscapes of Sainte-
Victoire.
•  Artists such as Braque,
Gris, Picasso, Matisse and
many others point to him
as the first to show a new
path in art that
emphasizes shape and
volume.
28. Vincent van Gogh was born in the
Netherlands in 1853.
Van Gogh is the classic example of
the tortured artist who channels his
personal demons and pain into
astounding works of beauty.
He was a failed art dealer who
could not keep his opinions to
himself with the sub-standard work
he had to try and sell.
He worked as a government
minister in a coal mining town so
destitute that no one else would
take the job, and gave away most
of his possessions to the destitute
miners.
29. •  This painting is known as
Van Gogh’s first great work.
•  Van Gogh’s empathy for the
poor is reflected here in that
moving portrait of the
peasantry's drab and simple
existence.
•  Van Gogh used dark colors
here because some of the
artists he liked best used
these colors.
30. •  His father, a minister, impacts
him enough to have Vincent
take up the cause and work
among the poor in a mining
district in Brussels, Belgium.
•  In fact, this has the reverse
effect and makes van Gogh
turn away from God, as he
cannot understand why the
almighty would allow the poor
to live in these conditions.
•  His unrequited love for a first
cousin is a scandal, and his
father essentially disowns him
as a result.
•  Vincent takes up with a
prostitute, and further
scandalizes the family.
31. •  It is when Van Gogh
moves to Paris that he is
greatly impacted by the
works of the impressionist
painters.
•  His brother, Theo, was an
art gallery dealer and was
able to introduce his older
brother to many painters.
•  He invites a fellow artist,
Gauguin, to move in with
him.
•  Together, they paint, drink
in taverns, fight, and
eventually the friendship is
terminated when Van
Gogh, in one of his fits of
emotional instability,
threatens his friend with a
knife.
•  He moved to the South of
France to a city called
Arles. While there, Van
Gogh painted some of his
most famous works.
32. •  Despite Vincent's emotional
and physical instability, he
managed to create some of his
greatest paintings in the last
couple years of his life (having
decided upon being an artist
only 8 years earlier).
•  Unlike the Impressionists, he
chose his colors almost
arbitrarily, painting not what he
sees but what he feels.
•  This painting is called “12
Sunflowers”; however, if you
actually count, there are really
13 sunflowers here.
33. Van Gogh commented to his brother Theo that he made the walls red because
this was a place that, “one could go mad!”
36. •  The Starry Night is Van Gogh's most
famous painting, and perhaps his
greatest. He paints the night sky from a
hilltop overlooking a quiet town with a
church and cottages.
• The most dramatic theme is the
swirling stars, which dominate the
scene. Competing for attention is a
towering group of Cypress trees.
• It is probably significant that the
Cypress is the traditional tree of
graveyards, as they are a symbol for
eternity.
• Van Gogh seems to say with this
painting that the works of God and
nature are everlasting and that the
world of man exists merely as a
shadow.
37. •  Vincent grew increasingly
depressed as he realized that
his mental illness would never
be cured, coupled with the
realization that he had
become a financial burden to
his brother, who had recently
fathered a child.
•  It was in a wheat field that
he shot himself. He managed
to crawl back to his home and
news was sent to Theo of his
tragic condition.
•  Theo came to say goodbye
to his brother within hours of
his death. Six months later,
Theo also died.
38. •  He was born on December
12, 1863 in Loten, Norway.
When he was five his mother
died. When he was 14 his
sister died.
•  He decided to become a
painter at the age of 17.
•  He had his first private
exhibition in 1889, the same
year his father died.
•  Munch was one of the first
artists known as
Expressionists.
Expressionists would use their
artwork to express their inner
emotions, not necessarily to
paint what they saw.
39. •  Munch was one of the first artists
known as Expressionists.
•  Expressionists would use their
artwork to express their inner
emotions, not necessarily to paint
what they saw.
•  Red could express anger or love
and white might express purity or
innocence.
•  Shapes would be distorted to show
anguish.
•  Its central figure is a symbol of
modern man, terrified of the state of
the world.
•  The painting shows pain, isolation,
and fear.
40. •  In 1908, he suffered
a nervous breakdown.
•  He moved back to
Norway and continued
to paint until his death
in 1944.
•  Munch’s methods
influenced many
artists, even today,
and his paintings
remain portrayals of
every person’s search
for meaning in the
world.
41. “The camera cannot
compete with the brush
and the palette so long
as it cannot be used in
heaven or hell…"
Edvard Munch
42. •  Gauguin was born in Paris
in 1848 to Spanish settlers
from South America.
•  He was educated in
Orleans and then joined
merchant marines and later
the French Navy. He spent
six years traveling around.
•  In 1875 a stock broker he
worked for introduced him to
Camille Pissarro, one of the
founders of Impressionism.
43. •  Like Van Gogh, his friend, he suffered
from depression and at one time
attempted suicide.
•  He was disappointed with
Impressionism. He felt it lacked
symbolic depth.
•  He was strongly influenced by Asian
and African art, which he believed to be
full of symbolism and vigor.
•  He felt himself a visionary
•  His self portrait alludes to his divinity.
(halo, apples, snake)
44. •  In 1891 he sailed to the tropics of
Polynesia because he was frustrated
with his lack of recognition at home
and finances.
•  He remained in Polynesia for the
rest of his life and is buried there
today.
•  In his Polynesian-era compositions,
Gauguin flattens his picture plane,
much like the Japanese printmakers.
•  Gauguin settles in Tahiti. He used
the “exotic” of the islands people to
represent biblical characters. Here,
he uses a Tahitian woman and child
to create a Madonna & child scene.
45.
46. About “Where Do We Come From? What Are
We? Where Are We Going?”
•  The three major figure groups •  At her feet sits "a strange white
illustrate the questions posed in bird...represents the futility of words.“
the title
•  The three women with a child •  The blue idol in the background
represent the beginning of life apparently represents what Gauguin
described as "the Beyond."
•  The middle group symbolizes
the daily existence of young •  Of its entirety he said, "I believe that
adulthood this canvas not only surpasses all my
•  The final group, according to preceding ones, but that I shall never
the artist, "an old woman do anything better—or even like it.“
approaching death appears
reconciled and resigned to her •  Gauguin indicated that the painting
thoughts" should be read from right to left
48. •  Born Paris France in 1859
•  Family was very wealthy so never
had to work for a living
•  Interest in art at a very young
age
•  First studied sculpture and
admitted to prestigious French
school at age 17
•  Spent a great deal of time
copying art of famous painters
49. •  Interest in scientific theories on uses and effects of color and light
•  He was as much of a Scientist as an artist
50. •  Used a technique called
“pointillism”
•  Place small touches of
unmixed color side by side
•  The eye mixed the colors as
painting was observed
•  Applied his paint in
thousands of tiny dots
•  Spots of color might have
been squares, triangles,
circles or tiny lines
•  Preferred using the word
“divisionism” to describe his
technique
55. •  Colors made by mixing
different pigments on the
palette.
•  Primary colors: red,
yellow, blue
•  Secondary colors:
orange, green, violet
•  Red + yellow + blue gives
black.
56.
57. •  Colors are made by
combining different
colors of light.
•  Primary colors: red,
green blue
•  Secondary colors:
cyan, magenta, yellow
•  Red + green + blue
gives white.
58.
59. •  Work was very
influential
•  Followers never
achieved the skill set he
had
•  Died suddenly in 1891
at age 31 of meningitis
•  Left behind over 400
drawings, 6 completed
sketchbooks and 60
canvases
•  Had a wife and 1 year-
old son
60.
61.
62.
63. •  Commemorates the six
townspeople of Calais
who offered their lives to
save their fellow citizens.
During the Hundred
Years' War
•  The army of King
Edward III besieged
Calais, and Edward
ordered that the town's
population be killed en
masse.
•  He agreed to spare
them if six of the principal
citizens would come to
him prepared to die,
bareheaded and
barefooted and with
ropes around their necks.
64. •  When they came, he ordered
that they be executed, but
pardoned them when his
queen, Philippa of Hainault,
begged him to spare their
lives.
•  The Burghers of Calais
depicts the men as they are
leaving for the king's camp,
carrying keys to the town's
gates and citadel.
•  The Burghers have come to
symbolize French courage in
the face of adversity, and the
willingness of the French to
sacrifice themselves for the
good of their nation.
65. •  The Thinker represents
Dante, author of The Divine
Comedy as he contemplated
images of Hell.
•  The Divine Comedy is an
epic poem that, on the
surface, details Dante’s travel
from Hell, through Purgatory,
and finally into Heaven.
•  Rodin stated that: “The
thinker has a story. . . He
dreams. . . The fertile though
slowly elaborated itself within
his brain. He is no longer a
dreamer. He is a creator.”
66. •  A commission to create a portal for
Paris' planned Museum of
Decorative Arts was awarded to
Rodin in 1880.
•  Although the museum was never
built, Rodin worked throughout his
life on The Gates of Hell, a
monumental sculptural group
depicting scenes from Dante’s
Inferno in high relief.
•  He created 186 maquette figures
for the doors
•  Five different castings have been
created since Rodin’s death. The
first is in the Musee Rodin in Paris.
68. •  Originally part of the reliefs
decorating Rodin'sThe Gates of Hell
•  The couple were later removed
from the Gates and replaced with
another pair of lovers.
•  The sculpture was originally titled
Francesca da Rimini, as it depicts
the 13th century Italian noblewoman
immortalized in Dante’s Inferno who
falls in love with her husband
Giovannis Malatesta’s younger
brother Paolo.
•  Having fallen in love while reading
the story of Lancelot and Guinevere,
the couple are discovered and killed
by Francesca's husband.
•  In the sculpture, the book can be
seen in Paolo's hand. The lovers
lips do not actually touch in the
sculpture to suggest that they were
interrupted and met their demise
without their lips ever having
touched.
69.
70. •  As a style, art nouveau is
characterized by highly-stylized,
flowing, curvilinear designs
•  Art nouveau designs also often
incorporate floral and other plant-
inspired motifs.
71. •  A major contributor to the art
nouveau decorative arts scene
was an American man named
Louis Comfort Tiffany, who
founded Tiffany & Co.
•  Tiffany’s art jewelry
department designed Jewelry
that used romantic curves
•  Tiffany also started a new way
of glassmaking that combined
different colors of iridescent
glass that made hues never
seen before.
•  He is the American artist most
associated with art nouveau
1848 - 1903
72. •  In the beginning of his career,
Tiffany used cheap jelly jars and
bottles because they had the
mineral impurities that finer glass
lacked.
•  When he was unable to
convince fine glassmakers to
leave the impurities in, he began
making his own glass.
•  Tiffany used opalescent glass
in a variety of colors and textures
to create a unique style of
stained glass.
•  At the 1900 Exposition
Universelle in Paris, he won a
gold medal with his stained glass
windows The Four Seasons
73.
74. •  Belgian architect and designer
born in 1861 in Ghent, Belgium
•  English historian  John Julius
Norwich described him as
“undoubtedly the key European Art
Nouveau architect.”
•  His design for the Hôtel
Tassel in Brussels was completed in
1892-3
•  As a result, he is sometimes
credited as the architect who
introduced art nouveau
into architecture from the decorative
arts
75.
76.
77. •  Rheumatoid arthritis
contributed to a
solitary nature
•  Early love of nature
•  Attended the Collegi
de les Escoles PĂes de
Reus
•  Architecture student at
the Escola Tècnica
Superior
d'Arquitectura
78. •  Fascination of nature.
He studied nature's
angles and curves
and incorporated
them into his designs.
•  Most of his designs
resemble elements
from the
environment.
•  Long walks, besides
suppressing his
rheumatism, allowed
him to experience
nature.
79. •  GaudĂ's first works were
designed in the style of gothic
and traditional Catalan
architectural modes, but he soon
developed his own distinct
sculptural style.
•  Eugene Viollet-le-Duc proved a
major influence on GaudĂ.
•  He integrated the parabolic arch,
nature's organic shapes, and the
fluidity of water into his
architecture.
•  Using the Catalan trencadis
technique, GaudĂ often
decorated surfaces with broken
tiles.
•  Art Nouveau architecture, a
precursor to modern
architecture.
80. •  Begun in 1882,
construction halts in
1926
•  Located in Barcelona,
Spain
•  Gaudi moved away from
Gothic style and
incorporated his own
personal style into his
work on the structure
•  Retains Gothic structural
overtones but features a
heavy, towering,
sculptural presence that
is clearly not Gothic
81.
82. •  First ridiculed
by his peers.
•  His fellow
citizens
referred to the
Casa MilĂ as
La Pedrera
("the quarry")
•  George
Orwell, who
stayed at
Barcelona
during the
Spanish Civil
War, hated his
work.
•  As time
passed, his
work became
more famous
83. •  Showcased Catalonia’s diverse art techniques.
•  Promoted the Catalan nationalist movement by
incorporating elements of Catalan culture in his designs
84. •  Gaudà was an ardent Catholic
and a fervent Catalan
nationalist.
•  In his later years, he abandoned
secular work and devoted his life
to Catholicism.
•  In the early twentieth century,
GaudĂ's closest family and
friends began to die; his works
slowed to a halt; and his attitude
changed.
•  He became reluctant to talk with
reporters and solely
concentrated on his
masterpiece, La Sagrada
Familia.
•  In 1926, Antoni Gaudà was run
over by a tram.
•  He was buried in the midst of his
unfinished masterpiece, La
Sagrada FamĂlia.
85. •  Rumored that GaudĂ's
abandoned plans for a NY
skyscraper influenced the
redesign of the World Trade
Center after Sept. 11, 2001
•  In 1992, five artists founded
La AsociaciĂłn por
BeatificaciĂłn de Antonio
GaudĂ. The secular
association has since
pushed for the Catholic
Church to declare Gaudi
blessed.
•  GaudĂ's life and work
inspired The Alan Parson’s
Project to create the 1987
album Gaudi.
