Post-Impressionism emerged in response to Impressionism, experimenting with form, color, and emotional/symbolic content over impressionistic realism. Artists like Van Gogh, Gauguin, and Cezanne pioneered expressive, non-realistic styles focusing on emotion, imagination, and the human condition. Cezanne's experimentation with form influenced Cubism, while Symbolists like Moreau and Redon conveyed modern psychological ideas. Rousseau brought a naïve style reflecting the unconscious mind. Overall, Post-Impressionism marked a shift from surface appearances to deeper subjective experiences.

1. Post-
Impressionism

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. 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. 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. Figure 29-36 PAUL GAUGUIN, The Vision after the Sermon or Jacob Wrestling with the
Angel, 1888. Oil on canvas, 2’ 4 3/4” x 3’ 1/2”. National Gallery of Scotland, Edinburgh.

6. Post-Impressionist
Experimentation
• experimentation with form and color.

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. Figure 29-38 GEORGES SEURAT, detail of A Sunday on La Grande Jatte, 1884–1886.

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. Post-Impressionist Form
• the extraordinary art of Cezanne and
his interest in form, paving the way for
Cubism.

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. 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. Symbolism
• issues of imagination, fantasy, and
formal changes in the art of the
Symbolists.
• “modern psychic life” in the art of the
Symbolists.

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. Figure 29-43 GUSTAVE MOREAU, Jupiter and
Semele, ca. 1875. Oil on canvas, approx. 7’ x 3’ 4”.
Musée Gustave Moreau, Paris.

16. Figure 29-43 GUSTAVE MOREAU, Jupiter
and Semele, ca. 1875. Oil on canvas, approx. 7’
x 3’ 4”. Musée Gustave Moreau, Paris.

17. Figure 29-44 ODILON REDON,
The Cyclops, 1898. Oil on canvas,
2’ 1” x 1’ 8”. Kröller-Müller
Museum, Otterlo, The
Netherlands.

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. Rousseau

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.