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Post impressionism
Post-Impressionism emerged in the late 1880s as younger artists rejected Impressionism's emphasis on light and color over subject matter. The term was coined by art critic Roger Fry in 1910 to describe diverse styles including Pointillism, Cloisonnism, Synthetism and others. Key figures included Paul Cezanne, Vincent van Gogh, Paul Gauguin and Georges Seurat, who concentrated on subjective expression over optical effects. Their works laid the foundation for later avant-garde styles like Cubism and Expressionism. Japanese woodblock prints also strongly influenced these artists through their asymmetrical designs, flat forms and emphasis on nature.
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Post impressionism
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- 2. ORIGIN By thelast Impressionist exhibition in 1886, younger artists and critics demanded a shift in the focus of the representational arts. Impressionists neglected the importance of subject matter over techniques and natural light. The dissenting artists became known as the Post- Impressionists, a term that grouped together widely varying individual artistic styles.
- 3. ORIGIN Many ofthe movement's foremost figures were rivals in method and approach. Gauguin and Seurat both detested one another and shared a low opinion of each other's styles, and while van Gogh revered the work of the Impressionist Edgar Degas and fellow Post-Impressionist Henri Rousseau, he was skeptical of Cezanne's rigorously ordered style.
- 4. ORIGIN Post-Impressionists: A termthat was coined by Roger Fry, an artist and art critic (1866-1934) in his seminal exhibition Manet and the Post-Impressionists installed at the Grafton Galleries in London in 1910.
- 5. LEAD ARTIST Paul Cezanne 1839-1906 Precursorof 20th century art
- 6. LEAD ARTIST He epitomizedthe reaction against Impression: ‘I wanted to make of Impressionism something solid and enduring, like the art in museums.’ Believing colour and form to be inseparable, he tried to emphasize structure and solidity in his work, features he thought neglected by the Impressionists.
- 7. LEAD ARTIST For thisreason he was a central figure in Post- Impressionism. He rarely dated his works (and often did not sign them either), which makes it hard to ascertain the chronology of his oeuvre with any precision. Until the end of his life he received little public success and was repeatedly rejected by the Paris Salon. In his last years his work began to influence many younger artists, including both the Fauves and the Cubists, making him a precursor of 20th-century art.
- 8. KEY IDEAS Post-Impressionism encompasses a wide range of distinct artistic styles response to the opticality of the Impressionist movement concentrated on the subjective vision of the artist a window into the artist's mind and soul
- 9. KEY CONCEPTS Seuratand Pointilism – Neo-Impressionism, divisionism, chromo-luminarism, optical blending, Paul Signac
- 10. KEY CONCEPTS VanGogh and Japonisme – saturated colors and broad brush strokes, inner turmoil of the artist, rejected academic style, fine painting & opticality; Paul Gauguin, Henri de Toulouse-Lautrec
- 11. KEY CONCEPTS Gauguinand Synthetism- interest in symbolic content and abstracted images; discarded shading, modeling and single point perspective; focused on pure color, strong lines and flatness to elicit emotional impact; derived from memory or imagination; religion, mythology, literature.
- 12. KEY CONCEPTS Cezanneand Pictorial Form – underlying formal structure of subject matter; simplest geometric components; cylinder, sphere and cone; planes of color to create shapes.
- 13. KEY CONCEPTS Rousseauand Primitivism - primitivism as naïve self- taught style; used simplified abstract forms and surface patterns; images derived from imagination and subconscious; influenced Fauves, Cubists, and Surrealists.
- 14. KEY CONCEPTS LesNabis – synthesis of nature and personal expression within the work of art; from Hebrew word “prophet”; focus on mysticism and spirituality of artist; use of paint direct from the tube; patterned design and stylized contours; Paul Sérusier, Maurice Denis, Pierre Bonnard, Édouard Vuillard; use of various forms (painting, prints, stained glass, stage set).
- 15. LEADING ARTISTS GeorgesSeurat Vincent van Gogh Paul Gaugain Paul Cezanne == a group of young painters who broke free from the naturalism of Impressionism and pursued independent approaches and styles in art.
- 16. POST - IMPRESSIONISM GeorgesSeurat 1859-1891
- 17. POST - IMPRESSIONISM Seurat TheSiene at la Grande Jatte, oil on canvas 888
- 18. POST - IMPRESSIONISM Seurat,Bathers at Asnieres, oil on canvas, 1884
- 19. POST - IMPRESSIONISM GeorgesSeurat Sunday Afternoon in the Island of Grand Jatte oil on canvas 1884--86
- 20. POST - IMPRESSIONISM Vincentvan Gogh 1853-1890
- 21. POST - IMPRESSIONISM Self-Portrait oilon pasteboard 1887
- 22. POST - IMPRESSIONISM StarryNight over the Rhone 1888
- 23. POST - IMPRESSIONISM WheatField with Cypresses 1889
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- 25. POST - IMPRESSIONISM Wheatfieldwith Crows 1890
- 26. POST - IMPRESSIONISM PaulGauguin 1848-1903 French artist Paul Gauguin's bold colors, exaggerated body proportions and stark contrasts helped him achieve broad success in the late 19th century. Symbolism
- 27. POST - IMPRESSIONISM TheYellow Christ 1889
- 28. POST - IMPRESSIONISM Spiritof the Dead Watching 1892
- 29. POST - IMPRESSIONISM TahitianWomen on the Beach oil on canvas 1891
- 30. POST - IMPRESSIONISM PaulCezanne The Basket of Apples 1890-1894
- 31. POST - IMPRESSIONISM PaulCezanne Mont Saint-Victoire 1882-1885
- 32. POST - IMPRESSIONISM PaulCezanne Mont Saint-Victoire 1185-87
- 33. POST - IMPRESSIONISM PaulCezanne Madame Cezanne in the Greenhouse 1891-92
- 34. OTHER KEY WORKS OctagonalSelf-Portrait (ca. 1890) Artist: Édouard Vuillard
- 35. Moulin Rouge: LaGoulue (1891) Artist: Henri de Toulouse-Lautrec
- 36. The Scream (1893) Artist:Edvard Munch
- 37. The Dream (1910) Artist:Henri Rousseau
- 38. SUMMARY According tothe present state of discussion, Post- Impressionism is a term best used within Rewald's definition in a strictly historical manner (French art between 1886 and 1914). Laid the foundations of Cubism, Expressionism and Fauvism. Influenced spread outside of France like in Norway (Edward Munch) and Belgium (James Ensor).
- 39. By 1910, movementslike Fauvism, Expressionism, and Cubism already dominated the European avant-garde. Each new development in these major movements was built upon the symbolism and structure advocated by the different Post-Impressionist styles.
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- 41. JAPONISME Japonisme, orJaponism, is a French term that was first used by Jules Claretie in his book L’Art Francais en 1872. It refers both to influence and style of Japanese art on Western art. Vincent Van Gogh Portrait of Pere Tanguy 1887-1888
- 42. JAPONISME Precedents: Re-opening ofJapanese trade with the West in 1854. Introduction of Japanese arts and crafts in Europe like fans, porcelains, woodcuts and fans.
- 43. JAPONISME In 1862,a shop opens in Paris called “The Chinese Gate.” The shop sold Japanese prints made from woodblocks, which appealed greatly to 19th century artists. The best Japanese prints could be found in Paris. Kinryusan Temple at Asakusa: From the series One Hundred Famous Views of Edo, Edo period (1615–1868), 1856 Ando Hiroshige (Japanese, 1797–1858) Oban format, woodblock print; ink and color on paper
- 44. JAPONISME Articles werefeatured in French magazines and newspapers concerning Japanese art techniques, and prints from the Edo era. In 1867, Paris saw a formal exhibition of Japanese arts when it joined the World Fair in Paris. In the late 1800s, there were many French artists and collectors that went to Japan. Japanese Satsuma pavillion at the French Expo 1867.
- 45. JAPONISME The Japanese delegationto the 1867 Paris World Fair. Source: engraving from photograph, 1867 "Le Monde Illustre".
- 46. JAPONISME What did Frenchartists admire about Japanese prints? Its foreignness/exotic appeal. Its uniqueness that comes from specific elements employed by Japanese painters.
- 47. JAPONISME One ofthese elements is the lack of distinction of shading in Japanese prints. Artists, like Manet, who were influenced by Japanese prints, began to break down distinctions between depth. Emphasis on flatness
- 48. JAPONISME Another elementis Japanese artists’ disregard for symmetry, something that had defined a lot of western European art. Japanese techniques were so different from the Greco-Roman art that has been a primary influence on western art for centuries.
- 49. JAPONISME Emphasis onnature, and recording nature in an almost picturesque fashion, stressing the verticality of their painting, and painting from aerial perspective are some examples.
- 50. JAPONISME There wereso many artists influenced by Japanese prints, like, van Gogh, Mary Cassatt, Gauguin, Whistler, Degas, Monet, Gustav Klimt, and even the architect Frank Lloyd Wright.
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- 53. JAPONISME Edgar Degas Portrait ofJames Tissot Bet circa 1867 and 1868 oil on canvas
- 54. JAPONISME James Abbott McNeilWhistler The Princess from the Land of Porcelain oil on canvas 1863-65
- 55. JAPONISME Henri Toulouse-Lautrec Reine deJoie Chromolithograph 1892
- 56. JAPONISME The colorharmonies, simple designs, asymmetrical compositions, and flat forms of Japanese wood block prints strongly influenced the composition of Impressionist & Post-Impressionist art, graphic design and even industrial products.
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