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POST-IMPRESSIONISM. Georges Seurat Paul Cezanne Paul Gauguin Vincent van Gogh Toulouse-Lautrec. THE HISTORY. Not all artists agreed to paint in the vibrant Impressionist style, which pushed a use of a variety of styles of painting in POST-IMPRESSIONISM
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POST-IMPRESSIONISM Georges Seurat Paul Cezanne Paul Gauguin Vincent van Gogh Toulouse-Lautrec
THE HISTORY • Not all artists agreed to paint in the vibrant Impressionist style, which pushed a use of a variety of styles of painting in POST-IMPRESSIONISM • POST-IMPRESSIONISM is a more individual approach to painting that began in France during the late nineteen century and art was unique to each artist working at the time
GEORGES SEURAT • Georges Seurat was deemed the “notary” by Edgar Degas, as he was always polished with top hat, dark suit and perfectly pressed trousers. • He carried this similar meticulous nature into his painting style and art. • His quasiscientific “pointililims” method consisted of applying confetti-sized dots of pure, unmixed colour over the whole canvas. These colours would then fuse together like a mosaic to create the perfect colour and image when viewed from a distance. • His theory was that “complementary colours set side by side, could be mixed more accurately and with luminosity with the viewer’s eye, than if mixed on a painters palette” • The process took so long that Seurat had only finished seven large paintings in his career.
“A Sunday on La Grande Jatte” 1884-86 • Taking him two full years to paint, and 40 preliminary studies, this painting maintained the carefree genre subject matter of the Impressionist, but used a strong design based on geometric shapes and paint application with calculated patterns. • Seurat also developed a methodical system of using colour and line to evoke emotion; warm colours (orange-reds) and upward lines evoked action and happiness, dark, cool colours ( blue-greens) and descending lines meant sadness, and middle tones and lateral lines conveyed a sense of calmness • The final product a serene yet energetic picture of the French enjoying a warm sunny day by the River Seine
PAUL CEZANNE • Originally painting in the Impressionist style, Cezanne felt blurred shapes did not depict the solidity of the world • He wanted to create art that emphasized form more than light • His technical approach to painting consisted of laying down interlocking blocks or patches of colour rather than dots and dabs that were joined like a puzzle • This created a strong solid underlying structure to his forms, giving his works a feeling of solidity and permanence.
“Mont Sainte-Victoire”, 1902-04 “Still-life with Apples and Oranges” 1895-1900
PAUL GAUGIN • Paul Gauguin turned to the use of colour and shape to create daring, unconventional works depicting foreign lands and people. • Gauguin formed a particular attachment to the Tahitian culture and their exotic woman. • After giving up a job as a stock broker, he traveled around the world to learn about art and different artistic traditions. • Settling in Tahiti, Gauguin produced most of his famous works. • He loved the use of simple shapes and brilliant simple colours, but most of all he loved to render the exotic beauty of the island and the lifestyle of their beautiful woman.
Vincent van Gogh • Like other Post-Impressionist, van Gogh was initially amazed by Impressionist works. • But eventually he felt it limiting in what it could express emotionally. • Van Gogh was not interested in visual accuracy, but rather feelings about the subject. • He did so by using expressive elements in this paintings like lines, rich colours, and complex textures. • His art was initially rejected, only selling one painting during his lifetime. • Financially supported by his brother
“Starry Night”, 1889 “Self Portrait with bandaged Ear”, 1889
Toulouse-Lautrec • Often mistaken for Degas’s, Toulouse-Lautrec works took subjects of contemporary life: Parisian theatre, dance halls and circuses. • His most important contribution is to graphic arts, for his use of lithography and the use of poster design as a form of major artwork • His primary focus in his artwork was the figure and their interactions in interior settings and he found landscapes or backgrounds to be an added element.
