Post Impressionism

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Post Impressionism

• Many Small Movements,
• 1880-1920

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Post Impressionism
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Post Impressionism c. 1880-1920
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Influence on Modern Art
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Artists associated to movements
Cloisonnism (1888) School of Pont-Aven (c.1888) Nabis (1888) Synthetism (1889)
Anquetin Bernard (Gauguin) Gauguin Bernard Denis Vuillard Bonnard Sérusier Roussel Vallotton Gauguin Schuffenecker Bernard Serusier Ranson
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Paul CézanneHouse of the Hanged Man 1873
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Paul CézanneLandscape, Auvers, 1873
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PissarroGelée blanche, 1873
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Paul Cézanne The Bathers Resting, 1875-76
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Paul Cézanne The Bathers, 1900-5
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Adolphe-William Bouguereau, The Bathers, 1884
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Comparison
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Paul CézanneStill Life with Compotier 1879-1882
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Cézannes Still Lives

• He was fascinated by the relation of colour to
  modelling - Brightly coloured, round solids
  (e.g. Apple) was ideal
• He was interested in achieving a balanced design,
  therefore he stretched the bowl to the left to
  fill a void.
• As he wanted to study all the shapes on the table
  and their relationship, he simply tilted it
  forward to make them come into view.
• Everything (apart from the bowl glass) has been
  reduced to its essential form either spherical
  or rectangular enforcing a great sense of
  weight and mass.
• Curves echo round the canvas.
• To achieve a sense of depth without sacrificing
  the brightness of colours.
• To achieve an orderly arrangement without
  sacrificing the sense of depth all sacrifices
  EXCEPT for maintaining the conventional
  correctness of outline.
• He was not out to distort nature but he did not
  mind much if it became distorted in some minor
  detail if it helped obtain the desired effect.

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Paul CézanneStill Life with Plaster Cupid
c.1895
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Paul Cézanne Table, Napkin, and Fruit,
1895-1900
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Paul Cézanne Apples and Oranges, c. 1899
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Paul Cézanne 'Mont Sainte-Victoire seen from
Bellvue, c. 1882-1885
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Paul Cézanne Mont Sainte-Victoire, 1902-4
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Georges SeuratThe Bathers, Asnières, 1883-4
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• Students text book of Colour or, Modern
  Chromatics with Applications to Art Industry,
  1881 by Ogden Rood, American Physicist
• Principle of Harmony Contrast of Colours and
  their application to the Arts, 1839 by
  Michel-Eugène Cheureul

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George Seurat Sunday Afternoon on the Island of
La Grande Jatte, 1883-1886
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Georges SeuratThe Lighthouse at Honfleur, 1886
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Paul SignacBreakfast (The Dining Room)c.
1886/87
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Paul SignacPortrait of Félix Fénéon, 1890
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George SeuratCircus, 1890-91
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Paul SignacRed Buoy, Saint Tropez, 1895
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Paul GauguinLa Bergère bretonne, 1886
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Louis AnquetinEvening Avenue de Clichy 1887
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Emile BernardView from the Bridge at Asnières,
1887
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Louis AnquetinGirl Reading a Newspaper, 1890
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Emile BernardBuckwheat Harvesters at
Pont-Aven, 1888
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Emile Bernard Women on a Prairie, 1888
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Paul GauguinThe Vision after the Sermon (Jacob
and the Angel), 1888
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Emile Bernard Self-Portrait with Portrait of
Gauguin, 1888
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Paul GauguinSelf Portrait Les Misérables, 1888
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Vincent Van GoghThe Bridge in the Rain (After
Hiroshige), 1887
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Hokusai
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Paul GauguinPortrait of Van Gogh painting,
1888
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Vincent Van GoghSunflowers, 1888
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Paul GauguinLe Christ jaune (The Yellow
Christ) 1889
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Emile BernardPaysannes Bretonnes, c1889
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Vincent Van GoghThe Bridge in the Rain (After
Hiroshige), 1887
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Hokusai
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Paul GauguinPortrait of Van Gogh painting,
1888
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Vincent Van GoghSunflowers, 1888
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Vincent van GoghVincents Chair with his Pipe,
1888-9
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Vincent Van GoghRoom at Arles, 1889
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Vincent Van GoghSelf Portrait, 1889
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Vincent van GoghA Corner of the Garden of St
Paul's Hospital at St Rémy, 1889
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Vincent van GoghA Cornfield with Cypresses,
1889
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Vincent Van GoghPortrait of Dr Gachet, 1890
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Vincent van GoghFarms near Auvers, 1890
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Vincent van GoghWheatfield with Crows, 1890
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Paul GauguinHarvest Le Pouldu, 1890
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Émile BernardSortie d'église à Médréac, 1891
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Paul SérusierLes Lavandières de
Bellangenet,ca. 1892
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Paul GauguinSpirit of the Dead Watching, 1892
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Henri Toulouse-LautrecDivan Japonaise, 1893
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Henri Toulouse-LautrecJane Avril au Jardin de
Paris, 1893
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Paul GauguinBreton Peasant Women, 1894
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Paul GauguinWhere do we come from? What are we?
Where are we going? 1897
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Paul SerusierLandscape in the Bois dAmour (The
Talisman), 1888
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Gauguin said How do you see these trees? They
are yellow. Well then, put down yellow. And
that shadow blue. Render it with pure
ultramarine. Those red leaves? Use vermilion
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Paul SérusierRoof Tops in Paris, c. 1891
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Pierre BonnardThe Two Poodles, 1891
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Pierre BonnardIntimité, 1891
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Maurice DenisJuly, 1892
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Edouard Vuillard Les coulisses du Théâtre de
l'Oeuvre, c.1894
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Maurice DenisHomage to Cezanne, 1900
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Remember that a picture before being a battle
horse, a nude, or some anecdote is essentially a
flat surface covered in colours assembled in a
certain order. Denis
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Cézanne

• Cézanne realised that the eye takes in a scene
  both consecutively and simultaneously and in
  his work, the single perspective gives way to a
  shifting view, acknowledging that perspective
  changes as the eyes and head move.

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Cézanne

• Here, as with Cézannes other landscapes, he
  renders depth and space with COLOUR, rather than
  traditional forms of linear perspective and tonal
  modelling.
• Colour must reveal every interval in depth.

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Cézanne

• The image shows the recession of cool colours and
  advance of warm colours (and variations in
  intensity).

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Cézanne

• The image has a restricted colour palette of pale
  greens, earth colours and a wide range of blues.

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Cézanne

• Cézannes work stood apart from the
  Impressionists, as he was still concerned with
  maintaining form, rather than purely focusing on
  the effects of light.

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Cézanne

• Cézanne uses directional brushstrokes, with the
  different planes of the landscape being placed in
  parallel lines equal and separate brushstrokes.

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Cézanne

• He is painting from a high viewpoint which tips
  the landscape up, flattening it closer to the
  picture plane and cuts down the sky area.