Georges Seurat

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Georges Seurat Sunday Afternoon at La Grande
Jatte 1884 - 86
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• Name TWO influences on Seurat.
• - Ancient Greek art, Renaissance paintings,
  Impressionism, Colour theory, Ingres, Delacroix,
  Rembrandt
• What is the aim of Seurats art?
• - To achieve harmony in his painting / make the
  moment lasting
• What is the painting technique developed by
  Seurat known as?
• - Pointillism

3

• What is the mathematical theory used by Seurat
  known as?
• - Golden Ratio
• Write down FIVE words that you will use to
  describe the composition found in Seurats work.
• - Balanced, structured, organized, still,
  peaceful, repetitive patterns, simple, quiet

4
The Passionate Humanist
VINCENT VAN GOGH
1853 - 1890
POST-IMPRESSIONISM
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VINCENT VAN GOGH
Starry Night 1889
POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890

• Dutch artist
• Art life closely interwoven
• Aim of his paintings

• Wanted his pictures to give joy and consolation
  to every human being

POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890
Netherlands (Dutch Period) 1880 - 1885
POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890
Women Miners 1882
POST-IMPRESSIONISM
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Keywork
VINCENT VAN GOGH
1853 - 1890
The Potato Eaters 1885
POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890

• Dutch Period
• Social Concerns
• Spokesman for the poor helpless
• Focused on rural life labour

• Paintings characterised by dark somber colours
  and crude brushwork, especially the use of dark
  outlines
• Subject matter Peasants (toil and hardship
  frugal way of life)

POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890
Paris 1886 - 1888
POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890
View of the Boulevard de Clichy 1887 - 88
POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890
Self Portrait in front of Easel 1888
POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890

• Paris period
• Absorbed the lessons of Impressionism and the
  pointillist technique of Seurat
• Exposed to influences from Japanese Ukiyo-e
  prints
• Palette brightened depicted contemporary
  surroundings

POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890
Arles 1888 - 1889
POST-IMPRESSIONISM
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Keywork
VINCENT VAN GOGH
1853 - 1890
The Yellow House 1888
POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890
Sunflowers 1888
POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890
Bedroom in Arles 1888
POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890
In a letter to his brother, Theo, Van Gogh wrote
I had a new idea in my head and here is the
sketch to it this time its just simply my
bedroom, only here colour is to do everything,
and, giving by its simplification a grander style
to things, is to be suggestive here of rest or of
sleep in general. In a word, to look at the
picture ought to rest the brain or rather the
imagination. The walls are pale violet. The
ground is of red tiles. The wood of the bed and
chairs is the yellow of fresh butter, the sheets
and pillows very light greenish lemon. The
coverlet scarlet. The window green. The
toilet-table orange, the basin blue. The doors
lilac. And that is all there is nothing in
this room with closed shutters. The broad lines
of furniture, again, must express absolute rest.
Portraits on the walls, and a mirror and a towel
and some clothes. The frame as there is no
white in the picture will be white. This by
way of revenge for the enforced rest I was
obliged to take. I shall work it again all day,
but you see how simple the conception is. The
shading and the cast shadows are suppressed, it
is painted in free flat washes like the japanese
prints
POST-IMPRESSIONISM
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Keywork
VINCENT VAN GOGH
1853 - 1890
Self-Portrait with Bandaged Ear 1889 - 90
POST-IMPRESSIONISM
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Keywork
VINCENT VAN GOGH
1853 - 1890

• Arles
• Most productive period
• Used individual brushstrokes not only to break
  up colour but also to convey his own excitement.
• Brushwork conveyed the imagination of the
  artists mind

POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890
Saint Remy 1889 - 1890
POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890
Cypresses 1889
POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890
Corridor in the Asylum 1889
POST-IMPRESSIONISM
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Keywork
VINCENT VAN GOGH
1853 - 1890
Starry Night 1889
POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890
Self Portrait 1889
POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890

• St Remy
• Painted within periods of lucidity whilst
  confined to the asylum.
• Painted the wheatfields, olive groves, and
  cypress trees of the surrounding countryside
• Brushwork and outlines become heavier and more
  expressive

POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890
Auvers-sur-Oise 1890
POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890
Dr Paul Gachet 1890
POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890
Church in Auvers 1890
POST-IMPRESSIONISM
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Keywork
VINCENT VAN GOGH
1853 - 1890
Crows in the Wheatfield 1890
POST-IMPRESSIONISM
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VINCENT VAN GOGH
1853 - 1890

• Not mainly concerned with correct representation
• Used colours and forms to convey what he felt
  about the things he painted, and what he wished
  others to feel.
• Did not care much about having a
  photographically exact picture of nature he
  would exaggerate and even change the appearance
  of things if this suited his aim.

POST-IMPRESSIONISM
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The Savage Painter
PAUL GAUGUIN
1848 - 1903
POST-IMPRESSIONISM
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Key Work
Vision After the Sermon Jacob Wrestling with the
Angel 1888
In a letter the artist wrote to Van Gogh he said
'For me the landscape and the fight only exist in
the imagination of the people praying after the
sermon.'
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Van Gogh Painting Sunflowers 1888
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Key Work
The Yellow Christ 1889
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Key Work
We Shall Not Go To Market Today 1892
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Day of God (Mahana No Atua) 1894
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Key Work
Where Do We Come From? What Are We? Where Are We
Going? 1897
Imagine that you are one particular element in
the painting figure, statue, plant, etc and
explain the painting as if you are that element.