![Faces in darkness or cut offThe Star [Dancer on Stage])1878](https://image.slidesharecdn.com/impressionist2-110329173840-phpapp02/85/Impressionist2-20-320.jpg)
Impressionist2
- 1. Impressionism to Post- Impressionism
- 2. Pierre-Auguste Renoir1841-1919One of the best loved Impressionist, largely due to subject matter – children, pretty women and flowers
- 3. Renoir, Le Moulin de la GaletteEnergetic dancing by the middle class in Paris
- 4. Dappling of light and shade
- 5. Artfully blurred figures in the picture
- 6. Casual and unposed natural placement of figures
- 7. Suggested space goes beyond the boundaries of the painting
- 8. People go about their business, don’t pose
- 9. Influence of candid photography in the casualness of groupings and the cut off figures at the edgesLe Moulin de la Galette, 1876
- 10. Girl With a Watering Can, 1876
- 11. Camille Pissaro1830 –1903Big Proponet of Plein Air paintingMentor to CezanneOnly Painter to show in ALL Impressionist exhibitions (8 in total)
- 12. The Stage Coach at Louveciennes 1870
- 13. Edgar Degas1834-1917Master of drawing the Human Figure in MotionKnown for use of pastelsBallet Dancers and Horses
- 14. L'absinthe1876 (larger version, 140 Kb); Oil on canvas, 92 x 68 cm (36 1/4 x 26 3/4 in); Musee d'Orsay, Paris
- 15. Degas, Ballet RehearsalEnjoyed depicting ballet movements
- 16. Composition inspired by Japanese prints: center of painting empty, spiral staircase at left cut off, ballerina being dressed at right cut off
- 17. Strong diagonals unify composition
- 18. Light feathery brushstrokes define dresses
- 19. Effect of light from window on the floor and on shapes
- 20. Faces in darkness or cut offThe Star [Dancer on Stage])1878
- 23. James Abbot McNeil Whistler1834-1903American (New England), moved to Russia at age 9 then back to CT (Pomfret) then to Paris then to EnglandFriend of Rossetti (pre-Raphaelites) and Oscar Wilde
- 24. Arrangement in Grey and Black: Portrait of the Painter's Mother 1871
- 25. He achieved international notoriety when Symphony No. 1, The White Girl was rejected at both the Royal Academy and the Salon, but was a major attraction at the famous Salon des Refusés in 1863.Symphony in White, No. 1: The White Girl1862
- 26. Whistler, Nocturne in Black and Gold: The Falling RocketReaches to the limit of abstraction
- 27. Fireworks in London over the Thames River
- 28. Clouds of black and dark blue represent the smoke of the rockets
- 29. Left: large tree looms in darkness
- 30. Art critic called the painting “a pot of paint in the public’s face.” Whistler sued for libel
- 31. Signed the painting with a Japanese anagram
- 32. Color effects decorate the painting1875
- 33. In 1877 the critic John Ruskin denounced Whistler's Nocturne in Black and Gold: The Falling Rocket (1875; Detroit Institute of Arts), accusing him of "flinging a pot of paint in the public's face", and Whistler sued him for libel the following year. He won the action, but the awarding of only a farthing's damages with no costs was in effect a justification for Ruskin. Potential patrons were repelled by the negative publicity surrounding the case, and the expense of the trial led to Whistler's bankruptcy in 1879. His house was sold and he proceeded to Italy with a commission from the Fine Arts Society to make twelve etchings of Venice. He spent a year in Venice (1879-80), concentrating on the etchings-- among the masterpieces of 19th-century graphic art-- that helped to restore his fortunes when he returned to London. After returning to England in 1880 he painted a wide variety of subjects, continued with his interest in the graphic arts, and promulgated his aesthetic theories in print and in the Ten O'Clock lecture (1885); his polemical The Gentle Art of Making Enemies was published in 1890. In 1886 he was elected president of the Society of British Artists, but despite some successes his revolutionary ideas ran afoul of the conservative members, and he was voted out of office within two years.
- 34. Mary Cassatt1844-1926Friend of Degas, showed with Impressioinists in 1879, 1880, 1881 and 1886Born American but lived in Paris most of her adult lifeContributed to the Interest of American Impressionism
- 35. Cassatt, The BathNot like other Impressionists, not a landscape or still life painter
- 36. Figures are never actors, nor do they appear to be models posing
- 37. Mother and child theme her specialty
- 38. Has a tenderness foreign to Impressionism
- 39. Figures seen from unusual angles as in Japanese prints
- 40. Flatness of background forms
- 41. Solidity of main figures
- 42. Japanese decorative details in backgroundLa Toilettec. 1891
- 43. The Boating Party 1893-94
- 44. Little Girl in a Blue Armchair1878
- 45. Mother and Child (The Oval Mirror)1901
- 46. Auguste Rodin1840 –1917Stunning Strength and realismConfronts distress and moral weakness as well as noble themesEmphasis on Hands and feet in his worksA turn away from the smooth neo-classical styling common in sculpture
- 48. The Gates of Hell1880-1917
- 49. The Burghers of Calais1884-86
- 50. Post-ImpressionismToulouse-Lautrec, At the Moulin RougeZigzag compositionPitiless representation of figuresGauguin’s influence in the large areas of flat colorJoyless, oppressive; people out to have a good time, but achieve noneSelf-portrait as a short bearded man in background with his very tall cousinOff-key colorsTilted perspective of Japanese printsPeople tend to be aging, flabby, cynical
- 52. Vincent Van Gogh 1853 - 1890
- 53. q Tactile surface of paintingq Brushstrokes conveying emotion and inner realityq Not an imitation of natureq Forerunner of expressionismq Major emphasis on texture, line and colorq Colors were vivid, bright and strongq Deeply impressed by Millet and Social artMissionary zeal
- 54. Post-ImpressionismVan Gogh, The Starry NightPainted from his room at the hospital at St-RémyMountains of the Lapillus could be seen from his windowSteepness of the mountains is exaggeratedDeep forces of the universe playing out on the canvasVisionary sense of powerDiscordant colorsThick, swirling paint strokesUnconventional perspectiveStrong waves splashing from left to rightSky movement echoed in mountains and treesTwo verticals interrupt flow: cypress tree and church steepleA religious message?
- 56. Paul Gauguin (1848 – 1903)q Emphasizes the use of bright, non-naturalistic colors
- 57. q Emphasizes the use of flat planes of color
- 58. q Rejected notions of Western naturalism
- 59. q Often employs symbolic or primitive subjects
- 60. q Interested in the primitive man, a removal from the norms and mores of society
- 61. q Rejected notions of Western naturalism
- 62. q Uses nature as a starting point from to abstract figures and symbols
- 63. q Stressed linear patterns and color harmonies
- 64. q Tried to include a profound sense of mysteryBOTH strength and intensity over the slick and superficial
- 65. Post-ImpressionismGauguin, The Vision after the SermonAfter hearing an impassioned sermon on the Biblical account of Jacob wrestling with the angel, the pious rural people envision the struggleTree trunk separates the real from the visionRed heat of sermon matches red coloringColor used as an emotional response not as a physical descriptionRejection of perspectivePriest at lower right is a self-portraitHeavily enclosed formsRenounced ImpressionismMany sharply drawn black outlinesBroad areas of color, relatively flatly applied, containing some subtly that gives it a rich glow
- 66. 1888
- 67. Where Do We Come From? What Are We? Where Are We Going?1897
- 68. Post ImpressionismSeurat, La Grande JatteAnalyzed color relationships in a pictorial spaceSmall brush strokes of complementary color: reds and greens, violets and yellows, blues and orangesPointillist techniqueResult is sort of a mosaic like quality with a geometric structureAccent on the loneliness of modern life, figures together yet in isolationMost are facelessConventional perspective usedReduced intensity of color to give effect of distanceInterest in geometric shapesAn Egyptian stillness: figures are posed to run but become frozen statues
- 70. Paul Cezanne (1839 – 1906)The “Father of Modern Art” – an artist’s artistObsessed with form over contentDevelopment of planes to comprise the surfaceForunner of Cubism
- 71. Post ImpressionismCezanne, Mont Sainte-VictoireBroad splashes of color in suggestive rather than descriptive passagesAreas of the canvas left unpaintedNo human figuresNot a countryside of Impressionism, lacking in human contactAim is to create a unity within the picture in which each element has a clearly defined role and a relationship to the elements around itSolidity achieved through massing of shapesGrand and monumental form of the mountainWorked in color patches
- 72. 1902-06
- 73. Cezanne, The Basket of ApplesEach form round and solid
- 74. Sought to represent each shape as if it were a geometric principle
- 75. Geometric forms determine shapes of apples, bottle, biscuits
- 76. Studied forms in volumes and solids
- 77. Breaking down of objects into its basic shapes1889
- 78. The SymbolistsRousseau, The Sleeping GypsyDisplays the characteristics of primitive artists: flat surfaces, minute detail, stiff and frontally posed figures and arbitrary proportionsInfluence of Japanese prints and Persian manuscriptsFrame inscription: “The feline, though ferocious, is loathe to leap upon its prey, who, overcome by fatigue, lies in a deep sleep”Vase for drinking water in the desertPlay of light on the lionLion is not ferocious, but curious, a cat with its tail upWhere is gypsy’s left hand?Hair of gypsy forms a pattern with the dressCut out moon and landscapeWhat is the lion doing in the desert?Is the lion the gypsy’s dream?
- 79. 1897
- 80. The SymbolistsMunch, The ScreamLengthy brushstrokesLinear pattern of diagonal movementStraight and curving patternsExaggerated perspectiveFigure twists like a wormUnnerving impression on viewerScream echoed in the compositionSexless emasculating figureFinal painting on a series about loveRepresents a closing scene in a battle between the mind and sex, out of which sex comes through triumphant
- 81. 1893