Impressionists slideshow

Post-Impressionism was an art movement that roughly lasted from 1886 to 1905, from the end of Impressionism to the start of Fauvism. It included artists such as Paul Cézanne (the “father of Post-Impressionism”), Vincent van Gogh and Georges Seurat.The movement was generally an extension of Impressionism, but with more focus on the artist’s subjective feelings about a subject. In this post, you will learn about the key facts, ideas and master artworks from the movement. I cover:Key Facts and IdeasA Closer Look at Post-Impressionist ArtFigurehead Artists of Post-ImpressionismAdditional ReadingsWant to Learn More?Thanks for Reading!“We must not be content to memorize the beautiful formulas of our illustrious predecessors. Let us go out and study beautiful nature.” Paul Cézanne Paul Cézanne, The Seine at Bercy, 1878 Painting the Landscape (Free Workshop) I’ll walk you through the entire process using one of my recent paintings. You’ll see how I go from idea all the way through to reflecting on the finished painting. It emerged around 1886 as a rebellion by individual artists in France who were frustrated by Impressionism’s lack of emotional and subjective meaning. Post-Impressionists wanted to place more focus on the subject itself, rather than just trying to capture the fleeting light and color.The term “Post-Impressionism” was coined by artist and critic Roger Fry when he organized an exhibition called, “Manet and the Post-Impressionists”. The exhibition showcased Édouard Manet along with younger, less renowned artists.“For purposes of convenience, it was necessary to give these artists a name, and I chose, as being the vaguest and most non-committal, the name of Post-Impressionism. This merely stated their position in time relatively to the Impressionist movement.” Roger Fry Poster for Manet and the Post-Impressionists Post-Impressionists were not a unified group working toward a common goal, but rather a group of individual artists loosely connected

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That is what painting is all about: building up a sense of expectation and regularity, then breaking it up.“Everywhere and always ugliness has its beautiful aspects; it is thrilling to discover them where nobody else has noticed them.” Henri De Toulouse-Lautrec Henri de Toulouse-Lautrec, At the Moulin Rouge, 1892-1895 Below is a painting from Vincent van Gogh’s Sunflowers series. It features the bold colors and strokes which were typical of both the Impressionists and Post-Impressionists. There is a sense of order and structure about the painting. The edges are hard, the shapes do not overlap and there is some outlining to reiterate the shapes (the vase and the blue line in the background which marks the bottom of the wall). Also, notice how van Gogh’s signature, “Vincent” forms part of the flower vase. Vincent Van Gogh, Still Life – Vase with Fifteen Sunflowers, 1888 On an interesting note, below is a painting by Paul Gauguin depicting van Gogh painting his sunflowers. Paul Gauguin, Van Gogh Painting Sunflowers, 1888 Paul Cézanne, the “father of Post-Impressionism”, favored geometric forms in his paintings. He also used a duller color palette compared to many of the other Post-Impressionists. Below is one of his paintings from his Mont Sainte-Victoire series. Notice the organized use of color shapes throughout the painting. Paul Cézanne, Road at the Mont Sainte-Victoire, 1902 Cézanne’s unfinished work below gives you an idea of how he went about a painting: by filling the canvas with distinct color shapes until form took place. This emphasis on shape is what gives many of his works that rigid and structured feel. Paul Cézanne, Mont Sainte-Victoire, Unfinished, 1906 Below is another painting by Cézanne which depicts “the card players” focused on their game. Restricted colors and strong shapes were used. Notice how you can even make

At the age of twelve. His importance resides in his contribution to both Impressionism and Post-Impressionism. Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. After the outbreak of the Franco-Prussian War of 1870–71, having only Danish nationality and being unable to join the French army, he moved his family to Norwood, then a village on the edge of London. Pissarro met the Paris art dealer Paul Durand-Ruel, in London, who became the dealer who helped sell his art for most of his life. Durand-Ruel put him in touch with Monet who was also in London during this period. They both saw the work of British landscape artists John Constable and Joseph Mallord William Turner, which confirmed their belief that their style of open air painting gave the truest depiction of light and atmosphere, an effect that they felt could not be achieved in the studio alone. Pissarro's paintings also began to take on a more spontaneous look, with loosely blended brushstrokes and areas of impasto, giving more depth to the work. Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions, from 1874 to 1886. He ‘acted as a father figure not only to the Impressionists’ but to all four of the major Post-Impressionists, Georges Seurat, Paul Cézanne, Vincent van Gogh, and Paul Gauguin. In 1885 Pissarro met Georges Seurat, and for a time adopted his Divisionist technique of applying small dots of colour alongside each other on the canvas to create an optical mixture. Pissarro, along with Seurat and Paul Signac, exhibited such works at the 8th and last Impressionist exhibition in 1886, prompting the critic Félix Fénéon to invent the term Neo-Impressionism. However, a few years later, Pissarro gradually abandoned the technique, finding the painstaking application of paint an obstacle to a spontaneous and swift rendering of a scene. Pissarro died in Paris on 13 November 1903 and was buried in Père Lachaise Cemetery.

IntroductionIn the realm of art, Impressionism holds a special place due to its innovative use of color to capture the fleeting nature of light and atmosphere. The Impressionists, including celebrated artists such as Claude Monet, Pierre-Auguste Renoir, and Édouard Manet, developed a unique approach to color that marked a significant departure from traditional painting rules. To appreciate the depth of this movement, it’s essential to delve into the science of color in Impressionist paintings.Impressionnist painting by Gustave Caillebotte imagined by midjourneyThe Optical Mixing of ColorA key aspect of the Impressionist color theory was the principle of optical color mixing, also known as “broken color.” Instead of mixing pigments on a palette to form the desired color, Impressionists applied individual strokes of pure, unmixed color side by side on the canvas. When viewed from a distance, these strokes would blend optically in the viewer’s eye, creating a vibrant and luminous effect that more closely mimicked the natural interplay of light and color.This technique was grounded in scientific color theories of the time, particularly those proposed by French chemist Michel Eugène Chevreul. Chevreul’s law of simultaneous contrast states that when two different colors are placed side by side, they affect each other’s appearance, making each color seem more intense. Impressionist artists took advantage of this optical phenomenon to make their paintings more dynamic and vivid.Law of simultaneous constrastChevreul’s Law of Simultaneous Contrast refers to a concept in color theory that was first articulated by the French chemist Michel Eugène Chevreul in the 19th century. Chevreul discovered this principle while he was the director of the dye works at the Gobelins Manufactory in Paris, where he was tasked with improving the quality of their tapestries.Chevreul noticed that the perceived intensity and hue of a color could change depending on the colors that surrounded it. This led him to develop his law of simultaneous contrast, which states that when two different colors come into direct contact, the contrast intensifies the difference between them.To put it simply, a color will appear more intense when placed next to its complementary color (the color that is directly

Most copied statues in the world, Roman replicas and descriptions that survive today give us a pretty good example of what the original looked like. This Roman Venus is a smaller scale copy of Praxiteles’ original.The Fall of Man and The Lamentation (1470/1475) by Hugo van der GoesKunsthistorisches Museum Wien4. Naked and Afraid in the Middle AgesWith the arrival of Christianity, nakedness all but disappeared from Western art, except for depictions of Adam and Eve, whose nakedness revealed their sin, and Jesus, whose naked body revealed his wounds. Being naked was no longer associated with male athleticism and female fertility, but rather with weakness and defenselessness. Bare-breasted, nursing Madonnas and naked baby Jesus’ were an exception to this rule, their bodies exposed for theological reasons.The Gothic nude was very different from the Greek and Roman classical ideal: Gothic bodies were long and slender, rather than shapely and athletic, and Gothic painters emphasized women’s rounded stomachs rather than their hips.Sculptural ceramic ceremonial vessel that represents a scene of sexual union of a man and a woman ML004441 (1250 BC - 1 AD) by Salinar styleMuseo Larco5. Erotic ArtNudity was also an obvious feature of erotic art, which existed long before Playboy and Playgirl made naked bodies mainstream. Every civilization, ancient and modern, has its form of erotic art. In some countries, representations of sex are entwined with spiritual beliefs, in others, they portray cultural practices. Before photography, erotic art circulated via private paintings, small sculptures, and on decorative objects. The idea that erotic images were “pornography” was a Victorian invention; until the mid-nineteenth century, looking at erotic representations was legal and probably more commonplace that one would think.Archers shooting at a herm (c.1530) by Michelangelo BuonarrotiRoyal Collection Trust, UK6. Males with Breasts?Renaissance sculptors such as Donatello and Michelangelo helped bring male and female nudes back into classical art. Donatello’s naked David (1408-1409) was the first free-standing statue of a nude since antiquity. A few decades later, Michelangelo made a larger-than-life version. Even though Renaissance sculptors may have had access to female models, they preferred to use male models.By consequence, Michelangelo’s women often appear to have male bodies with the addition of breasts. Although some historians argue that this was because of Michelangelo’s preference for the male form (it’s commonly thought that he was homosexual), others say that the normative human body in the Renaissance was male. The most beautiful female bodies would be those that were the most androgynous.Luncheon on the Grass (1863) by Edouard ManetMusée d’Orsay, Paris7. Shock valueNudity was a popular feature of mythological and allegorical genre painting in eighteenth and nineteenth-century Western art. But the French Impressionists pushed against the conventional notion of allegorical nudes by painting and exhibiting bold, and sometimes surreal, nudes. Edouard Manet’s Dejeuner sur l’herbe was an example of how the Impressionists refused to conform to convention.The woman has no explicit reason to be naked--she is not a mythological figure but a normal lunch companion--and her partners are both clothed. The nudity wasn’t even