Post Impressionism Many Small Movements,

Post Impressionism

Post Impressionism c Post Impressionism NabisCloisonnismSynthetismSymbolism School of Pont Aven Neo- Impressionism

Influence on Modern Art

Artists associated to movements: Cloisonnism (1888) School of Pont- Aven (c.1888) Nabis (1888) Synthetism (1889) Anquetin Anquetin Bernard Bernard (Gauguin) (Gauguin) Gauguin Gauguin Bernard Bernard Denis Denis Vuillard Vuillard Bonnard Bonnard Sérusier Sérusier Roussel Roussel Vallotton Vallotton Gauguin Gauguin Schuffenecker Schuffenecker Bernard Bernard Serusier Serusier Ranson Ranson

Paul Cézanne ‘House of the Hanged Man’ 1873

Paul Cézanne ‘Landscape, Auvers’, 1873

Pissarro ‘ Gelée blanche’, 1873

Paul Cézanne ‘The Bathers Resting’,

Paul Cézanne ‘The Bathers’,

Adolphe-William Bouguereau, ‘The Bathers’, 1884

Comparison…

Paul Cézanne ‘Still Life with Compotier’

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. 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. Cézanne’s Still Lives

Paul Cézanne ‘Still Life with Plaster Cupid’ c.1895

Paul Cézanne ‘Table, Napkin, and Fruit’,

Paul Cézanne ‘Apples and Oranges’, c. 1899

Paul Cézanne 'Mont Sainte-Victoire seen from Bellvue‘, c

Paul Cézanne ‘Mont Sainte-Victoire’,

Georges Seurat ‘The Bathers, Asnières’,

‘Student’s text book of Colour: or, Modern Chromatics with Applications to Art & Industry’, 1881 by Ogden Rood, American Physicist ‘Student’s 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 ‘Principle of Harmony & Contrast of Colours and their application to the Arts’, 1839 – by Michel-Eugène Cheureul

George Seurat ‘Sunday Afternoon on the Island of La Grande Jatte’,

Georges Seurat ‘The Lighthouse at Honfleur’, 1886

Paul Signac ‘Breakfast (The Dining Room)’ c. 1886/87

Paul Signac ‘Portrait of Félix Fénéon’, 1890

George Seurat ‘Circus’,

Paul Signac ‘Red Buoy, Saint Tropez’, 1895

Paul Gauguin ‘La Bergère bretonne’, 1886

Louis Anquetin ‘Evening: Avenue de Clichy’ 1887

Emile Bernard ‘View from the Bridge at Asnières’, 1887

Louis Anquetin ‘Girl Reading a Newspaper’, 1890

Emile Bernard ‘Buckwheat Harvesters at Pont- Aven’, 1888

Emile Bernard ‘Women on a Prairie’, 1888

Paul Gauguin ‘The Vision after the Sermon (Jacob and the Angel)’, 1888

Emile Bernard ‘Self-Portrait with Portrait of Gauguin’, 1888

Paul Gauguin ‘Self Portrait: Les Misérables’, 1888

Vincent Van Gogh ‘The Bridge in the Rain (After Hiroshige)’, 1887

Hokusai

Paul Gauguin ‘Portrait of Van Gogh painting’, 1888

Vincent Van Gogh ‘Sunflowers’, 1888

Paul Gauguin ‘Le Christ jaune (The Yellow Christ)’ 1889

Emile Bernard ‘Paysannes Bretonnes’, c1889

Vincent Van Gogh ‘The Bridge in the Rain (After Hiroshige)’, 1887

Hokusai

Paul Gauguin ‘Portrait of Van Gogh painting’, 1888

Vincent Van Gogh ‘Sunflowers’, 1888

Vincent van Gogh ‘Vincent’s Chair with his Pipe’,

Vincent Van Gogh ‘Room at Arles’, 1889

Vincent Van Gogh ‘Self Portrait’, 1889

Vincent van Gogh ‘A Corner of the Garden of St Paul's Hospital at St Rémy’, 1889

Vincent van Gogh ‘A Cornfield with Cypresses’, 1889

Vincent Van Gogh ‘Portrait of Dr Gachet’, 1890

Vincent van Gogh ‘Farms near Auvers’, 1890

Vincent van Gogh ‘ Wheatfield with Crows’, 1890

Paul Gauguin ‘Harvest: Le Pouldu’, 1890

Émile Bernard ‘Sortie d'église à Médréac’, 1891

Paul Sérusier ‘Les Lavandières de Bellangenet’, ca. 1892

Paul Gauguin ‘Spirit of the Dead Watching’, 1892

Henri Toulouse-Lautrec ‘Divan Japonaise’, 1893

Henri Toulouse-Lautrec ‘Jane Avril au Jardin de Paris’, 1893

Paul Gauguin ‘Breton Peasant Women’, 1894

Paul Gauguin ‘Where do we come from? What are we? Where are we going?’ 1897

Paul Serusier ‘Landscape in the Bois d’Amour (The Talisman)’, 1888

“[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”

Paul Sérusier ‘Roof Tops in Paris’, c. 1891

Pierre Bonnard ‘The Two Poodles’, 1891

Pierre Bonnard ‘Intimité’, 1891

Maurice Denis ‘July’, 1892

Edouard Vuillard ‘Les coulisses du Théâtre de l'Oeuvre’, c.1894

Maurice Denis ‘Homage to Cezanne’, 1900

“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

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. 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.

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

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

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

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

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

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. 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.