Art at the End of the Art at the End of the 1919thth Century or Century or l’art l’art

à à fin de sièclefin de siècle

Art at the End of the Art at the End of the 1919thth Century or Century or l’art l’art

à à fin de sièclefin de siècle

Background:Background:

•Essentially, Modern Art as we know it today Essentially, Modern Art as we know it today starts at this time with a man named Paul starts at this time with a man named Paul Cezanne, a Post-Impressionist.Cezanne, a Post-Impressionist.

• Prior to Cezanne were the Impressionists, Prior to Cezanne were the Impressionists, these included such big names as Edward these included such big names as Edward Manet, Claude Monet, Mary Cassat, Camille Manet, Claude Monet, Mary Cassat, Camille Pissaro, Edgar Degas, Pierre-Auguste Renoir.Pissaro, Edgar Degas, Pierre-Auguste Renoir.

• OOriginating in France in 1870’s, it was a riginating in France in 1870’s, it was a painting style characterized by small brush painting style characterized by small brush strokes that the artists used to reproduce a strokes that the artists used to reproduce a visual “impression” of what they saw.visual “impression” of what they saw.

• Each work is based on immediate visual Each work is based on immediate visual impression of a scene. The artists considered impression of a scene. The artists considered each work as a study of light and atmosphere each work as a study of light and atmosphere and play of reflections and colour.and play of reflections and colour.

Background:Background:

•Essentially, Modern Art as we know it today Essentially, Modern Art as we know it today starts at this time with a man named Paul starts at this time with a man named Paul Cezanne, a Post-Impressionist.Cezanne, a Post-Impressionist.

• Prior to Cezanne were the Impressionists, Prior to Cezanne were the Impressionists, these included such big names as Edward these included such big names as Edward Manet, Claude Monet, Mary Cassat, Camille Manet, Claude Monet, Mary Cassat, Camille Pissaro, Edgar Degas, Pierre-Auguste Renoir.Pissaro, Edgar Degas, Pierre-Auguste Renoir.

• OOriginating in France in 1870’s, it was a riginating in France in 1870’s, it was a painting style characterized by small brush painting style characterized by small brush strokes that the artists used to reproduce a strokes that the artists used to reproduce a visual “impression” of what they saw.visual “impression” of what they saw.

• Each work is based on immediate visual Each work is based on immediate visual impression of a scene. The artists considered impression of a scene. The artists considered each work as a study of light and atmosphere each work as a study of light and atmosphere and play of reflections and colour.and play of reflections and colour.

Claude Monet’s Impression: Sunrise 1872/3 oil on canvas

Claude Monet Madame Monet in a Japanese Costume, 1875 oil on canvas

Claude Monet Rouen Cathedral, Facade (sunset), 1892-1894 oil on canvas

Edarwd Manet A Bar at the Folies-Bergère (Le Bar aux Folies-Bergère), 1882 oil on canvas

Pierre-Auguste Renoir Dance at Le Moulin de la Galette (Le Bal au Moulin de la Galette), 1876 oil on canvas

Mary Cassatt The Child's Bath (The Bath), 1893, oil on canvas

Impressionism’s Lasting Impressionism’s Lasting Impression:Impression:• Short, thick strokes of paint are used to quickly Short, thick strokes of paint are used to quickly capture the essence of the subject, rather than its capture the essence of the subject, rather than its details. The paint is often applied impasto.details. The paint is often applied impasto.

• Grays and dark tones are produced by mixing Grays and dark tones are produced by mixing complementary colours. In pure Impressionism complementary colours. In pure Impressionism the use of black paint is avoided.the use of black paint is avoided.

• In paintings made In paintings made en plein airen plein air (outdoors), (outdoors), shadows are boldly painted with the blue of the shadows are boldly painted with the blue of the sky as it is reflected onto surfaces, giving a sense sky as it is reflected onto surfaces, giving a sense of freshness and openness that was not captured of freshness and openness that was not captured in painting previously.in painting previously.

• The rise of the impressionist movement can be The rise of the impressionist movement can be seen in part as a reaction by artists to the newly seen in part as a reaction by artists to the newly established medium of photography.established medium of photography.

Post-Impressionism / Neo-ImpressionismPost-Impressionism / Neo-Impressionism

Definition:Definition:

A style of art that quickly followed Impressionsim, A style of art that quickly followed Impressionsim, though it differed. Impressionism was based on the though it differed. Impressionism was based on the objective recording of nature in terms of the fugitive objective recording of nature in terms of the fugitive effects of colour and light. The Post-Impressionists effects of colour and light. The Post-Impressionists rejected this limited aim in favour of more ambitious rejected this limited aim in favour of more ambitious expression, admitting their debt, however, to the pure, expression, admitting their debt, however, to the pure, brilliant colours of Impressionism, its freedom from brilliant colours of Impressionism, its freedom from traditional subject matter, and its technique of defining traditional subject matter, and its technique of defining form with short brushstrokes of broken colour.form with short brushstrokes of broken colour.

People Involved:People Involved:

Primarily this was a French art movement, with the Primarily this was a French art movement, with the exception of Van Gogh. Other artists included Cezanne, exception of Van Gogh. Other artists included Cezanne, Gauguin, Seurat, and Toulouse-Lautrec.Gauguin, Seurat, and Toulouse-Lautrec.

Paul Cézanne, Mont Sainte-Victoire, 1885-87

Paul Cezanne Large Bathers 1899-1906

Paul Gauguin. Vision after the Sermon; Jacob Wrestling with the Angel. 1888. Oil on canvas.

Paul Gauguin. Te Pape Nave Nave (Delectable Waters). 1898. Oil on

canvas.

Georges Seurat. La Grande Jatte. 1884-86, Oil on canvas, 205x305 cm.

Henri de Toulouse-Lautrec, Ambassadeurs: Aristide Bruant

dans son cabaret, 1892 Lithograph

Henri de Toulouse-Lautrec, Two Women Waltzing at the Moulin Rouge,

1892

Key Influences into Modern Art of the early Key Influences into Modern Art of the early 20th Century20th Century

Paul Cézanne-Paul Cézanne- Considered to be the ‘Father of Modern Considered to be the ‘Father of Modern Art’, he was hugely influential to Cubism.Art’, he was hugely influential to Cubism. He He challenged all the conventional values of painting in the challenged all the conventional values of painting in the 19th century through its insistence on personal 19th century through its insistence on personal expression and began to focus on the integrity of the expression and began to focus on the integrity of the painting itself.painting itself.

Vincent Van Gogh-Vincent Van Gogh- Exemplified the idea of artist as Exemplified the idea of artist as tortured genius. He expressed his emotional response tortured genius. He expressed his emotional response to his subjects rather than providing an accurate to his subjects rather than providing an accurate description of them. description of them.

Paul Gauguin-Paul Gauguin- Rejected the Impressionist technique of Rejected the Impressionist technique of applying touches of colour in separate, small applying touches of colour in separate, small brushstrokes in favour of using large areas comprised brushstrokes in favour of using large areas comprised of a single colour bound by heavy contour lines.of a single colour bound by heavy contour lines.

Japonisme-Japonisme- A French term that describes how artists A French term that describes how artists were especially affected by the lack of perspective and were especially affected by the lack of perspective and shadow, the flat areas of strong colour, the shadow, the flat areas of strong colour, the compositional freedom in placing the subject off-centre, compositional freedom in placing the subject off-centre, with mostly low diagonal axes to the background.with mostly low diagonal axes to the background.

Vincent van Gogh, Starry Night 1889 Oil on canvas73 x92 cm

Vincent van Gogh, Wheat Field with Crows, 1890 Oil on canvas 50.5 x 103.0 cm

Katsushika Hokusai The Great Wave off Kanagawa, 1826 ukiyo-e print

left : Hiroshige, "Great Bridge, Sudden Shower at Atake” right : Van Gogh, "The Bridge in the Rain"