Georges Seurat Sunday Afternoon at La Grande Jatte 1884 - 86
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Georges Seurat Sunday Afternoon at La Grande Jatte 1884 - 86
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Georges Seurat Sunday Afternoon at La Grande Jatte 1884 - 86. Name TWO influences on Seurat. - Ancient Greek art, Renaissance paintings, Impressionism, Colour theory, Ingres, Delacroix, Rembrandt What is the aim of Seurat’s art? - PowerPoint PPT Presentation
Transcript of Georges Seurat Sunday Afternoon at La Grande Jatte 1884 - 86
Georges SeuratSunday Afternoon at La Grande Jatte1884 - 86
1. Name TWO influences on Seurat.
- Ancient Greek art, Renaissance paintings, Impressionism, Colour theory, Ingres, Delacroix, Rembrandt
2. What is the aim of Seurat’s art?
- To achieve harmony in his painting / make the moment lasting
3. What is the painting technique developed by Seurat known as?
- Pointillism
4. What is the mathematical theory used by Seurat known as?
- Golden Ratio
5. Write down FIVE words that you will use to describe the composition found in Seurat’s work.
- Balanced, structured, organized, still, peaceful, repetitive patterns, simple, quiet…
POST-IMPRESSIONISM
VINCENT VAN GOGH1853 - 1890
The Passionate Humanist
POST-IMPRESSIONISM
VINCENT VAN GOGH
Starry Night
1889
POST-IMPRESSIONISM
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
VINCENT VAN GOGH
1853 - 1890
Netherlands
(Dutch Period)
1880 - 1885
POST-IMPRESSIONISM
VINCENT VAN GOGH
1853 - 1890
Women Miners
1882
POST-IMPRESSIONISM
VINCENT VAN GOGH
1853 - 1890
The Potato Eaters
1885
Keywork
POST-IMPRESSIONISM
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
VINCENT VAN GOGH
1853 - 1890
Paris
1886 - 1888
POST-IMPRESSIONISM
VINCENT VAN GOGH
1853 - 1890
View of the Boulevard de Clichy
1887 - 88
POST-IMPRESSIONISM
VINCENT VAN GOGH
1853 - 1890
Self Portrait in front of Easel
1888
POST-IMPRESSIONISM
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
VINCENT VAN GOGH
1853 - 1890
Arles
1888 - 1889
POST-IMPRESSIONISM
VINCENT VAN GOGH
1853 - 1890
The Yellow House
1888
Keywork
POST-IMPRESSIONISM
VINCENT VAN GOGH
1853 - 1890
Sunflowers
1888
POST-IMPRESSIONISM
VINCENT VAN GOGH
1853 - 1890
Bedroom in Arles
1888
POST-IMPRESSIONISM
VINCENT VAN GOGH
1853 - 1890
“I had a new idea in my head and here is the sketch to it … this time it’s 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 …”
In a letter to his brother, Theo, Van Gogh wrote:
POST-IMPRESSIONISM
VINCENT VAN GOGH
1853 - 1890
Self-Portrait with Bandaged Ear
1889 - 90
Keywork
POST-IMPRESSIONISM
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 artist’s mind
Keywork
POST-IMPRESSIONISM
VINCENT VAN GOGH
1853 - 1890
Saint Remy
1889 - 1890
POST-IMPRESSIONISM
VINCENT VAN GOGH
1853 - 1890
Cypresses
1889
POST-IMPRESSIONISM
VINCENT VAN GOGH
1853 - 1890
Corridor in the Asylum
1889
POST-IMPRESSIONISM
VINCENT VAN GOGH
1853 - 1890
Starry Night
1889
Keywork
POST-IMPRESSIONISM
VINCENT VAN GOGH
1853 - 1890
Self Portrait
1889
POST-IMPRESSIONISM
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
VINCENT VAN GOGH
1853 - 1890
Auvers-sur-Oise
1890
POST-IMPRESSIONISM
VINCENT VAN GOGH
1853 - 1890
Dr Paul Gachet
1890
POST-IMPRESSIONISM
VINCENT VAN GOGH
1853 - 1890
Church in Auvers
1890
POST-IMPRESSIONISM
VINCENT VAN GOGH
1853 - 1890
Crows in the Wheatfield
1890
Keywork
POST-IMPRESSIONISM
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
PAUL GAUGUIN1848 - 1903
The Savage Painter
POST-IMPRESSIONISM
PAUL GAUGUIN
1848 - 1903
Vision After the Sermon: Jacob Wrestling with the Angel
1888
Key Work
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.'
POST-IMPRESSIONISM
PAUL GAUGUIN
1848 - 1903
Van Gogh Painting Sunflowers
1888
POST-IMPRESSIONISM
PAUL GAUGUIN
1848 - 1903
The Yellow Christ
1889
Key Work
POST-IMPRESSIONISM
PAUL GAUGUIN
1848 - 1903
We Shall Not Go To Market Today
1892
Key Work
POST-IMPRESSIONISM
PAUL GAUGUIN
1848 - 1903
Day of God (Mahana No Atua)
1894
POST-IMPRESSIONISM
PAUL GAUGUIN
1848 - 1903
Where Do We Come From? What Are We? Where Are We Going?
1897
Key Work
Imagine that you are one particular element in the painting – figure, statue, plant, etc and explain the painting as if you are that element.
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