POST IMPRESSIONISM

Influence on Modern ArtImpressionism

Cézanne

Nabis

Fauvism

Cubism

Futurism

Gauguin

Fauvism

Van Gogh

Expressionism

Early

Abstractionists

PAUL CEZANNE

PAUL CEZANNE•Paul Cezanne 1839-1906•Did not share Impressionist love for everyday scenes•Search for harmony of form and color- very disciplined application of paint-every brushstroke mattered•Put colors next to each other that created “chords” of warm and cool colors throughout the painting

Cezanne, Still-Life with

Apples, 1890

•Master of still-lifes•Quest for “solid and durable” - Chardin’s sense of the importance of everyday objects•Pattern of brushstrokes give the painting a shimmering feel•Forms are deliberately simplified and outlined with dark colors•Perspective is deliberately wrong•Believed that all forms in nature are based upon the cone, sphere, and cylinder

Kenmerke van Cezanne se werk Beperkte hoeveelheid onderwerpe- stillewes,

landskappe, baaiers en portrette.

Het die tradisies van die stillewe hernieu omdat

dit hom die geleentheid gegee het om sy eie

voorwerpe vir ‘n gekonsentreerde studie te

rangskik.

Hy het met sy menslike modelle geraas en vir

hulle gese “appels beweeg nie”

Ruimte en Diepte Het die eenpuntperspektief van die Renaissance

verwerp. Daarvolgens moes alle lyne na ‘n enkeleverdwunende punt lei om ‘n diep ruimte te skep.

Hy het verskeidenheid uitgangspunte gebruik om‘n mens toe te laat om aan verskillende kante van ‘n voorwerp te kon sien.

Hy het dus ‘n vlak ruimte geskep deur ‘n opeenhooping van verskillende kleur oppervlakke.

Hy het ook diepte geskep deur oorvleulende areas van verf te gebruik.

Hy het nooit die 2D van die skilderdoek ontken nieen “plat ruimte” geskep.

Hy wou nie die natuur naboots nie, maarkonstruksies volgens die natuur gemaak om die nodige uit te beeld.

Sy perspektief was dikwels nie korrek nie- ‘n tafelhet bv ‘n neiging gehad om op een vlak onder die tafeldoek te verdwyn en op ‘n ander vlak teverskyn.

Kleur en Kwaswerk Selfde helder kleure as impressioniste maar op

‘n meer gestruktureerde manier.

Hy het oor “modulasie” gepraat, waar een kleurarea verwant moet wees aan die volgende een.

Plat kleur area is in aparte kleurfasetteopgebreek (soos mosaiek)

Vorms dikwels omlyn met donker kontoerlyn.

Skaduwees is ook vorms met soliedheid.

Rehoekige kwashale druk nie emosie uit niemaar vorm ‘n ritmiese patroon.

Kwashale is soos boublokke in plek gesit met fermheid en met denke.

Komposisie en Benadering Klem word geplaas op die onderliggende

struktuur.

Hy glo alles in die natuur is gebaseer op die silinder, sfeer en keel.

Hy maak nie natuurlike voorwerpe geometries nie maar hy verskaf net die nodigste detail.

Hy kan as ‘n Formalis geklassifiseer word- syrangskikking van formele kunselemente is belangrik.

Hy werk nooit volgens ‘n formule nie. Elkeskildery is ‘n nuwe uitdaging.

Hy het die titel “Vader van Moderne kuns”. Syinvloed is veral gesien in Kubisme.

With an apple I will conquer Paris-Cezanne

At first glance the composition seems accidental.

Although everything was deliberately placed-basket with apples lifted by a block, cakes on a plate and placed on a book, bottle of wine leaning to the side, crumbled table cloth with apples on it.

The table appears under the table cloth at one level and emerges from it at another- he is obsessed with 2D of the canvas.

Bottle is not in a vertical position and the plate is distorted. This creates an interesting composition.

The appearance of reality is neglected in favour of creating a new pictorial reality.

We are aware of the spheroid or cylindrical mass beneath the apples and bottle

The Large Bathers- Cezanne

Here we see his reduction to an absolute essence.

He ignores the laws of anatomy and gave the human body the same solid and concrete quality as his objects in his still life paintings.

He wanted to show the bone structure underneath the skin, integrating the nude bodies with the landscape surrounding them.

The figures are devoid of sensual beauty- their limbs are elongated and their heaviness over emphasised.

The tree trunks form a strong arch shape over the figures, which is inverted in the shape of the arms of the two figures in the centre.

The groups on the left and right form pyramidal compositions.

He distorted his figures so that they better fit their surroundings.

VINCENT VAN GOGH

INFLUENCES The social commentary and empathy with

the poor in Daumier and Millet’s work.

Delacroix’ use of complementary colours next to each other.

Simplicity, bright colours and outlines of Japanese prints.

Bright colour and informal technique of Impressionists.

Own personality in its humanity and need to express himself.

Kenmerke van Van GoghOnderwerp:

Landskappe, portrette, stillewes

Gebruik werklikheid as onderwerp maarbeeld sy emosionele reaksie uit.

Ruimte en diepte:

Altyd ‘n gevoel van diepte.

Gewoonlik groot massas ion die middelvan die doek.

Gebruik gewoonlik lynperspektief en skilder dikwels die horison om ¾ van die doek.

Kleur:

Bekend vir sy emosionele gebruik van kleur.

Kleur was aanvanklik somber en toe al hoe ligter onder die invloed van die Impressioniste.

In latere werke word kleuroorbeklemtoon. Sy palet word gekenmerk deur sterk, suiwer kleure. Geelis ook baie prominent.

Kwaswerk:

Kwashale is die fisieke aanduiding van syemosionele toestand en skep ritmiesebeweging.

Daar is ‘n sterk liniere karakter in syaanwending tesame met ‘n sterk buitelyn.

Verf is aangewend met ‘n kwas, paletmesof selfs direk uit die buis uit.

Komposisie: vanGogh het altyd vanaf die werklikheid gewerk. Hy het slegs die kern van die onderwerp waarop

hy emosioneel gereageer het weergegee. Hy het vorms vereenvoudig en verwring. Geen onnodige detail is aangewend nie, slegs

die kern van ‘n toneel is weergegee.Benadering tot sy werke: Hy was ‘n Ekspressionis en sy lewe en kuns

vorm ‘n eenheid. Geen skilder voor hom kon sy innerlike

gevoelens op so ‘n wyse uitbeeld nie. Sy kuns is dus persoonlik en subjektief. Die vinnige uitvoering, verwringing en

beklemtooning van kleur kontraste is tipies. Hy word beskou as die “Vader van

Ekspressionisme” omdat hy Munch beinvloedhet.

The Night Cafe- van Gogh

Dit beeld die binnekant van ‘n biljart kroegin die dorpie, Arles uit.

Met eerste oogopslag wil die kyker amperweg kyk, as of hy/sy gebrand is.

2/3van die skildery is die vloer van die kafee. Dit is uitgebeeld in swaelgeel, met oordrewe lyne wat die oog na die binne van die skildery trek.

Volgende is ‘n briljante groen biljart tafelwat in swaar swart omlyn is.

Langs die tafel is daar ‘n figuur in ‘n ligtejas wat uitdrukkingloos staar. Die wit jasverander in lemoen geel.

Lower walls are yellow and give way to blood red walls leading to the green ceiling. (complementary colours)

Lining the walls are the locals at the bar, hunched over, drunk.

The lamps are surrounded by van Gogh’s signature wheels of curving yellow.

In this work the power of colour comes to fore.

Brilliant yellow floor with exaggerated perspective drives into the yellow background, it resists with equal force.

This together with bold impasto brushwork creates a new pictorial language.

The work tells us with sincerity about human condition and emotion.

Starry Night

Focus is on the night sky with swirling clouds.

Stars are a blaze with own luminance.

There is a bright crescent moon on the right.

Below the rolling hills the town is left peacefully.

The church spire which is the centre of the town,

almost reigning over the small buildings.

To the left is a massive cypress tree. The curving lines

mirror that of the sky. It creates the sense of depth in

the painting.

The sky keeps the eye moving –following the curves.

There is a clear use of thick impasto, forming strong

lines.

The winding lines are transformed into whirling and

exploding stars in the dark sky, energetic strokes at

the end of the tree, curved surfaces of the mountain,

geometric forms that reflect the village.

Contours are very important to van Gogh

Colours are predominantly cold dark blues, this is contrasted with the fiery warm yellow stars and the light shining through the windows.

He is the first artist to paint such nocturnal scenes at night directly on canvas.

The important point here is his passion for the dark night.

The question is: what was going on inside the tormented artist’s soul to make him want to escape into the endless black night.

Starry night reflects the suffering of the artist through the energetic strokes, vibrant colours in the stars and the contrast of the dark blue and black of the night.

Starry night became his scream for hope, light and love.

Paul Gauguin

Gauguin • Followers of Gauguin called themselves the “Nabis”, meaning

prophets

• Spread the word of Post-Impressionism: “The Picture- before being a war horse, a female nude, or some anecdote-is essentially a flat surface covered with colors in a particular order”

• Small and intimate pictures

• Color mosaics, economy of means

• Devoted himself to art at the age of 35

• Became the leader of the Symbolist movement

• Believed that Western civilization was out of joint

• Left Paris and studied peasant life in Western France

• Pre-Renaissance style- flat, simplified shapes, outlined in black- like stained glass-stressed return to Primitive (Egypt, Near East)

• Moved to Tahiti to learn simplicity from the natives

“[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”

The resulting painting seemed so daring and original they believed it exuded mystical powers.

The Nabis met regularly to discuss ideas – mainly about 3 key issues:

• Scientific & mystical bases of art• The social implications• Desirability of a synthesis of the arts.

SYNTHETISM- type of symbolism where the artist uses imagination. The memory only remembers that which is symbolic and important.

He strongly opposed naturalism.

Work is mysterious and exotic.

He is a direct influence on Fauvism

Subject Matter The artist should work form memory to create

imaginative works. He used religious and spiritual themes. The portrayal of man was important Later works are filled with idealised figures from the

South Sea Islands.

Invloed

Gauguin was beinvloed deur Impressionisme in syvroee werke.

Hy was altyd op die uitkyk vir eksotiese plekke.

Hy verkies die leefstyl en kuns van nie-Westersekulture.

Die “primitiewe” eilande was volgens hom niebesoedel met Westerse idees en waardes nie.

Space and Depth

He made use of flat space, created by different horizontal bands of colour

He uses flat, decorative spaces, background is as bright as foreground

Kleur Kleur is simbolies en verbeeldingryk.

Plat, dekoratiewe vorms en kleur.

Agtergrond is helder.

Helder kleure word geskei deur ‘n donkeromlyning, soos in glas.

Brush work and composition

Avoided modelling in his flat areas with dark contour lines

Uses broad parallel strokes.

Decorative and simplified application.

Equal importance on negative and positive spaces.

Divided composition with rhythmic decorative lines to create strong 2D shapes.

He did not copy nature but worked from his imagination.

Simplified figures were created.

Vision after the Sermon

Figures have simplicity.

The cow rearing up under the tree is small in comparison with reality.

People are praying in reaction to the sermon, this is why there is a contrast between the life sized people and the small landscape.

This early work was painted during his stay in Port Aven.

It is based on the work by Emile Bernard.

It depicts how after a moving church service, the religious women see a vision of Jacob wrestling with the angel.

The wrestling figures are based on a Japanese wood print “Hokusia”

Wrestling figures are shown on a red field to show their super natural state.

Intense red background is an example of Gauguin’s imaginative, symbolic use of colour.

The clearly outlined figures and shapes show the influence of non Western art.

The contrast between the row of large heads in the fore ground with the smaller figures in the background creates perspective.

An apple tree cuts across the canvas and separates the earthly and the spiritual.

There is a clear break with naturalism in the use of flat areas, strong outlined shapes and mixture of real and imaginative figures.

This work offered freedom to other artists to interpret biblical scenes and spiritual phenomena.