Introduction to Avant Garde
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INTRODUCTION TO THE AVANT-GARDES gabriela-teacher.blogspot.com
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Transcript of Introduction to Avant Garde
INTRODUCTION TO THE
AVANT-GARDESgabriela-teacher.blogspot.com
There was a time when Art was this…
But then, in the 1870’s, came…
IMPRESSIONISM
For the first time, the spectator plays an active
role in the art work.
They don’t just look at it, but also INTERPRET it.
monetclaude
And the leader of Impressionism was…
1840-1926
Monet abandonned his studio to paint directly from
nature or from reality.
His favourite theme is the effect of light on objects.
He painted several series of paintings showing the same objects under different natural lights.
Haytacks series
Cathedrals series
London’s Parliament series
We can see his evolution in the way he painted shades
and shadows.
At the beginning, shade is dark…
1871
He started to use short and clear brush strokes that the spectator’s eye mixed into
very luminous results.
1872
1873
1873
1877
1877
1878
1880
“When I looked at that work I thought that my glasses were dirty, what does this canvas
represent?...That canvas didn’t have an obverse or a reverse side!
Impression!”.
1897
From the beginning of his work, we can see an
evolution…
Light is the most important element. Shapes don’t need
to be precise.
1899
…but in Impressionism, shades have their own
colors…
…and colors are very bright…
1900
Brush strokes give a lot of movement to the
Impressionist art works.
1900
1904
1906
1919
1841-1919
Pierre Auguste
Renoir
Renoir’s favourite theme was the “everyday” of the
leisure class.
He evolved from a more classical style to impressionism…
He also left the studios to start painting open-air.
1872
Soon, he started to use short thick brush strokes to provide his paintings with
movement.
1873
Again, the light reflected on objects becomes very
important…
1875
…and he plays with light and shade projected on
humans, to create a certain atmosphere, a feeling.
1876
Immediacy was important in Impressionism: they
wanted to show what was exactly happening at one
moment
1879
1881
His work gained more and more movement…
1883
1908
1916
Édouard Manet
1832 - 1883
1863
1864
1873
1881 1861
1878
1878
1880
1881
Alfred
Sisley
1839-1899
1874
He found in brush strokes the perfect technique for
his landscapes.
See more: http://www.alfredsisley.org/the-complete-works.html
Edgar Degas
1834-1917
Degas didn’t paint open-air and his theme was dance
and dancers.
Some think he was not an Impressionist, but in fact he
experimented with color and form.
1871
His favourite theme was the human body, but he wasn’t classical: he depicted it in
strange postures from unusual angles.
1870
And his work had a lot of movement. He used oil
paint with brush strokes, but mostly dry pastels.
1879
1893
1888
NEO-IMPRESSIONISM
Georges Seurat
1859-1881
He radicalised Impressionism into Pointillism.
Colors are not mixed: they are applied one close to
another, and the spectator’s eye blends
them.
Paul Signac 1863-1935
Signac was a pointillist artist whose color palette
was even more vivid.
POST-IMPRESSIONISM
Post-Impressionism is a movement of artistic
freedom. Each painter has their particular characteristics.
Paul Cézanne
1839-1906
He represents the bridge between Impressionism and
Cubism.
Cézanne’s brush strokes got bigger and bigger and
became plans of color.
These plans build up to form complex elements.
1904
He simplified natural forms into more geometrical
elements.
He started to use black outlines around objects.
Paul Gauguin 1848-1903
He though that Art was abstract by definition.
He experimented with really saturated pure colors.
He lived in Tahiti and became influenced by the primitive arts, with a lot of
mystical symbolism.
Vincent Van Gogh
1853-1890
At the beginning, he tended to use darker neutral
colors.
But soon he started to use colors in a more expressive
way, depending on his mood.
He sometimes used a thick black outline around
objects.
He used dramatic brush strokes which expressed emotions and a feeling of
movement.
Henri Toulouse-Lautrec
1864-1901
He depicted the colorful and theatrical life of Paris in the late 19th century.
His art was colorful, provocative, elegant and
modern.
Because he painted the figure in movement, his
lines are nervous, fast and non precise.
His color palette is vivid and intense.
He got a contract to design the Moulin Rouge’s
posters.
