Post ImpressionismPost Impressionism

Many Small Movements, Many Small Movements, 1880-19201880-1920

Post Impressionism

Post Impressionism c. Post Impressionism c. 1880-19201880-1920

Neo-Impressionism

School ofPontAven

Symbolism

Synthetism

Cloisonnism

Nabis

PostImpressionism

Influence on Modern ArtInfluence on Modern Art

Impressionism

Cézanne Gauguin Van Gogh

Nabis Fauvism

Fauvism

Cubism

Expressionism

Futurism

Early Abstractionists

Artists associated to Artists associated to movements:movements:

CloisonnisCloisonnismm (1888) (1888)

School School of Pont-of Pont-

AvenAven(c.1888)(c.1888)

Nabis Nabis (1888)(1888)

SynthetismSynthetism (1889)(1889)

•AnquetinAnquetin•BernardBernard•(Gauguin)(Gauguin)

•GauguinGauguin•BernardBernard

•DenisDenis•VuillardVuillard•BonnarBonnardd•SSéérusierusierr•RousselRoussel•VallottoVallottonn

•GauguinGauguin•SchuffeneckeSchuffeneckerr•BernardBernard•SerusierSerusier•RansonRanson

Paul CPaul Céézannezanne‘House of the Hanged Man’ ‘House of the Hanged Man’

18731873

Paul CPaul Céézannezanne‘‘Landscape, Auvers’, 1873Landscape, Auvers’, 1873

PissarroPissarro‘‘Gelée blanche’, 1873Gelée blanche’, 1873

Paul CPaul Céézanne zanne ‘The Bathers Resting’, ‘The Bathers Resting’, 1875-761875-76

Paul CPaul Céézanne zanne ‘The Bathers’, 1900-5‘The Bathers’, 1900-5

Adolphe-WilliamAdolphe-William Bouguereau, ‘Bouguereau, ‘The Bathers’, The Bathers’,

18841884

Comparison…Comparison…

Paul CPaul Céézannezanne‘‘Still Life with Compotier’ Still Life with Compotier’ 1879-1879-

18821882

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 He was not out to distort nature; but he did not mind much if it became distorted in some minor detail if it helped if it became distorted in some minor detail if it helped obtain the desired effect.obtain the desired effect.

CCéézanne’s Still Liveszanne’s Still Lives

Paul CPaul Céézannezanne‘‘Still Life with Plaster Cupid’ Still Life with Plaster Cupid’

c.1895c.1895

Paul CPaul Céézanne zanne ‘‘Table, Napkin, and Fruit’,Table, Napkin, and Fruit’, 1895-1895-

19001900

Paul CPaul Céézanne zanne ‘‘Apples and Oranges’, c. 1899Apples and Oranges’, c. 1899

Paul Paul CCéézannezanne 'Mont Sainte-Victoire seen from 'Mont Sainte-Victoire seen from

Bellvue‘, c. 1882-1885Bellvue‘, c. 1882-1885

Paul CPaul Céézanne zanne ‘Mont Sainte-Victoire’, 1902-4‘Mont Sainte-Victoire’, 1902-4

Georges SeuratGeorges Seurat‘The Bathers, Asni‘The Bathers, Asnièères’, 1883-4res’, 1883-4

‘‘Student’s text book of Colour: or, Student’s text book of Colour: or, Modern Chromatics with Applications Modern Chromatics with Applications to Art & Industry’, 1881 by Ogden to Art & Industry’, 1881 by Ogden Rood, American PhysicistRood, American Physicist

‘‘Principle of Harmony & Contrast of Principle of Harmony & Contrast of Colours and their application to the Colours and their application to the Arts’, 1839 – by Michel-EugArts’, 1839 – by Michel-Eugèène ne CheureulCheureul

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

1883-18861883-1886

Georges SeuratGeorges Seurat‘The Lighthouse at Honfleur’, ‘The Lighthouse at Honfleur’,

1886 1886

Paul SignacPaul Signac‘Breakfast (The Dining Room)’‘Breakfast (The Dining Room)’

c. 1886/87 c. 1886/87

Paul SignacPaul Signac‘Portrait of Félix Fénéon’, 1890 ‘Portrait of Félix Fénéon’, 1890

George SeuratGeorge Seurat‘Circus’, 1890-91‘Circus’, 1890-91

Paul SignacPaul Signac‘Red Buoy, Saint Tropez’, 1895‘Red Buoy, Saint Tropez’, 1895

Paul GauguinPaul Gauguin‘La Bergère bretonne’, 1886‘La Bergère bretonne’, 1886

Louis AnquetinLouis Anquetin‘Evening: Avenue de Clichy’ ‘Evening: Avenue de Clichy’

18871887

Emile BernardEmile Bernard‘View from the Bridge at ‘View from the Bridge at

AsniAsnièères’, 1887res’, 1887

Louis AnquetinLouis Anquetin‘Girl Reading a Newspaper’, ‘Girl Reading a Newspaper’,

18901890

Emile BernardEmile Bernard‘‘Buckwheat Harvesters at Pont-Buckwheat Harvesters at Pont-

Aven’, 1888 Aven’, 1888

Emile BernardEmile Bernard ‘Women on a Prairie’, 1888‘Women on a Prairie’, 1888

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

Emile BernardEmile Bernard ‘Self-Portrait with Portrait of ‘Self-Portrait with Portrait of

Gauguin’, 1888Gauguin’, 1888

Paul GauguinPaul Gauguin‘Self Portrait: Les Mis‘Self Portrait: Les Miséérables’, rables’,

18881888

Vincent Van GoghVincent Van Gogh‘The Bridge in the Rain (After ‘The Bridge in the Rain (After

Hiroshige)’, 1887Hiroshige)’, 1887

HokusaiHokusai

Paul GauguinPaul Gauguin‘Portrait of Van Gogh painting’, ‘Portrait of Van Gogh painting’,

1888 1888

Vincent Van GoghVincent Van Gogh‘Sunflowers’, 1888‘Sunflowers’, 1888

Paul GauguinPaul Gauguin‘Le Christ jaune (The Yellow ‘Le Christ jaune (The Yellow

Christ)’ Christ)’ 1889 1889

Emile BernardEmile Bernard‘Paysannes Bretonnes’, c1889 ‘Paysannes Bretonnes’, c1889

Vincent Van GoghVincent Van Gogh‘The Bridge in the Rain (After ‘The Bridge in the Rain (After

Hiroshige)’, 1887Hiroshige)’, 1887

HokusaiHokusai

Paul GauguinPaul Gauguin‘Portrait of Van Gogh painting’, ‘Portrait of Van Gogh painting’,

1888 1888

Vincent Van GoghVincent Van Gogh‘Sunflowers’, 1888‘Sunflowers’, 1888

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

1888-91888-9

Vincent Van GoghVincent Van Gogh‘Room at Arles’, 1889 ‘Room at Arles’, 1889

Vincent Van GoghVincent Van Gogh‘Self Portrait’, 1889‘Self Portrait’, 1889

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

18891889

Vincent van GoghVincent van Gogh‘A Cornfield with Cypresses’, ‘A Cornfield with Cypresses’,

18891889

Vincent Van GoghVincent Van Gogh‘Portrait of Dr Gachet’, 1890‘Portrait of Dr Gachet’, 1890

Vincent van GoghVincent van Gogh‘Farms near Auvers’, 1890‘Farms near Auvers’, 1890

Vincent van GoghVincent van Gogh‘‘Wheatfield with Crows’, Wheatfield with Crows’,

18901890

Paul GauguinPaul Gauguin‘Harvest: Le Pouldu’, 1890‘Harvest: Le Pouldu’, 1890

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

18911891

Paul SérusierPaul Sérusier‘Les Lavandières de ‘Les Lavandières de

Bellangenet’,Bellangenet’,ca. 1892ca. 1892

Paul GauguinPaul Gauguin‘Spirit of the Dead Watching’, ‘Spirit of the Dead Watching’,

18921892

Henri Toulouse-LautrecHenri Toulouse-Lautrec‘Divan Japonaise’, 1893‘Divan Japonaise’, 1893

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

18931893

Paul GauguinPaul Gauguin‘‘Breton Peasant Women’,Breton Peasant Women’, 1894 1894

Paul GauguinPaul Gauguin‘Where do we come from? ‘Where do we come from?

What are we? Where are we What are we? Where are we going?’ 1897going?’ 1897

Paul SerusierPaul Serusier‘Landscape in the Bois ‘Landscape in the Bois

d’Amour (The Talisman)’, 1888d’Amour (The Talisman)’, 1888

““[Gauguin said] How do [Gauguin said] How do you see these trees? They you see these trees? They are yellow. Well then, put are yellow. Well then, put

down yellow. And that down yellow. And that shadow blue. Render it shadow blue. Render it with pure ultramarine. with pure ultramarine. Those red leaves? Use Those red leaves? Use

vermilion”vermilion”

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

Pierre BonnardPierre Bonnard‘The Two Poodles’, 1891‘The Two Poodles’, 1891

Pierre BonnardPierre Bonnard‘Intimité’, 1891 ‘Intimité’, 1891

Maurice DenisMaurice Denis‘July’, 1892 ‘July’, 1892

Edouard Vuillard Edouard Vuillard ‘Les coulisses du Théâtre de ‘Les coulisses du Théâtre de

l'Oeuvre’, c.1894 l'Oeuvre’, c.1894

Maurice DenisMaurice Denis‘Homage to Cezanne’, 1900‘Homage to Cezanne’, 1900

““Remember that a picture Remember that a picture before being a battle horse, a before being a battle horse, a

nude, or some anecdote is nude, or some anecdote is essentially a flat surface essentially a flat surface

covered in colours assembled covered in colours assembled in a certain order.” in a certain order.”

DenisDenis

CCéézannezanne

CCéézanne realised that zanne realised that the eye takes in a scene the eye takes in a scene both consecutively and both consecutively and simultaneously – and in simultaneously – and in his work, the single his work, the single perspective gives way to perspective gives way to a shifting view, a shifting view, acknowledging that acknowledging that perspective changes as perspective changes as the eyes and head the eyes and head move.move.

CCéézannezanne

Here, as with CHere, as with Céézanne’s zanne’s other landscapes, he other landscapes, he renders depth and renders depth and space with COLOUR, space with COLOUR, rather than traditional rather than traditional forms of linear forms of linear perspective and tonal perspective and tonal modelling. modelling.

“ “Colour must reveal Colour must reveal every interval in depth.”every interval in depth.”

CCéézannezanne

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

CCéézannezanne

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

CCéézannezanne

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

CCéézannezanne

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

CCéézannezanne

He is painting from He is painting from a high viewpoint – a high viewpoint – which tips the which tips the landscape up, landscape up, flattening it closer flattening it closer to the picture plane to the picture plane and cuts down the and cuts down the sky area. sky area.