11. Camille Pissaro 1830 â1903 Big Proponet of Plein Air painting Mentor to Cezanne Only Painter to show in ALL Impressionist exhibitions (8 in total)
23. James Abbot McNeil Whistler 1834-1903 American (New England), moved to Russia at age 9 then back to CT (Pomfret) then to Paris then to England Friend of Rossetti (pre-Raphaelites) and Oscar Wilde
25. He achieved international notoriety when Symphony No. 1, The White Girl was rejected at both the Royal Academy and the Salon, but was a major attraction at the famous Salon des RefusĂŠs in 1863. Symphony in White, No. 1: The White Girl1862
33. In 1877 the critic John Ruskin denounced Whistler's Nocturne in Black and Gold: The Falling Rocket (1875; Detroit Institute of Arts), accusing him of "flinging a pot of paint in the public's face", and Whistler sued him for libel the following year. He won the action, but the awarding of only a farthing's damages with no costs was in effect a justification for Ruskin. Potential patrons were repelled by the negative publicity surrounding the case, and the expense of the trial led to Whistler's bankruptcy in 1879. His house was sold and he proceeded to Italy with a commission from the Fine Arts Society to make twelve etchings of Venice. He spent a year in Venice (1879-80), concentrating on the etchings-- among the masterpieces of 19th-century graphic art-- that helped to restore his fortunes when he returned to London. After returning to England in 1880 he painted a wide variety of subjects, continued with his interest in the graphic arts, and promulgated his aesthetic theories in print and in the Ten O'Clock lecture (1885); his polemical The Gentle Art of Making Enemies was published in 1890. In 1886 he was elected president of the Society of British Artists, but despite some successes his revolutionary ideas ran afoul of the conservative members, and he was voted out of office within two years.
34. Mary Cassatt 1844-1926 Friend of Degas, showed with Impressioinists in 1879, 1880, 1881 and 1886 Born American but lived in Paris most of her adult life Contributed to the Interest of American Impressionism
46. Auguste Rodin 1840 â1917 Stunning Strength and realism Confronts distress and moral weakness as well as noble themes Emphasis on Hands and feet in his works A turn away from the smooth neo-classical styling common in sculpture
50. Post-Impressionism Toulouse-Lautrec, At the Moulin Rouge Zigzag composition Pitiless representation of figures Gauguinâs influence in the large areas of flat color Joyless, oppressive; people out to have a good time, but achieve none Self-portrait as a short bearded man in background with his very tall cousin Off-key colors Tilted perspective of Japanese prints People tend to be aging, flabby, cynical
53. q      Tactile surface of painting q      Brushstrokes conveying emotion and inner reality q      Not an imitation of nature q      Forerunner of expressionism q      Major emphasis on texture, line and color q      Colors were vivid, bright and strong q      Deeply impressed by Millet and Social art Missionary zeal
54. Post-Impressionism Van Gogh, The Starry Night Painted from his room at the hospital at St-RĂŠmy Mountains of the Lapillus could be seen from his window Steepness of the mountains is exaggerated Deep forces of the universe playing out on the canvas Visionary sense of power Discordant colors Thick, swirling paint strokes Unconventional perspective Strong waves splashing from left to right Sky movement echoed in mountains and trees Two verticals interrupt flow: cypress tree and church steeple A religious message?
64. q      Tried to include a profound sense of mysteryBOTH strength and intensity over the slick and superficial
65. Post-Impressionism Gauguin, The Vision after the Sermon After hearing an impassioned sermon on the Biblical account of Jacob wrestling with the angel, the pious rural people envision the struggle Tree trunk separates the real from the vision Red heat of sermon matches red coloring Color used as an emotional response not as a physical description Rejection of perspective Priest at lower right is a self-portrait Heavily enclosed forms Renounced Impressionism Many sharply drawn black outlines Broad areas of color, relatively flatly applied, containing some subtly that gives it a rich glow
67. Where Do We Come From? What Are We? Where Are We Going?1897
68. Post Impressionism Seurat, La Grande Jatte Analyzed color relationships in a pictorial space Small brush strokes of complementary color: reds and greens, violets and yellows, blues and oranges Pointillist technique Result is sort of a mosaic like quality with a geometric structure Accent on the loneliness of modern life, figures together yet in isolation Most are faceless Conventional perspective used Reduced intensity of color to give effect of distance Interest in geometric shapes An Egyptian stillness: figures are posed to run but become frozen statues
69.
70. Paul Cezanne (1839 â 1906) The âFather of Modern Artâ â an artistâs artist Obsessed with form over content Development of planes to comprise the surface Forunner of Cubism
71. Post Impressionism Cezanne, Mont Sainte-Victoire Broad splashes of color in suggestive rather than descriptive passages Areas of the canvas left unpainted No human figures Not a countryside of Impressionism, lacking in human contact Aim is to create a unity within the picture in which each element has a clearly defined role and a relationship to the elements around it Solidity achieved through massing of shapes Grand and monumental form of the mountain Worked in color patches
78. The Symbolists Rousseau, The Sleeping Gypsy Displays the characteristics of primitive artists: flat surfaces, minute detail, stiff and frontally posed figures and arbitrary proportions Influence of Japanese prints and Persian manuscripts Frame inscription: âThe feline, though ferocious, is loathe to leap upon its prey, who, overcome by fatigue, lies in a deep sleepâ Vase for drinking water in the desert Play of light on the lion Lion is not ferocious, but curious, a cat with its tail up Where is gypsyâs left hand? Hair of gypsy forms a pattern with the dress Cut out moon and landscape What is the lion doing in the desert? Is the lion the gypsyâs dream?
80. The Symbolists Munch, The Scream Lengthy brushstrokes Linear pattern of diagonal movement Straight and curving patterns Exaggerated perspective Figure twists like a worm Unnerving impression on viewer Scream echoed in the composition Sexless emasculating figure Final painting on a series about love Represents a closing scene in a battle between the mind and sex, out of which sex comes through triumphant
