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1. What were your overall thoughts on the article? Why?
2. Did you feel the article gave you a better understanding of the driving question? (DQ: Does being a man or a woman in any way affect the subject an artist chooses or the ways in which he or she portrays that subject?)
3. What are your thoughts on the DQ after reading both articles?
Post-ImpressionismLate 19th century (1850’s-1900’s)
Characteristics of Post Impressionism
Mentality: • They did not like that Impressionism was all about color and light
• Did not like that Impressionism became formal art (too mainstream)
• They felt that Impressionism forgot to focus closely on formal artistic elements: line, color, pattern, and form.
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Characteristics of Post Impressionism
Mentality: • They did not like that Impressionism was all about color and light
• Did not like that Impressionism became formal art (too mainstream)
• They felt that Impressionism forgot to focus closely on formal artistic elements: line, color, pattern, and form.
Style: • Subject/narrative was Parisian lifestyle of the middle class, French countryside,
anything French related.
• Very unstable emotional painters and all of their works are their own interpretations of reality.
• Artists were regular drug and absinthe (hallucinogenic alcohol) users=influences their perception of reality.
Major Works of art
Henri de Toulouse-Lautrec, At the Moulin Rouge, 1892
Henri de Toulouse-Lautrec, At the Moulin Rouge, 1892
• Toulouse-Lautrec specialty was Parisian night life
Henri de Toulouse-Lautrec, At the Moulin Rouge, 1892
• Toulouse-Lautrec specialty was Parisian night life
• Large areas of flat color (no more play on light and color aka impressionism)
Henri de Toulouse-Lautrec, At the Moulin Rouge, 1892
• Toulouse-Lautrec specialty was Parisian night life
• Large areas of flat color (no more play on light and color aka impressionism)
• Tiny bearded man in the back is self portrait
Henri de Toulouse-Lautrec, At the Moulin Rouge, 1892
• Toulouse-Lautrec specialty was Parisian night life
• Large areas of flat color (no more play on light and color aka impressionism)
• Tiny bearded man in the back is self portrait
• Fanciful use of color
Henri de Toulouse-Lautrec, At the Moulin Rouge, 1892 • Toulouse-Lautrec
specialty was Parisian night life
• Large areas of flat color (no more play on light and color aka impressionism)
• Tiny bearded man in the back is self portrait
• Fanciful use of color
• Oil on canvas
Vincent Van Gogh, Night Café, 1888
Vincent Van Gogh, Night Café, 1888
• Emotionally unstable artist who suffered from mental illness.
Vincent Van Gogh, Night Café, 1888
• Emotionally unstable artist who suffered from mental illness
• Best friends with his brother Theo, wrote him hundreds of letters.
Vincent Van Gogh, Night Café, 1888
• Emotionally unstable artist who suffered from mental illness
• Best friends with his brother Theo, wrote him hundreds of letters.
“I wanted to convey an oppressive atmosphere---where one can ruin oneself, go mad, or commit a crime”-Van Gogh (letter to Theo about Night Café)
Vincent Van Gogh, Night Café, 1888
• Emotionally unstable artist who suffered from mental illness
• Best friends with his brother Theo, wrote him hundreds of letters.
Vincent Van Gogh, Night Café, 1888
• Emotionally unstable artist who suffered from mental illness
• Best friends with his brother Theo, wrote him hundreds of letters.
• Unrealistic interpretation of a bar
Vincent Van Gogh, Night Café, 1888
• Emotionally unstable artist who suffered from mental illness
• Best friends with his brother Theo, wrote him hundreds of letters.
• Unrealistic interpretation of a bar
• Objects and scenery are oddly positioned, cartoon like.
Vincent Van Gogh, Night Café, 1888
• Emotionally unstable artist who suffered from mental illness
• Best friends with his brother Theo, wrote him hundreds of letters.
• Unrealistic interpretation of a bar
• Objects and scenery are oddly positioned, cartoon like.
• Oil on Canvas
George Seurat, Sunday Afternoon on the Grand Jatte, 1884-86
George Seurat, Sunday Afternoon on the Grand Jatte, 1884-86
• Uses a technique: Pointillism- a technique of painting small dots of color in applied patterns to form an image
George Seurat, Sunday Afternoon on the Grand Jatte, 1884-86
• Uses a technique: Pointillism- a technique of painting small dots of color in applied patterns to form an image
George Seurat, Sunday Afternoon on the Grand Jatte, 1884-86
• Uses a technique: Pointillism
• Traditional perspective of art elements
George Seurat, Sunday Afternoon on the Grand Jatte, 1884-86
• Uses a technique: Pointillism
• Traditional perspective of art elements
• Figures are statuesque, uncommunicative, & faceless= commentary on modern society and how frozen people are.
George Seurat, Sunday Afternoon on the Grand Jatte, 1884-86
• Uses a technique: Pointillism
• Traditional perspective of art elements
• Figures are statuesque, uncommunicative, & faceless= commentary on modern society and how frozen people are.
• Oil on canvas
Paul Gaugin, Where do we come from? What are we? Where are we going?, 1897
Paul Gaugin, Where do we come from? What are we? Where are we going?, 1897
• Gaugin obsessed with Tahiti lifestyle, country, and culture.
Paul Gaugin, Where do we come from? What are we? Where are we going?, 1897
• Gaugin obsessed with Tahiti lifestyle, country, and culture.
• Left Paris to remove himself from materialism and reconnect with nature.
Paul Gaugin, Where do we come from? What are we? Where are we going?, 1897
• Gaugin obsessed with Tahiti lifestyle, country, and culture.
• Left Paris to remove himself from materialism and reconnect with nature.
• Figures are of native Tahitians living off the land, primitive lifestyle
Paul Gaugin, Where do we come from? What are we? Where are we going?, 1897
• Gaugin obsessed with Tahiti lifestyle, country, and culture.
• Left Paris to remove himself from materialism and reconnect with nature.
• Figures are of native Tahitians living off the land, primitive lifestyle
• Used colors that were native to the tropical flora of the island
Paul Gaugin, Where do we come from? What are we? Where are we going?, 1897
• Gaugin obsessed with Tahiti lifestyle, country, and culture.
• Left Paris to remove himself from materialism and reconnect with nature.
• Figures are of native Tahitians living off the land, primitive lifestyle
• Used colors that were native to the tropical flora of the island
• Interpretation of this piece found in a letter he wrote to his friend
Paul Gaugin, Where do we come from? What are we? Where are we going?, 1897
“Where are we going? Near to death an old woman… What are we? Day to day existence… Where do we come from? Source. Child. Life begins… Behind a tree two sinister figures, cloaked in garments of somber colour, introduce, near the tree of knowledge, their note of anguish caused by that very knowledge in contrast to some simple beings in a virgin nature, which might be paradise as conceived by humanity, who give themselves up to the happiness of living.”
-Gaugin
