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POST-IMPRESSIONISM
Post-Impressionism
Gauguin had a multicultural awareness due to his extensive
travel of the world.
Gauguin gave up his successful life to escape civilization and live
as a painter in Tahiti. Painting took over his life in 1888.
Known for his arbitrary use of secondary and tertiary colors.
He was a very arrogant man who thought quite highly of his own
ability as a painter.
Gauguin was also very inspired by the visual characteristics of
Japanese printmaking.Gauguin, Self Portrait, 1888.
Paul Gauguin
Paul Gauguin
POST-IMPRESSIONISM
Post-Impressionism
Gauguin flattens his picture plane much like the Japanese printmakers
that he often studied.
This was painted while he was in Tahiti. While in the foreign land, he
used exotic people to represent biblical characters. In this painting
he uses a Tahitian woman to represent the Virgin Mary, and he
uses a young Tahitian boy to represent the Young Christ.
This painting clearly demonstrates Gauguin’s use of arbitrary
intermediate and tertiary colors in his paintings.
Paul GauguinIa Orana Maria (Hail Mary), 1891.
POST-IMPRESSIONISM
Paul Gauguin
POST-IMPRESSIONISM
Post-Impressionism
Paul GauguinSelf Portrait With Halo, 1889.
Gauguin thought quite highly of himself as a creator of art. The concept as a ‘creator’
caused Gauguin to see himself as a prophet. He believed himself to be as important as a
prophet because of his ability to see the world in a visionary way as well as his ability to
depict that visionary world onto his canvases.
This is a self portrait of Gauguin surrounded by biblical references. Notice the apples to the right of his face, and the snake that he
holds in his hands. There are many biblical references to sin, while at the same time the
painting alludes to Gauguin being divine.
Paul Gauguin
POST-IMPRESSIONISM
Post-Impressionism
Paul Gauguin, Woman With a Flower, 1891POST-IMPRESSIONISM
Paul Gauguin
POST-IMPRESSIONISM
Post-Impressionism
Paul Gauguin, Tahitian Women on the Beach, 1891 POST-IMPRESSIONISM
Paul Gauguin
POST-IMPRESSIONISM
Post-Impressionism
Paul Gauguin, Where Do We Come From? What Are We? Where Are We Going?, 1897.POST-IMPRESSIONISM
Gauguin’s painting reads from right to left in this case. ( just as Japanese writing is read from right to left )
Emphasis is built on the concept of the “Golden Mean” or “Rule of Thirds”.
This image was done toward the end of Gauguin’s career and it is known as his Masterpiece. It was his largest work and was created in only a month. This work was completed just prior to his attempted suicide by wayof an arsenic overdose. (He was saved when hisbody violently rejected the poison!)
Paul Gauguin
POST-IMPRESSIONISM
Post-Impressionism
Considered a “Classical” Post Impressionist painter who created his images in the absence of line.
Seurat was very interested in the science of color theory. He spent his short life studying and mastering the theory of color and how the eye received color.
He worked in a new style that he called Pointillism
Seurat was intrigued by Impressionism but he felt that lacked the form and structure that all good paintings need. It was his mission to take Impressionism to a much higher and refined level by use of optical blending.
George Seurat
George Seurat
POST-IMPRESSIONISM
Post-Impressionism
George Seurat, The Side Show, 1888.
George Seurat
POST-IMPRESSIONISM
Post-Impressionism
George Seurat,The Circus, 1891.
George Seurat
POST-IMPRESSIONISM
Post-Impressionism George Seurat, Le Pont de Courbevoie, 1886-87.
POST-IMPRESSIONISM
Post-Impressionism George Seurat, Le Pont de Courbevoie (DETAIL)
POST-IMPRESSIONISM
Post-Impressionism
Seurat, Study for La Grand Jatte, 1884.
George Seurat
POST-IMPRESSIONISM
Post-Impressionism
Seurat, Study for La Grand Jatte, 1884.
George Seurat
POST-IMPRESSIONISM
Post-Impressionism George Seurat, The Bathers, 1884.
POST-IMPRESSIONISM
Post-Impressionism Seurat, Sunday Afternoon on the Island of La Grande Jatte, 1886.
POST-IMPRESSIONISM
Post-Impressionism Seurat, Sunday Afternoon (DETAIL)
POST-IMPRESSIONISM
Post-Impressionism
POST-IMPRESSIONISM
Post-Impressionism George Seurat
POST-IMPRESSIONISM
Post-Impressionism George Seurat – Sketch of Eiffel Tower
POST-IMPRESSIONISM
Post-Impressionism George Seurat
POST-IMPRESSIONISM
Post-Impressionism Contrast Cezanne’s ‘Nudes’ with Seurat’s ‘nudes’!
POST-IMPRESSIONISM
Post-Impressionism On display at the Art Institute of Chicago
POST-IMPRESSIONISM
Post-Impressionism On display at the Art Institute of Chicago
POST-IMPRESSIONISM
Post-ImpressionismPOST-IMPRESSIONISM On display at the Art Institute of Chicago
POST-IMPRESSIONISM
Post-Impressionism On display at the Art Institute of Chicago
POST-IMPRESSIONISM
Post-Impressionism
Auguste Rodin
Artist who resurrected the art of bronze sculpture work, as seen in:
The Burghers of Calais
The Gates of Hell
The Thinker
The Kiss
Auguste Rodin
POST-IMPRESSIONISM
Post-Impressionism
Rodin working on bust, 1863.
Auguste Rodin
POST-IMPRESSIONISM
Post-Impressionism
Auguste Rodin,Burghers of Calais, 1884-86.
The armies of King Edward II of England laid siege to the French city of Calais in 1347 during
the Hundred Years’ War, and forced them to surrender. He offered to spare the people of the city if any six of its top leaders would surrender themselves to him, presumably to be executed.
Edward demanded that they walk out wearing nooses around their necks, and carrying the
keys to the city and castle. One of the wealthiest of the town leaders volunteered first, and five
other burghers joined with him. It was this moment, and this poignant mix of defeat, heroic
self-sacrifice, and willingness to face imminent death that Rodin captured in his sculpture,
scaled somewhat larger than life.Although the burghers expected to be executed,
their lives were spared by the intervention of England's queen, who persuaded her husband to exercise mercy by claiming that their deaths
would be a bad omen for her unborn child.
Auguste Rodin
POST-IMPRESSIONISM
Post-Impressionism
Several copies of the bronze work was made. In it, Rodin creates a
sculpture that strays from the typical ‘heroic’ sculpture: The men look
worn, tired and scared. Their hands are disproportionately large, and the work is left with an unfinished, lumpy
look. Rodin also directed that the sculpture by placed, not on a high
pedestal, but rather at eye level, so the viewers can create a sense of
empathy from the Burghers.
Auguste Rodin,Burghers of Calais, 1884-86.
Auguste Rodin
POST-IMPRESSIONISM
Post-Impressionism
Auguste Rodin,The Gates of Hell
1880-1917
Auguste Rodin
POST-IMPRESSIONISM
Post-Impressionism
Auguste Rodin,The Kiss, c1880.
Auguste Rodin
POST-IMPRESSIONISM
Post-Impressionism
Auguste Rodin,The Thinker (or The Poet)c1880
Auguste Rodin
POST-IMPRESSIONISM
Post-Impressionism
Rodin's Funeral in Meudon - November 24, 1917
Auguste Rodin
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