Chapter 29 Fin de Siècle

Post-Impressionism Four major Post Impressionist painters, and the aspects of Impressionism that they criticized and how those criticisms were reflected in their work: Vincent van Gogh Instead of reproducing the colors exactly as he saw them before his eyes, as Impressionists did, he explored the capabilities of colors and distorted forms to express his emotions as he confronted nature. Paul Gauguin He rejected objective representation in favor or subjective expression. Unlike the Impressionists but like van Gogh, he believed color above all must be expressive. Georges Seurat He was less concerned with the recording of immediate color sensations than he was with their careful and systematic organization into a new kind of pictorial order. Paul Cézanne He felt that Impressionism lacked form and structure. His objective was to create a lasting structure behind the formless and fleeting visual information the eye absorbs.

The Great Wave off Kanagawa Katsushika Hokusai The Great Wave off Kanagawa 1857 color woodblock print 9 7/8 x 14 3/4 in.

Ando Hiroshige Plum Garden, Kameido 1857 color woodblock print 36 x 24 cm

Henri de Toulouse-Lautrec At the Moulin Rouge 1892-1895 oil in canvas 4 ft. x 4 ft. 7 in.

For Van Gogh, the primary purpose of color in his paintings was to express emotion “of an ardent temperament.” Vincent van Gogh The Night Café 1888 oil on canvas 2 ft. 4 1/2 in. x 3 ft.

Vincent van Gogh Starry Night 1889 oil on canvas 2 ft. 5 in. x 3 ft. 1/4 in.

Application of paint: The thickness, shape, and direction of his brush strokes create a tactile counterpart to his intense color schemes. He moved the brush vehemently back and forth or at right angles, or squeezed dots or streaks onto the canvas from a paint tube. Vincent van Gogh Starry Night 1889 oil on canvas 2 ft. 5 in. x 3 ft. 1/4 in.

Gauguin's use of color differed from Van Gogh's in that his color areas are flatter, often visually dissolving into abstract patches or patterns. Paul Gauguin The Vision after the Sermon 1888 oil on canvas 2 ft. 4 3/4 in. x 3 ft. 1/2 in.

Gauguin spent the last ten years of his life in Tahiti. Paul Gauguin Where Do We Come From? What Are We? Where Are We Going? 1897 oil on canvas 4 ft. 6 13/16 in. x 12 ft. 3 in.

"I want to make of Impressionism something solid and lasting like the art in the museums” Paul Cézanne. Paul Cézanne The Basket of Apples ca. 1895 oil on canvas 2 ft. 3/8 in. x 2 ft. 7 in.

Mount Sainte Victoire

Paul Cézanne Mount Sainte Victoire 1885 oil on canvas

Paul Cézanne Mount Sainte Victoire 1897 oil on canvas

The role color played in Cézanne's paintings: To create the effects of distance, depth, structure, and solidity. The power of colors to modify the direction and depth of lines and planes. Paul Cézanne Mount Sainte-Victoire 1902-1904 oil on canvas 2 ft. 3 1/2 in. x 2 ft. 11 1/4 in.

Neoimpressionism

The French painter who used the work of color theorists like Chevreul and Rood to develop a scientifically precise method of applying paint was Georges Seurat. The technique did he develop for applying color to canvas was called Pointillism (or divisionism): the separation of carefully observed colors into their component parts. The artist applies these pure component colors to the canvas in tiny dots or daubs. The shapes on the canvas become comprehensible only from a distance, where the viewer’s eye blends the dots. Georges Seurat A Sunday on La Grande Jatte 1884-1886 oil on canvas 6 ft. 9 in. x 10 ft.

successive contrasts (afterimages)

A Sunday on La Grande Jatte Georges Seurat A Sunday on La Grande Jatte 1884-1886 oil on canvas 6 ft. 9 in. x 10 ft.

Symbolism “avant-garde” “Front guard,” a synonym for any particularly new or cutting-edge cultural manifestation, derived from nineteenth-century French military usage where the avant-garde were soldiers sent ahead of the army’s main body to reconnoiter and make occasional raids on the enemy. Avant-garde refers to people or works that are experimental or innovative, particularly with respect to art, culture, and politics.

By the end of the nineteenth century, a major change occurred in the artist's vision of reality: The representation of nature had become completely subjectivized to the point that artists did not imitate nature but created free interpretations of it. Puvis de Chavannes was admired by members of the Academy because of his classicism while the avant-garde artists admired him because of his vindication of imagination and artistic independence from the world of materialism and the machine. Pierre Puvis de Chavannes The Sacred Grove 1884 oil on canvas 2 ft. 11 1/2 in. x 6 ft. 10 in.

Self-Portrait with Death Playing the Violin Arnold Böcklin Self-Portrait with Death Playing the Violin 1872 oil on canvas

Franz von Stuck The Sin 1893 oil on canvas

Three stylistic characteristics of the work of Gustave Moreau. Gorgeous color. Intricate line. Richly detailed shape. Gustave Moreau Jupiter and Semele ca. 1875 oil on canvas 7 ft. x 3 ft. 4 in.

Gustave Moreau Oedipus and the Sphinx 1864 oil on canvas 81 1/4 x 41 1/4 in.

According to Redon, his originality consisted in: “Bringing to life, in a human way, improbable beings and making them live according to the laws of probability, by putting … the logic of the visible at the service of the invisible.” Odilon Redon The Cyclops 1898 oil on canvas 2 ft. 1 in. x 1 ft. 8 in.

The work of Henri Rousseau can be related to that of the Symbolists through his reliance on dream and fantasy, but his style differs from theirs in the following way: His visual, conceptual, and technical naiveté was compensated for by a natural talent for design and an imagination teeming with exotic images of mysterious tropical landscapes. Henri Rousseau The Sleeping Gypsy 1897 oil on canvas 4 ft. 3 in. 6 ft. 7 in.

The major themes in the work of Edvard Munch: The pain of human life, the powerlessness of humans before the great natural forces of death and love and the emotions associated with them. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Edvard Munch The Scream 1893 oil, pastel and casein on cardboard 2 ft. 11 3/4 in. x 2 ft. 5 in.

Edvard Munch The Dance of Life 1900 oil on canvas 49 1/2 x 75 1/2 in. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Edvard Munch The Dance of Life 1900 oil on canvas 49 1/2 x 75 1/2 in.

Realism, Baroque, classicism, and Michelangelo. Stylistic influences are most evident in the sculpture of Jean‑Baptiste Carpeaux: Realism, Baroque, classicism, and Michelangelo. Jean-Baptiste Carpeaux Ugolino and His Children 1865-1867 marble 6 ft. 5 in. high

The style Augustus Saint‑Gaudens utilized for his monument to Mrs The style Augustus Saint‑Gaudens utilized for his monument to Mrs. Henry Adams was considered Classical. Augustus Saint-Gaudens Adams Memorial 1891 bronze 5 ft. 10 in. high

Concerns he shared with Muybridge and Eakins: The human body in motion. Concerns Rodin shared with the Impressionists: The effect of light on the three-dimensional surface. Auguste Rodin Walking Man 1905 bronze 6 ft. 11 3/4 in. high

What did the commisioners of the Burghers of Calais find offensive in the work? The roughly textured figures, the bedraggled impression of the burghers, and the absence of a platform to separate the sculpture from the viewing public. Auguste Rodin Burghers of Calais 1884-1889 bronze 6 ft. 10 1/2 in. high

Arts and Crafts The Arts and Crafts movement originated in England. The goal of the movement was to decry the impact of rampant industrialism and to create an “art made by the people for the people as a joy for the maker and the user.”

The type of objects its members produced included interior decorative objects such as wallpaper, textiles, furniture, books, rugs, stained glass, pottery, windows, lights, and wainscoting. William Morris Green Dining Room 1867

William Morris and Charles Rennie and Margaret Macdonald Mackintosh. The Scottish artists who practice the ideas of the Arts and Crafts movement: William Morris and Charles Rennie and Margaret Macdonald Mackintosh. Two adjectives that describe the designs of husband and wife: Precisely geometric Rhythmical Charles Rennie Mackintosh Ingram Street Tea Room Glasgow, Scotland 1900-1902

Art Nouveau The style that developed out of the ideals of the Arts and Crafts movement was given different names in different countries: in France, Belgium, Holland, England and the United States: L’Art Nouveau in Germany: Jugendstil in Spain: Modernismo in Italy: Floreale or Liberty

Four sources from which Art Nouveau artists drew inspiration: The Arts and Crafts movement Japanese prints Symbolism Post-Impressionists such as Van Gogh and Gauguin Victor Horta staircase in the Van Eetvelde House Brussels, Belgium 1896

The sort of forms were preferred by Art Nouveau artists included the twining plant form, tendrils, and delicate tracery. The English Graphic artist who worked at the intersection of Art Nouveau and symbolism was Aubrey Beardsley Aubrey Beardsley The Peacock Skirt for Oscar Wilde’s Salome 1894 pen-and-ink illustration

Gaudi’s architectural style: Sculpturally modeled, imaginative, free-form masses with an emphasis on surface. Antonio Gaudi Casa Milá Barcelona, Spain 1907

Gustav Klimt The Kiss 1907-1908 oil on canvas 5 ft. 10 3/4 in. x 5 ft. 10 3/4 in.

Gustav Klimt Judith II 1909 oil on canvas 178 x 46 cm

Gustav Klimt Death and Life 1908-11 oil on canvas 70 1/8 x 78 in.

Louis Comfort Tiffany Lotus Table Lamp ca. 1905 leaded favrile glass, mosaic and bronze 2 ft. 10 1/2 in. high

Alexandre-Gustave Eiffel Eiffel Tower Paris, France 1889 wrought iron 984 ft. high

Alexandre- Gustave Eiffel Eiffel Tower Paris, France 1889 wrought iron 984 ft. high

Henry Hobson Richardson Marshall Field wholesale store Chicago, Illinois 1885-1887

Louis Henry Sullivan Guaranty Building Buffalo, New York 1894-1896

Carson, Pirie Scott Building Louis Henry Sullivan Carson, Pirie Scott Building Chicago, Illinois 1899-1904

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.