1. Chapter 29
Fin de Siècle

3. 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.

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

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

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

7. 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.

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

9. 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.

10. 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.

11. 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.

12. "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 oil on canvas 2 ft. 3/8 in. x 2 ft. 7 in.

13. Mount Sainte Victoire

14. Paul Cézanne
Mount Sainte Victoire
1885 oil on canvas

15. Paul Cézanne
Mount Sainte Victoire
1897 oil on canvas

16. 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
oil on canvas 2 ft. 3 1/2 in. x 2 ft. 11 1/4 in.

17. Neoimpressionism

18. 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
oil on canvas 6 ft. 9 in. x 10 ft.

19. successive contrasts (afterimages)

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

21. 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.

22. 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.

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

24. Franz von Stuck
The Sin
1893 oil on canvas

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

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

27. 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.

28. 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.

29. 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.

30. 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.

31. 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
marble 6 ft. 5 in. high

32. 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

33. 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

34. 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
bronze 6 ft. 10 1/2 in. high

35. 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.”

36. 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

37. 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

38. 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

39. 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

40. 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

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

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

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

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

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

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

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

48. Henry Hobson Richardson Marshall Field wholesale store
Chicago, Illinois

49. Louis Henry Sullivan
Guaranty Building
Buffalo, New York

50. Carson, Pirie Scott Building
Louis Henry Sullivan
Carson, Pirie Scott Building
Chicago, Illinois

51. 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.