1. Post Impressionism Many Small Movements, 1880-1920

2. Post Impressionism

3. Post Impressionism c. 1880- 1920 Post Impressionism NabisCloisonnismSynthetismSymbolism School of Pont Aven Neo- Impressionism

4. Influence on Modern Art

5. Artists associated to movements: Cloisonnism (1888) School of Pont- Aven (c.1888) Nabis (1888) Synthetism (1889) Anquetin Anquetin Bernard Bernard (Gauguin) (Gauguin) Gauguin Gauguin Bernard Bernard Denis Denis Vuillard Vuillard Bonnard Bonnard Sérusier Sérusier Roussel Roussel Vallotton Vallotton Gauguin Gauguin Schuffenecker Schuffenecker Bernard Bernard Serusier Serusier Ranson Ranson

7. Paul Cézanne ‘House of the Hanged Man’ 1873

8. Paul Cézanne ‘Landscape, Auvers’, 1873

9. Pissarro ‘ Gelée blanche’, 1873

10. Paul Cézanne ‘The Bathers Resting’, 1875-76

11. Paul Cézanne ‘The Bathers’, 1900-5

12. Adolphe-William Bouguereau, ‘The Bathers’, 1884

13. Comparison…

14. Paul Cézanne ‘Still Life with Compotier’ 1879-1882

15. He was fascinated by the relation of colour to modelling - Brightly coloured, round solids (e.g. Apple) was ideal He was interested in achieving a balanced design, therefore he stretched the bowl to the left to fill a void. As he wanted to study all the shapes on the table and their relationship, he simply tilted it forward to make them come into view. Everything (apart from the bowl & glass) has been reduced to its essential form – either spherical or rectangular – enforcing a great sense of weight and mass. Curves echo round the canvas. To achieve a sense of depth without sacrificing the brightness of colours. To achieve an orderly arrangement without sacrificing the sense of depth – all sacrifices EXCEPT for maintaining the conventional ‘correctness’ of outline. He was not out to distort nature; but he did not mind much if it became distorted in some minor detail if it helped obtain the desired effect. He was not out to distort nature; but he did not mind much if it became distorted in some minor detail if it helped obtain the desired effect. Cézanne’s Still Lives

16. Paul Cézanne ‘Still Life with Plaster Cupid’ c.1895

17. Paul Cézanne ‘Table, Napkin, and Fruit’, 1895-1900

18. Paul Cézanne ‘Apples and Oranges’, c. 1899

19. Paul Cézanne 'Mont Sainte-Victoire seen from Bellvue‘, c. 1882-1885

20. Paul Cézanne ‘Mont Sainte-Victoire’, 1902-4

21. Georges Seurat ‘The Bathers, Asnières’, 1883-4

22. ‘Student’s text book of Colour: or, Modern Chromatics with Applications to Art & Industry’, 1881 by Ogden Rood, American Physicist ‘Student’s text book of Colour: or, Modern Chromatics with Applications to Art & Industry’, 1881 by Ogden Rood, American Physicist ‘Principle of Harmony & Contrast of Colours and their application to the Arts’, 1839 – by Michel-Eugène Cheureul ‘Principle of Harmony & Contrast of Colours and their application to the Arts’, 1839 – by Michel-Eugène Cheureul

23. George Seurat ‘Sunday Afternoon on the Island of La Grande Jatte’, 1883-1886

24. Georges Seurat ‘The Lighthouse at Honfleur’, 1886

25. Paul Signac ‘Breakfast (The Dining Room)’ c. 1886/87

26. Paul Signac ‘Portrait of Félix Fénéon’, 1890

27. George Seurat ‘Circus’, 1890-91

28. Paul Signac ‘Red Buoy, Saint Tropez’, 1895

29. Paul Gauguin ‘La Bergère bretonne’, 1886

30. Louis Anquetin ‘Evening: Avenue de Clichy’ 1887

31. Emile Bernard ‘View from the Bridge at Asnières’, 1887

32. Louis Anquetin ‘Girl Reading a Newspaper’, 1890

33. Emile Bernard ‘Buckwheat Harvesters at Pont- Aven’, 1888

34. Emile Bernard ‘Women on a Prairie’, 1888

35. Paul Gauguin ‘The Vision after the Sermon (Jacob and the Angel)’, 1888

36. Emile Bernard ‘Self-Portrait with Portrait of Gauguin’, 1888

37. Paul Gauguin ‘Self Portrait: Les Misérables’, 1888

38. Vincent Van Gogh ‘The Bridge in the Rain (After Hiroshige)’, 1887

39. Hokusai

40. Paul Gauguin ‘Portrait of Van Gogh painting’, 1888

41. Vincent Van Gogh ‘Sunflowers’, 1888

42. Paul Gauguin ‘Le Christ jaune (The Yellow Christ)’ 1889

43. Emile Bernard ‘Paysannes Bretonnes’, c1889

44. Vincent Van Gogh ‘The Bridge in the Rain (After Hiroshige)’, 1887

45. Hokusai

46. Paul Gauguin ‘Portrait of Van Gogh painting’, 1888

47. Vincent Van Gogh ‘Sunflowers’, 1888

48. Vincent van Gogh ‘Vincent’s Chair with his Pipe’, 1888-9

49. Vincent Van Gogh ‘Room at Arles’, 1889

50. Vincent Van Gogh ‘Self Portrait’, 1889

51. Vincent van Gogh ‘A Corner of the Garden of St Paul's Hospital at St Rémy’, 1889

52. Vincent van Gogh ‘A Cornfield with Cypresses’, 1889

53. Vincent Van Gogh ‘Portrait of Dr Gachet’, 1890

54. Vincent van Gogh ‘Farms near Auvers’, 1890

55. Vincent van Gogh ‘ Wheatfield with Crows’, 1890

56. Paul Gauguin ‘Harvest: Le Pouldu’, 1890

57. Émile Bernard ‘Sortie d'église à Médréac’, 1891

58. Paul Sérusier ‘Les Lavandières de Bellangenet’, ca. 1892

59. Paul Gauguin ‘Spirit of the Dead Watching’, 1892

60. Henri Toulouse-Lautrec ‘Divan Japonaise’, 1893

61. Henri Toulouse-Lautrec ‘Jane Avril au Jardin de Paris’, 1893

62. Paul Gauguin ‘Breton Peasant Women’, 1894

63. Paul Gauguin ‘Where do we come from? What are we? Where are we going?’ 1897

64. Paul Serusier ‘Landscape in the Bois d’Amour (The Talisman)’, 1888

65. “[Gauguin said] How do you see these trees? They are yellow. Well then, put down yellow. And that shadow blue. Render it with pure ultramarine. Those red leaves? Use vermilion”

66. Paul Sérusier ‘Roof Tops in Paris’, c. 1891

67. Pierre Bonnard ‘The Two Poodles’, 1891

68. Pierre Bonnard ‘Intimité’, 1891

69. Maurice Denis ‘July’, 1892

70. Edouard Vuillard ‘Les coulisses du Théâtre de l'Oeuvre’, c.1894

71. Maurice Denis ‘Homage to Cezanne’, 1900

72. “Remember that a picture before being a battle horse, a nude, or some anecdote is essentially a flat surface covered in colours assembled in a certain order.” Denis

73. Cézanne Cézanne realised that the eye takes in a scene both consecutively and simultaneously – and in his work, the single perspective gives way to a shifting view, acknowledging that perspective changes as the eyes and head move. Cézanne realised that the eye takes in a scene both consecutively and simultaneously – and in his work, the single perspective gives way to a shifting view, acknowledging that perspective changes as the eyes and head move.

74. Cézanne Here, as with Cézanne’s other landscapes, he renders depth and space with COLOUR, rather than traditional forms of linear perspective and tonal modelling. Here, as with Cézanne’s other landscapes, he renders depth and space with COLOUR, rather than traditional forms of linear perspective and tonal modelling. “Colour must reveal every interval in depth.” “Colour must reveal every interval in depth.”

75. Cézanne The image shows the recession of cool colours and advance of warm colours (and variations in intensity). The image shows the recession of cool colours and advance of warm colours (and variations in intensity).

76. Cézanne The image has a restricted colour palette of pale greens, earth colours and a wide range of blues. The image has a restricted colour palette of pale greens, earth colours and a wide range of blues.

77. Cézanne Cézanne’s work stood apart from the ‘Impressionists’, as he was still concerned with maintaining form, rather than purely focusing on the effects of light. Cézanne’s work stood apart from the ‘Impressionists’, as he was still concerned with maintaining form, rather than purely focusing on the effects of light.

78. Cézanne Cézanne uses ‘directional’ brushstrokes, with the different planes of the landscape being placed in parallel lines; equal and separate brushstrokes. Cézanne uses ‘directional’ brushstrokes, with the different planes of the landscape being placed in parallel lines; equal and separate brushstrokes.

79. Cézanne He is painting from a high viewpoint – which tips the landscape up, flattening it closer to the picture plane and cuts down the sky area. He is painting from a high viewpoint – which tips the landscape up, flattening it closer to the picture plane and cuts down the sky area.