1. END OF THE 19 TH CENTURY & BEGINNING OF THE 20 TH CENTURY MODERN ART

2. 1860s - 1900s IMPRESSIONISM

3. BACKGROUND TO THE IMPRESSIONIST PERIOD Began in the 1860s Centered in Paris around a loose collective of artists/friends Term “impressionists” coined as an insult of the painter Claude Monet’s Impression – Sunrise (1872) Argued that their paintings were just “impressions” or sketches, not real paintings Impressionist style spread to music and literature as well as visual arts Beginning of modern art? Incredibly popular today 6 of 10 most expensive paintings are Impressionist or Post- Impressionist painters

4. A CRITIC OF THE IMPRESSIONISTS “Impression — I was certain of it. I was just telling myself that, since I was impressed, there had to be some impression in it … and what freedom, what ease of workmanship! Wallpaper in its embryonic state is more finished than that seascape.”

5. Impressionists were rebels Napoleon III’s Academie des Beaux-Arts controlled the world of French painting (both content and style) They wanted historical/religious themes, realistic depictions and portraits Each year it held a salon The rebellious painters were rejected each year Eventually they were allowed to have their own salon (salon des refuses) in 1863 Afterwards they were further rejected, so by 1873 they started their own “society” BACKGROUND TO THE IMPRESSIONIST PERIOD

6. CHARACTERISTICS OF IMPRESSIONIST ART Broad quick brush strokes (to capture the “essence” of the subject) Emphasized overall “impression” of the scene rather than specific details Examined the effect of light and color on a scene Painted landscapes Painted candid portraits and depictions of regular life Emphasized spontaneity, bright color, and light

7. CHARACTERISTICS OF IMPRESSIONIST ART Mix wet paint together to create shadows, greys Otherwise, very little mixing of colors (The blending is in the eye of the viewer) Opaque surfaces to the painting Paint at different times of day (including evening) No harsh lines Emphasize natural light Naturalistic scenes of everyday life, people and landscapes

8. CHARACTERISTICS OF IMPRESSIONIST ART Impressionist style was not “brand new” Just anti-establishment NOTE: Impressionism was not a rebellion against photographic “realism”. Impressionists were inspired by photography Wanted to capture intimate day-to-day moments in life They explored what photography lacked (i.e. color) Spiritual forefathers include: Diego Velasquez Peter Paul Rubens J.M.W. Turner Eugene Delacroix Gustave Courbet

9. “PURE” IMPRESSIONISTS

10. CAMILLE PISSARRO (1830 - 1903)

11. CAMILLE PISSARRO “Father” of the impressionists Rebelled against the Salons in France Great supporter of younger artists like Cezanne, Gaugin and Seurat, even post-impressionists like Henri Matisse Saw his painting as a continued expression of freedom vs. control of government, society Hard to categorize his art into neat chronologies (early, middle, late)

12. NORWOOD (1871)

13. THE RAINBOW (1877)

14. HOARFROST (1877)

15. PEASANT GIRL DRINKING HER COFFEE (1881)

16. BOULEVARD MONTMARTRE, NIGHT (1897)

17. BOULEVARD MONTMARTRE, RAINY (1897)

18. BOULEVARD MONTMARTRE, AFTERNOON (1897)

19. CLAUDE MONET (1840 – 1926)

20. CLAUDE MONET Perhaps the most famous impressionist painter “pure” impressionist who moved the art style forward into the 1900s Famous for painting the same scene at different times of day or seasons Most famous for his “water lily” paintings

21. THE BODMER OAK, FONTAINEBLEU FOREST (1865)

22. HAYSTACKS AT SUNRISE (1865)

23. GARDEN AT SAINTE ADRESSE (1867)

24. THE MAGPIE (1869)

25. THE BEACH AT TROUVILLE (1870)

26. GARE ST. LAZARE (1877)

27. THE STROLL, CAMILLE MONET AND HER SON JEAN (1875)

28. THE CLIFFS AT ERETAT (1885)

29. WHEATSTACKS (END OF SUMMER) (1890-91)

30. BRIDGE OVER A POND OF WATER LILIES (1899)

31. HOUSES OF PARLIAMENT, SUNSET (1904)

32. WATER LILIES (THE CLOUDS) (1903)

33. WATER LILIES (1907)

34. WATER LILIES (1916)

35. PIERRE-AUGUST RENOIR (1841 – 1919)

36. PIERRE-AUGUST RENOIR Worked closely with Monet throughout the 1880s Lots of paintings of modernized Paris Scenes of middle-class leisure Painted lots of nudes

37. NINI IN THE GARDEN (1875 – 76)

38. DANCE AT LE MOULIN LA GALETTE(1876)

39. GYPSY GIRL (1879)

40. LUNCHEON OF THE BOATING PARTY (1881)

41. ON THE TERRACE (1881)

42. OTHER IMPRESSIONISTS

43. EDOUARD MANET (1832 - 1883)

44. EDOUARD MANET Never regarded himself as an impressionist His early nudes shocked critics “Who’s for lunch?” - about Luncheon in the Grass (1863) His early paintings set the stage for Impressionism

45. ABSINTHE DRINKER (1858)

46. LUNCHEON IN THE GRASS (1863)

47. OLYMPIA (1863)

48. THE EXECUTION OF THE EMPEROR MAXIMILIAN (1868)

49. A BAR AT THE FOLIES-BERGERES (1881 - 82)

50. EDGAR DEGAS (1834 - 1917)

51. EDGAR DEGAS Hated the term “impressionist” Most famous for his paintings of dancers Made art out of scenes/subjects that had never been made art before Yet borrowed many themes/subjects from earlier artists Quote: “We were created to look at one another, weren’t we?”

52. INTERIOR (THE RAPE) (1868)

53. MUSICIANS IN THE ORCHESTRA (1872)

54. THE DANCE CLASS (1873 - 76)

55. DANCE SCHOOL (1874)

56. THE STAR OF THE DANCE (1876)

57. L’ABSINTHE (1876)

58. BALLET DANCERS IN THE WINGS (1900)

59. AT THE STOCK EXCHANGE (1879) An example of Anti-Semitic painting in the late 19 th century

60. LITTLE DANCER OF FOURTEEN YEARS (SCULPTURE)

61. 1890s - 1920s POST-IMPRESSIONISM

62. BACKGROUND TO POST-IMPRESSIONISM Refers generally to styles following Impresionism Paved the way for 20 th century artists While they followed the Impressionists, in some ways they rejected the Impressionist’s style Impressionism was too “naturalistic and casual” They sought a more effective way to convey emotion in art

63. PAUL CEZANNE (1839 - 1906)

64. Transition painter between Impressionism and Post-Impressionism Laid foundations for 20 th century painting PAUL CEZANNE

65. THE BLUE VASE (1883 - 1887)

66. THE CARD PLAYERS (1890 - 92)

67. WOMAN WITH A COFFEE POT (1895)

68. RIDEAU, CRUCHON ET COMPOTIER (1893 -94)

69. SEATED PEASANT (1895 - 1900)

70. STILL LIFE WITH SKULL (1895 - 1900)

71. TABLE, NAPKIN AND FRUIT (1895 - 1900)

72. ROAD BEFORE THE MOUNTAINS (1898 - 1902)

73. CHATEAU NOIR (1900 - 1904)

74. VINCENT VAN GOGH (1853 - 1890)

75. VINCENT VAN GOGH Dutch painter who moved to Paris in 1886 Impression influenced his style early He took his style in a direction of pure expression of color, brushstrokes His paintings literally leave a texture on the canvas Wanted to use his painting to “say something comforting in the way that music is comforting” Only sold 1 work during his life (Red Vineyard) One of the most influential artists to 20 th century art Influenced Fauvism, Expressionism

76. VAN GOGH’S DEPRESSION Depressed much of his life Yellow tinge to many later paintings Halo effect? Many medical suggestions as to his ailments Lead poisoning Absinthe Schizophrenia, epilepsy, bipolar disorder, etc. Cut off his left ear during a seizure (or perhaps after an argument with Paul Gaugin) in 1888 Killed himself in 1890 Walked into a field and shot himself in the chest with a revolver Did not realize the wound was fatal and walked away Died two days later Last recorded words: “the sadness will last forever”

77. SELF PORTRAIT WITH DARK FELT HAT (1886)

78. THE RED VINEYARD (1888)

79. POET’S GARDEN (1888)

80. CAFE AT NIGHT (1888)

81. STARRY NIGHT OVER THE RHONE (1888)

82. VASE WITH SUNFLOWERS (1888)

83. VINCENT’S BEDROOM AT ARLES (1889)

84. STARRY NIGHT (1889)

85. SELF PORTRAIT WITHOUT BEARD (1889)

86. IRISES (1889)

87. SELF PORTRAIT WITH BANDAGED EAR (1889)

88. WHEAT FIELD WITH CROWS (1890)

89. THE CHURCH AT AUVERS (1890)

90. PORTRAIT OF DR. GACHET (1890) Sold for $82,500,000 in 1996

91. PAUL GAUGUIN (1848 - 1903)

92. PAUL GAUGUIN Grandson of socialist leader Flora Tristan Was not always a painter Mentored by Pissarro

93. THE VISION AFTER THE SERMON (1888)

94. BLUE TREES (1888)

95. BRETON GIRLS DANCING (1888)

96. VAN GOGH PAINTING SUNFLOWERS (1888)

97. WHERE DO WE COME FROM? WHAT ARE WE? WHERE ARE WE GOING? (1897)

98. GEORGES SEURAT (1864 - 1901)

99. GEORGES SEURAT Style = pointilism Seen as too limited by other artists

100. SUNDAY AFTERNOON ON THE ISLAND OF LA GRAND JATTE (1884 - 86)

101. DETAIL OF LA PARADE (1889)

102. HENRI DE TOULOUSE-LAUTREC (1864 - 1901)

103. HENRI DE TOULOUSE-LAUTREC Broke both legs when an adolescent Stunted growth to only 4 ½ feet tall Lived and worked in the Montmartre section of Paris Writers, poets, painters living the “bohemian” style Toulouse-Lautrec loved to paint that world of dance halls, drinking and women Drank himself to death in 1901

104. DANCE AT THE MOULIN ROUGE (1890)

105. MOULIN ROUGE ADVERTISEMENT (1891)

106. IN BED (1893)

107. ALONE (1896)

108. LA TOILETTE (1896)

109. AT THE MOULIN ROUGE (C. 1890-95)

110. MODERN ART AND THE TOP 10 MOST EXPENSIVE PAINTINGS (2006) 2. Adele Bloch-Bauer I, Klimt (135,000,000) 5. Portrait of Dr. Gachet, van Gogh (82,500,000) 6. La Bassin aux Nympheas, Monet (80, 500,000) 7. Bal au Moulin de la Gallette, Renoir (78,000,000) 9. Portrait of the Artist without Beard, van Gogh (71,500,000) 10. Ridon, Cruchon et Compotier, Cezanne (60,500,000)

111. EXPRESSIONISM

112. Indebted to Freud Art tries to penetrate the façade of bourgeois superficiality and probe the psyche—that which lurks beneath an individual’s calm and artificial posture Paintings illustrated the artist’s state of mind rather than the material world

113. CHARACTERISTICS OF EXPRESSIONISM Subliminal anxiety Dissonance in color and perspective Pictorial violence—manifest* and latent** *Manifest (adj) readily perceived by the eye or the understanding; evident; obvious; plain **Latent (adj) present or potential but not visible, apparent, or realized

114. Edvard Munch The Scream 1893

115. Ernst Ludwig Kirchner Street Scene with a Cocotte in Red 1914

116. Oskar Kokoschka, The Tempest, 1914

117. Max Beckmann The Night 1918-1919

118. SURREALISM

119. Also indebted to Freud Explores the dream world, a world without logic, reason, or meaning Fascination with mystery, the strange encounters between objects, and incongruity Subjects are often indecipherable in their strangeness The beautiful is the quality of chance association

120. CHARACTERISTICS OF SURREALISM The dream sequence Illogic Fantasy

121. Giorgio de Chirico The Vexations of the Thinker

122. Salvador Dali, The Persistence of Memory

123. Salvador Dali, The Face of War

124. Max Ernst Two Children are Menaced by a Nightingale

125. Joan Miró, Dog Barking at the Moon

126. Marc Chagall Self-portrait with Seven Fingers 1913

127. CUBISM No single point of view No continuity or simultaneity of image contour All possible views to top, sides, front, and back Picture becomes a multifaceted view of objects with angular, interlocking planes

128. CHARACTERISTICS OF CUBISM A new way of seeing A view of the world as a mosaic of multiple relationships Reality as interaction

129. Pablo Picasso Les Demoiselles d’Avignon 1905?

130. Pablo Picasso, Paysage Mediterraneen

131. Georges Braque, The Table

132. ABSTRACT EXPRESSIONISM Nonrepresentational art No climaxes Flattened-out planes; and values The real appearance of forms in nature is subordinated to an aesthetic concept of form composed of shapes, lines and colors

133. CHARACTERISTICS OF ABSTRACT EXPRESSIONISM Personal and subjective interpretation “you see what you want to…”

134. Henry Moore, Reclining Figure 1977

135. Alberto Giacometti Man Pointing 1947 (Bronze sculpture)

136. Mark Rothko Ochre on Red 1954

137. Jackson Pollock, Stenographic Figure, 1942

138. REFERENCES/SOURCES Nearly all pictures are from “Mark Harden’s Artchive” --http://www.artchive.com/