1. Claude Monet Impression: Sunrise 1872 Oil on canvas, 48 x 63cm

2. Works by the Impressionists

3. Post-Impressionism

4. Term coined by the British artist and art critic Roger Fry in 1910 to describe the development of French art after Impressionism The term was used when Fry organized the 1910 exhibition -- Manet and Post- Impressionism

5. Post-Impressionism Created works during the 1880s in Paris, France 4 Key Post-Impressionists: –Paul Cezanne –Paul Gauguin –Vincent Van Gogh –Georges Seurat

6. The Post-Impressionists Started off painting in the Impressionist style but later developed their own highly personal style. The Post-Impressionists rejected the Impressionists aim of capturing fleeting moments in favour of more ambitious expression.

7. IMPRESSIONISM - Depict momentary sensation of light & colour - Use of a bright palette.

8. POST-IMPRESSIONISM Move beyond the visual/perceptual experience. - Van Gogh & Gauguin ~ Emphasis on feelings/emotions - Cezanne & Seurat ~ Emphasis on form (3D volume) & structure

9. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Father of Modern Art

10. Pablo Picasso Still Life with a Bottle of Rum 1911 The experiments by Cezanne paved the foundation for the works of Picasso.

11. PAUL CEZANNE Mt St Victoire 1895 Oil on canvas

12. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Mt St. Victoire with the Great Pine 1885 - 87

13. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 - Captured the timeless beauty of Mont St. Victoire - Best remembered for his still-lifes and landscape paintings.

14. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Beginnings / Early works: - Thickly painted ~ Paint was laid on with unskillful vigour with a palette knife ~ Crude appearance with heavy impasto & dark colour - Dominant use of dark colours ~ Black, white, tans, greys, occasion touches of brilliant colour ~ Strong contrasts of black & white.

15. Early Works PAUL CEZANNE 1839 - 1906 Portrait of the Artist’s Father 1866

16. Early Works PAUL CEZANNE 1839 - 1906 The Black Clock 1869 - 71

17. Early Works PAUL CEZANNE 1839 - 1906 1870 - 71: - Preoccupied with landscape painting Landscape 1870 -71

18. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 1872 -- First encounters with Impressionism: - Under the influence of Camille Pissarro: ~ Started painting outdoors ~ Stopped using palette knife ~ Juxtaposed bright colours & avoided black ~ Created a complex mosaic of delicately balanced touches of colour Camille Pissarro The Orchard 1872

19. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Landscape at Auvers 1873

20. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 House of the Hanged Man 1873 - Blocks of form solidly defined and kept in balance by arrangement of horizontals, verticals & diagonals

21. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Lessons Cezanne learnt from Impressionism: - Use of brushstrokes as a constructive tool to model volume - Interplay of colours * Evolved to study the relationship between colours, tones & forms

22. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Reactions to Impressionism: Searched for underlying structure instead of mere depiction of light and outward surfaces Avoided depictions of modern life; painted landscapes and still life of more classical conception Looked for inspiration from Old Masters, such as Poussin

23. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Mt St. Victoire with the Great Pine 1885 - 87

24. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Mt St. Victoire with the Great Pine 1885 - 87 - Mountain = An integral part of the landscape. - Landscape is framed by the trunk & branches of the pine tree - Removed any distractions of the painting

25. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Mt St Victoire 1885 - 87 - Modelled volumes & thrust them out into space as though he was chiselling them from rock. * Retained the volume of objects & the firmly constructed space which he admired in the art of the past.

26. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Mt St Victoire Seen from Bibemus 1898 - 1900

27. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Mt St Victoire 1900

28. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Mont St Victoire 1902 -6

29. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Mt St Victoire, Seen from Les Lauves 1904 - 06

30. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Mt St. Victoire: - Built up pictorial structure by the schematic overlay of colours applied in short, square strokes of the brush - Worked at creating a permanence in the sense of timelessness that also embraces solidity & flux, order & flexibility - Aimed to take the contemporary aspects out of his subject and make them appear permanent and eternal

31. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Development of Cezanne’s brushwork: Characteristic Style: Method of fine, long parallel strokes, applied in layer upon layer of transparent colour - Developed his characteristic colour patches through range of colour and direction of brushwork - Represented the rich diversity of planes and movements in space without losing any brilliance of colour & its reflection

32. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Self-Portrait with Rose Background

33. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Madam Cezanne in Red Armchair 1877

34. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Boy in a Red Waist Coat 1890 - 95

35. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 1880s - 1890s: Portraits & Figures - Impersonal / detachment from the sitter “To make a universal kind of painting, painting in which form itself is the real subject.” - Worked & reworked, structured & restructured his pictures laboriously. ~ Right balance of form and colour - Lacked life-like spontaneity but make up for this lack in their exquisite sense of order and harmony.

36. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Still-life with Fruit Basket 1890

37. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Still-life with Apples & Oranges 1890 -1900

38. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Basket of Apples 1890 - 1894

39. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Still-Lifes: - Ideal subject for working slowly - Fruits = Products of nature; Jars = Sense of craftsmanship - Focus on shapes of objects & interference of their presence to one another ~ Fruits lost sensual appearance ~ Instead they are arranged in order of occurrence of size & colours in specific sense of order & spatial relationships

40. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 The Card Players 1890 - 95

41. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 The Card Players 1890 - 92

42. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Bathers: - Attempt at an idealised unity between man and nature in the tradition of Old Masters - Painted in the studio - Figures were based on studies of models / sculptures copied in the Louvre

43. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 The Large Bathers - Female bathers form triangular groups framed by inward slanting trees, which suggest a compact design

44. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 - Painted landscapes / still-lifes of more classical conceptions - Search for fundamental truths & inherent structure in nature ~ Led to unprecedented degree of abstraction - Tight & complex compositions

45. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Purpose of colour: -For structural purposes - e.g. ~ perspective, light / shade, depth / distance, shape / solidity

46. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 Way of working: -Intense observation over a long period of time - Explored properties of lines, planes, colours & their inter- relationships ~ e.g. - Effect of linear direction; capacity of planes to create sensation of depth; intrinsic qualities of colour; power of colour to modify the direction and depth of lines & planes

47. POST-IMPRESSIONISM PAUL CEZANNE 1839 - 1906 * Cezanne = The great structuralist among the Post-Impressionists. “Treat nature by the cylinder, the sphere, and the cone.” - Such comments about ‘structuring’ nature would give direction to the originators of Cubism in the 20th century.