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Joh John Cons Constabl ble- e- Flatford Mill, 1816-7 George Lam orge Lambert ert- Classical Landscape, 1745 „Classical‰ Landscape Painting Patanazzi workshop- Wine Cooler, 1580 Constable- Flatford Mill lay in the heart of corn milling business lead by his father, Golding. Constable created most of this painting on the summer of 1816 sitting nearFlatford footbridge which is to the left of Constable’s composition. Lambert ’s Classical scene is purely fictitious as he never visited Italy. His scenes are imagined in the classical traditions of landscape painting. These sort of designs would be used in panelling and interior decoration, not as specific art works in their own right. People are dressed in imagined pastoral fashions. Wine cooler from Patanazzi workshop would have been used in formal dining. The scenes depicted would be water-related- this one shows fishermen and towns. Ice or cold water would be poured into the bowl in order to keep the wine cool. This workshop was one of the most successful Maiolica (type of ceramic) workshops in Urbino. 2
Francois Francoise Mi e Mill llet et- Mountain Landscape with Lightning, 1675 Pe Pete ter P r Paul Ruben Rubens- The Watering Place, 1615-22 „Classical‰ Landscape Painting Francois Bucher- Francoi Bucher- Landscape with a Watermill, 1743 Millet’s composition for this painting is influenced by the work of Flemish Landscape artists of the 16 th Century. Loose brushwork attributed to Gaspar Dughet. Painting has been likened to Old Testement stories such as Ahab and the destruction of Sodom and Gomorrah but unconvincingly. Rubens ’ painting was paid homage to by Gainsborough in his work of the same title. The title of the piece has been simplified- it actually is named “ Peasants with Cattle by a stream in a Woody Landscape” Bucher’s landscape is based from imagination. The mood is more romantic than realistic. The composition is harmonious with temple, people, clouds and trees all arranged to create harmony. Bucher has also created a serene mood by his choice of muted colours- blues, greens and browns and cool and warm areas. 3
Post-Impressionism can be loosely defined as a rejection of Cezanne Cezanne the Impressionists' concern for the naturalistic depiction of bridges Impressionism light and colour in favour of an emphasis on abstract and Cubism qualities or symbolic content. It therefore includes NEO- IMPRESSIONISM, SYMBOLISM, CLOISONNISM, SYNTHETISM and the later work of some Impressionists. The Expressionists: : The Expressionists Artists: Edvard Munch, Kathe Kollwitz Edvard Munch, Kathe Kollwitz Artists: Germany, 1905 Germany , 1905- -1940 1940Ê Ês s The intention is not to reproduce a subject accurately, The intention is not to reproduce a subject accurately, but instead to portray it in such a way as to but instead to portray it in such a way as to express the inner state of the artist. EMOTIONAL!!!! EMOTIONAL!!!! express the inner state of the artist. Many different  Many different Âschools schoolsÊ Ê or groups of artists for this or groups of artists for this movement (Der Blaue Reiter, Bauhaus) movement (Der Blaue Reiter, Bauhaus) The Fauves: Artists: Henri Matisse, Paul Gauguin Henri Matisse, Paul Gauguin France France, 1898 , 1898- -1908 1908 Means „ Means „Wild Beast Wild Beast‰ ‰ Use of intense colours colours in uncontrolled way; in uncontrolled way; Not usually realistic Not usually realistic colour colour Use of intense Subject matter mostly realistic; somewhat stylized and simplified, but not Subject matter mostly realistic; somewhat stylized and simplifie d, but not completely abstracted. The movement was a substantial influence completely abstracted. The movement was a substantial influence on some on some of the Expressionists. of the Expressionists Cézanne can be said to form the bridge between late 19th century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. The line attributed to both Matisse and Picasso that Cézanne "is the father of us all" cannot be easily dismissed. After Cézanne died in 1906, his paintings were exhibited in Paris in a large scale museum-like retrospective in September 1907. The 1907 Cézanne retrospective at the Salon d'Automne greatly impacted the direction that the avant-garde in Paris took, lending credence to his position as one of the most influential artists of the 19th century and to the advent of Cubism. Cézanne's explorations of geometric simplification and optical phenomena inspired Picasso, Braque, Gris, and others to experiment with ever more complex multiple views of the same subject, and, eventually, to the fracturing of form. Cézanne thus sparked one of the most revolutionary areas of artistic enquiry of the 20th Century, one which was to affect profoundly the development of modern art. 4
Alfred Sisel Alfred Sisely- Autumn: Banks of the Seine Camile Camile Pissar Pissarro- o- The Stagecoach, 1870 near Bougival, 1873 Gustav Gust ave Cail e Cailli lieb ebott otte- Paris Street-A Rainy Day, 1877 Mary Cassatt- Mary Cas att- Children Playing at the Beach, Claude Monet- Sunrise, 1872 Claude Monet- 1884 IMPRESSIONISM was an art movement that started in the mid-19th century and rose to popularity in the last quarter of the century. The movement was inspired by a variety of factors, including anti-establishment, foreign/Asian influences and a desire to paint modern life instead of academic subjects of history and mythology. Famous artists: Edgar Degas, Claude Monet, Claude Monet exhibited his landscape "Impression: Sunrise" in the 1872 Paris Salon which provoked the art critic Louis Leroy to coin the term "Impressionism" in a satiric review published in Le Charivari. The Impressionist style of painting emphasized loose imagery rather than finely delineated pictures. The artists of the movement worked mostly outdoors and strived to capture the variations of light at differing times throughout the day. Their colour palettes were colourful and they rarely used blacks or greys. Subject matter was most often landscape or scenes from daily life. Impressionists were interested in the use of colour, tone, and texture in order to objectively record nature. They emphasized sunlight, shadows, and direct and reflected light. In order to produce vibrant colours, they applied short brush strokes of contrasting colours to the canvas, rather than mixing hues on a palette. Quote by Monet: "I prefer enjoying my bad sight, renouncing to paint if necessary, but at least see a bit what I like.“ Cassatt was the only noted female of the group and was also an American. 5
Paul Paul Paul Paul C Ce ezann zanne zann zanne e e - -Mont Sainte Mont Sainte- -Victoire seen from Bellvue, 1882 Victoire seen from Bellvue, 1882- -5 5 With Landscape – the problem of rendering depth in space by Colour became crucial. Linear perspective and tonal modelling would detract from the truth of this optical impressions and were, therefore, to be avoided. “Colour must reveal every interval in depth”, he said, through the recession of cool colours and the advance of warm colours and variations in intensity. It was partly in response to this, that he began (after c. 1882) to paint more thinly with a restricted palette of pale greens, earth colours and a wide range of blues. Cezanne 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. 6
Paul C Paul Cezann Paul C Paul Cezann zanne zanne- - Landscape, Landscape, Auvers Auvers, 1873 , 1873 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. 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.” The image has a restricted colour palette of pale greens, earth colours and a wide range of browns. 7
Paul C Paul C Paul C Paul Ce ezann zanne zann zanne e e - -Mont Sainte Mont Sainte- -Victoire Victoire, 1902 , 1902- -4 4 The image shows the recession of cool colours and advance of warm colours (and variations in intensity). 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 uses ‘directional’ brushstrokes, with the different planes of the landscape being placed in parallel lines; equal and separate brushstrokes. 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. 8
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