1 Joh John Cons Constabl ble- e- Flatford Mill, 1816-7 George - - PDF document

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Joh John Cons Constabl ble- e- Flatford Mill, 1816-7 George Lam

• rge Lambert

ert- Classical Landscape, 1745 Patanazzi workshop- Wine Cooler, 1580

„Classical‰ Landscape Painting

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.

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„Classical‰ Landscape Painting

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 Francoi Francois Bucher- Bucher- Landscape with a Watermill, 1743

Millet’s composition for this painting is influenced by the work of Flemish Landscape artists of the 16th 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.

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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 Use of intense colours colours in uncontrolled way; in uncontrolled way; Not usually realistic Not usually realistic colour colour Subject matter mostly realistic; somewhat stylized and simplifie Subject matter mostly realistic; somewhat stylized and simplified, but not d, but not completely abstracted. The movement was a substantial influence completely abstracted. The movement was a substantial influence on some

• n some
• f the Expressionists
• f the Expressionists.

The Expressionists The Expressionists: : Artists: Artists: Edvard Munch, Kathe Kollwitz Edvard Munch, Kathe Kollwitz

Germany Germany, 1905 , 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. express the inner state of the artist. EMOTIONAL!!!! EMOTIONAL!!!! Many different Many different  Âschools schoolsÊ Ê or groups of artists for this

• r groups of artists for this

movement (Der Blaue Reiter, Bauhaus) movement (Der Blaue Reiter, Bauhaus)

Post-Impressionism can be loosely defined as a rejection of the Impressionists' concern for the naturalistic depiction of light and colour in favour of an emphasis on abstract qualities or symbolic content. It therefore includes NEO- IMPRESSIONISM, SYMBOLISM, CLOISONNISM, SYNTHETISM and the later work of some Impressionists. Cezanne Cezanne bridges Impressionism and Cubism

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

• f 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.

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Mary Cas Mary Cassatt- att- Children Playing at the Beach, 1884 Camile Camile Pissar Pissarro-

• - The Stagecoach, 1870

Claude Monet- Claude Monet- Sunrise, 1872 Alfred Sisel Alfred Sisely- Autumn: Banks of the Seine near Bougival, 1873 Gust Gustav ave Cail e Cailli lieb ebott

• tte-

Paris Street-A Rainy Day, 1877

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
• rder 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.

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Paul Paul Paul Paul C Ce ezann zanne e zann zanne e -

• Mont Sainte

Mont Sainte-

• Victoire seen from Bellvue, 1882

Victoire seen from Bellvue, 1882-

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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.

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Paul C Paul Cezann zanne Paul C Paul Cezann 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.

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Paul C Paul C Paul C Paul Ce ezann zanne e zann zanne e -

• Mont Sainte

Mont Sainte-

• Victoire

Victoire, 1902 , 1902-

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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.

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Georges

• rges Seurat

Seurat Georges

• rges Seurat

Seurat-

• The Lighthouse at

The Lighthouse at Honfleur Honfleur, 1886 , 1886 Paul Signac Paul Signac Paul Signac Paul Signac-

• Red Buoy, Saint Tropez, 1895

Red Buoy, Saint Tropez, 1895

• Seurat Revisited themes from the Impressionist’s repertoire
• Very much a sub-section of Impressionism
• Works by Paul Signac & George Seurat were included in the last Impressionist Exhibition held in

1886 – at the suggestion of Camille Pissarro’s son Lucien.

• All four met in 1885 and worked in the style soon to be labelled Neo-Impressionism by critic Félix

Fénéon and later ‘pointilism’.

• Divisionism is used to refer to the theory and pointillism to the technique.
• The pictures hung separately from the main exhibition – inviting critics to compare old & new

styles

• Positive reviews from Fénéon and Paul Adam; “This exhibition initiates [us] into a new art.”
• By early 1880’s many impressionist felt that Impressionism had gone too fare in dematerializing

the object and had become too ephemeral.

• Seurat tries to retain Impressionist Luminosity whilst reconstituting the object – choosing a typical

Impressionist theme – urban leisure.

• The working method was far removed from the spontaneity associated with Impressionist

Paintings.

• Seurat made 14 oil sketches before final selection for the ‘Bathers at Asnières’
• In 1884, Signac sought out Seurat after seeing the Bathers and discovered a shared interest in

Colour theory and optics, and developed it scientifically.

• Seurat and Signac worked together on the theory of ‘Divisionism’ and looked at ‘Student’s text book of

Colour: or, Modern Chromatics with Applications to Art & Industry’, 1881 by Ogden Rood, American Physicist

• As well as ‘Principle of Harmony & Contrast of Colours and their application to the Arts’, 1839 – by Michel-

Eugène Cheureul (whom Signac tracked down to interview).

• They worked on the premise that colour mixed in the eye – not on the palette, therefore perfected a

technique for applying dots of colour on the canvas so that they blended when viewed from a distance.

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Pissarro ssarro Pissarro ssarro-

• Gelee blanche , 1873

Gelee blanche , 1873

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Henri Matisse- Henri Matisse- The Luxembourg Gardens, 1901

In 1901 Matisse exhibited at the Salon des Indépendants in Paris and met another future leader of the Fauve movement, Maurice de Vlaminck. His first solo show took place at the Galerie Vollard in 1904. Both Leo and Gertrude Stein, as well as Etta and Claribel Cone, began to collect Matisse’s work at that time. Like many avant-garde artists in Paris, Matisse was receptive to a broad range of

• influences. He was one of the first painters to take an interest in “primitive” art.

Matisse abandoned the palette of the Impressionists and established his characteristic style, with its flat, brilliant colour and fluid line. His subjects were primarily women, interiors, and still lifes.

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Henri Matisse- Henri Matisse- Place des Lices, St Tropez 1904 Henri Matisse- Henri Matisse- Glimpse of the Notre Dame In the Late Afternoon 1902

After he visited the painter John Peter Russell who introduced him to impressionism and to the work of Van Gogh, Matisse's style changed completely, and he would later say "Russell was my teacher, and Russell explained colour theory to me." Influenced by the works of the post-Impressionists Paul Cézanne, Gauguin, Van Gogh and Paul Signac, and also by Japanese art, he made colour a crucial element of his paintings. In 1898 he went to London to study the paintings of J. M. W. Turner. His first solo exhibition was in 1904, without much

• success. The paintings of this period are characterized by flat shapes and

controlled lines, with expression dominant over detail. At the 1905 Salon d'Automne, several artists exhibited paintings with wild, vivid colours and were soon called Fauves (wild beasts). Matisse was recognized as

• ne of its leaders. Other members were Derain, Georges Braque, Raoul Dufy

and Maurice Vlaminck. The decline of the Fauvist movement after 1906 did nothing to affect the rise of Matisse; many of his finest works were created between 1906 and 1917. His friends organized and financed the Académie Matisse in Paris, a private and non- commercial school in which Matisse instructed young artists. It operated from 1911 until 1917.

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Maurice de Maurice de Vlaminck- Vlaminck- Autumn Landscape, 1905 Maurice de Maurice de Vlaminck- Vlaminck- Landscape with Red Trees, 1906

Maurice de Vlaminck's "Landscape with Red Trees" is an exquisite example of his early style of Fauvism because of the vibrant colours. two-dimensional flat surface, and the creative view of a landscape. Subject Matter- This is one of Vlaminck's many landscape works. In this particular painting there are trees and bushes with a building or house in the background. Materials and Technique- This painting is oil on canvas. Vlaminck used brushes to paint but like Van Gogh, Vlaminck often applied his paint straight from the tube without using a brush at times. Composition- The trees are along a diagonal pathway or lake shore. The foreground's space is occupied with the ground and either a reflection in the water from the trees or a wall. The middle ground has a diagonal row of tall trees. The background has a house or a building behind the tall trees. Space- The space is two dimensional although there is a foreground, middle ground, and background. It is meant to look like a flat surface or like a painting, which is another characteristic of the Fauves. texture pattern and outline. Brushwork- Vlaminck's brushstrokes were broad and thick as it is especially shown in the thick outline of the trees and in the other Use of Colour- Vlaminck, like Van Gogh, used reds, oranges, and yellows. He also did not mix the paint which makes the colours bright. There is also localized colour of reds and yellows to lead the viewers eye around the different areas of the painting. The trees are red, orange, and have a little bit of purple and black. Sense of Movement- The trees show a sense of movement because they are swaying to the left which would suggest that there is a wind or breeze. Lines and Forms- In the foreground of the painting there is a diagonal line along which the trees follow. All

• f the figures have a black outline which makes it look 2 dimensional and brings out the specific lines and

figures. Use of Light and Shadow- There is not a definite light source or any shadows but the painting is still very bright and it is made obvious that it is probably sometime in the middle of the day when the sun is high in the sky shining light on everything. The upper section of the trees are darker suggesting that they are in shadow.

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Mauric Maurice de e de Vlaminck- Vlaminck- Potato Pickers, 1905

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Vincent Van Gogh- Vincent Van Gogh- Landscape with House and Labourer ,1889 Vincent Van Gogh- Vincent Van Gogh- Wheatfield with Cypresses, 1889

The term Post-Impressionism was coined by the English art critic Roger Fry for the work of such late 19th-century painters as Paul Cezanne, Georges Seurat, Paul Gauguin, Vincent van Gogh, Henri de Toulouse-Lautrec, and others. All of these painters except van Gogh were French, and most of them began as

• Impressionists. However, each of them abandoned the style to form their own

highly personal art. The personal styles that developed came to be known as post-impressionism. Impressionism was based in its strictest sense, on the recording of nature through the effects of colour and light. The Post-Impressionists rejected this limited aim in favour of more ambitious expression while admitting their debt to the pure brilliant colours of Impressionism, its freedom from traditional subject matter, and its technique of defining form with short brushstrokes of broken colour. The Post-Impressionists often exhibited together, but, unlike the Impressionists, who began as a close-knit group, they painted mainly alone. Cezanne painted in isolation at Aix-en-Provence in southern France; his solitude was matched by that of Paul Gauguin, who in 1891 took up residence in Tahiti, and of van Gogh, he painted in the countryside at Arles. Both Gauguin and van Gogh rejected the indifferent objectivity of Impressionism in favour of a more personal, spiritual expression.

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Vinc Vincent Van ent Van Gogh- Gogh- Autumn Landscape, 1885 Vinc Vincent Van ent Van Gogh- Gogh- Road with Cypress and Star, 1890

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Vincent Van Gogh- Vincent Van Gogh- Starry Night, 1889

Van Gogh painted Starry Night while in an Asylum at Saint-Remy in 1889. There is the night sky filled with swirling clouds, stars ablaze with their own luminescence, and a bright cresset moon. Although the features are exaggerated, this is a scene we can all relate to, and also one that most individuals feel comfortable and at ease with. This sky keeps the viewer's eyes moving about the painting, following the curves and creating a visual dot to dot with the stars. This movement keeps the onlooker involved in the painting while the other factors take hold.

• 2. Below the rolling hills of the horizon lies a small town. There is a peaceful

essence flowing from the structures. Perhaps the cool dark colors and the fiery windows spark memories of our own warm childhood years filled with imagination

• f what exists in the night and dark starry skies. The centre point of the town is

the tall steeple of the church, reigning largely over the smaller buildings. This steeple casts down a sense of stability onto the town, and also creates a sense

• f size and seclusion.

To the left of the painting there is a massive dark structure that develops an even greater sense of size and isolation. This structure is magnificent when compared to the scale of other objects in the painting. The curving lines mirror that of the sky and create the sensation of depth in the painting. This structure also allows the viewer to interpret what it is. From a mountain to a leafy bush, the analysis of this formation is wide and full of variety.

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Vincent van Go Vincent van Gogh gh Vincent van Go Vincent van Gogh gh-

• Wheatfield with Crows , 1890

Wheatfield with Crows , 1890

Wheatfield with Crows is one of Van Gogh’s most famous paintings and probably the one most subject to speculation. It was executed in July 1890, in the last weeks of Van Gogh’s life. Many have claimed it was his last work, seeing the dramatic, cloudy sky filled with crows and the cut-off path as obvious portents of his coming end. However, since no letters are known from the period immediately preceding his death, we can only guess what his final work might really have been.

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Paul Gauguin- Paul Gauguin- Landscape at Le Pouldu , 1890 Paul Gauguin- Paul Gauguin- Breton Village in the Snow, 1886 Paul Gauguin- Paul Gauguin- Brittany Landscape ,1886 In 1874, after meeting the artist Camille Pissarro and viewing the first impressionist exhibition, he became a collector and amateur painter. He exhibited with the impressionists in 1876, 1880, 1881, 1882, and 1886. In 1883 he gave up his secure existence to devote himself to painting; his wife and children, without adequate subsistence, were forced to return to her family. From 1886 to 1891 Gauguin lived mainly in rural Brittany (except for a trip to Panama and Martinique from 1887 to 1888), where he was the centre of a small group of experimental painters known as the school

• f Pont-Aven. Under the influence of the painter mile Bernard, Gauguin turned away from

impressionism and adapted a less naturalistic style, which he called synthetism. He found his inspiration in the art of indigenous peoples, in medieval stained glass, and in Japanese prints; he was introduced to Japanese prints by the Dutch artist Vincent van Gogh when they spent two months together in Arles, in the south of France, in 1888. Gauguin's new style was characterized by the use of large flat areas of non-naturalistic colour. In 1891, ruined and in debt, Gauguin sailed for the South Seas to escape European civilization and everything that is artificial and conventional. Except for one visit to France from 1893 to 1895, he remained in the Tropics for the rest of his life, first in Tahiti and later in the Marquesas Islands. The essential characteristics of his style changed little in the South Seas; he retained the qualities

• f expressive colour, denial of perspective, and thick, flat forms. Under the influence of the tropical

setting and Polynesian culture, however, Gauguin's paintings became more powerful, while the subject matter became more distinctive, the scale larger, and the compositions more simplified. His subjects ranged from scenes of ordinary life, such as Tahitian Women and surrounding tropical landcapes.

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Paul Gauguin- Paul Gauguin- Tahitian Landscape, 1891 Paul Gauguin- Paul Gauguin- Mahana no atua (Day of the Gods), 1894

Gauguin's bold experiments in colouring led directly to the 20th-century Fauvist style in modern art. His strong modelling influenced the Norwegian artist Edvard Munch and the later expressionist school.

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Ed Edvard rd Mun Munch- Girls on the Bridge, 1902 Ed Edvard rd Mun Munch- Moonlight, 1885

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Ed Edvard rd Mun Munch- The Scream (Despair), 1893 Ed Edvard rd Mun Munch- The Sun, 1912