-individual artistic practices
-not visually coherent
-more concern w personal emotion, fantasy, dreams
-spiritual & emotional experience
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| young woman powdering herself- georges seurat 1889-90 neo-impressionist complementary colors soft colors borrowed from impressionism erasing hand of artist |
COMPARED TO:
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| la berceuse- vincent van gogh 1889 post-impressionist complementary colors saturated, bright, solid colors dark contour lines use of impasto |
-excess
-nervousness
-disturbing brightness of colors
-dramatic, intense
-escaped to arles
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| self-portrait w bandaged ear- vincent van gogh 1889 |
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| carpenters workshop & laundry- van gogh 1882 painting disappointed the patron (his uncle) dutch peasant family life |
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| the bearers of the burden- van gogh 1881 pen & ink altar suggests his christianity parallels btwn christ carrying the cross & female workers carrying coal sacks |
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the potato eaters- van gogh
early work
1885
trying to show dignity of the family
quasi-spiritual overtone
crucifix icon in left top corner
incredible attention to hands & faces
emphasis on hands = manual labor
meant to feel sympathy towards figures
caricature like rendering of faces = more stylistic, less academic
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COMPARED TO:
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| after dinner at ornans- courbet 1849 |
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the sower- van gogh
1888
intense colors
lone figure, isolated in landscape
directionality of brushwork
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yellow house at arles- van gogh
1888
arles = france's version of japan
gauguin joins him at this house
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| the sower (w setting sun)- van gogh 1888 intense colors lone figure, isolated in landscape patchwork brushstroke directionality of brushwork borrowing color theory from neo-impressionists complementary colors |
COMPARED TO:
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| the sower- jean-francois millet
1850
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portrait of pere tanguy- van gogh
1887-8
influence of non-western (japanese prints in background)
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the courtesan (after keisai eisen)- van gogh
1887
copying a piece of print culture
studying japonisme or japonaiserie (his term for it)
appreciating balance & decorativeness
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- cloisonne enamel- little threads of flattened metal are arranged into patterns & liquid enamel is poured in (used in asian & byzantine art)
vincent van gogh & paul gauguin self-portraits dedicated to one another, 1888
arbitrary color
gauguin depicts himself more like an outlaw
van gogh depicts himself almost as a monk
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| the artist's bedroom in arles- van gogh 1888 distorted perspective complementary colors "self-portrait" colors do the communicating crude |
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| the chair & the pipe- van gogh portraiture through objects 1889 disorientating perspective, odd angle chair doesn't seem sturdy |
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| the armchair of gauguin- van gogh 1888 more fancy "fire of knowledge" |
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| joseph roulin- van gogh 1888 amplified use of arbitrary color pure, bright color isolated from surrounding |
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| eugene boch- van gogh 1888 arbitrary color emphasizes certain features isolated from surrounding |
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| the arena at arles- van gogh 1888 bullfighting culture uneasy mood asiatic features in bullfighting, the fighter can win an ear of the bull as as prize |
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| ward in the hospital at arles- van gogh 1889 crucifix at the end pays more attention to architecture |
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| garden in the hospital at arles- van gogh lighter, brighter colors architecture 1889 |
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| olive trees w yellow sky & sun- van gogh 1889 focus on landscape aliveness animation of brushstrokes create detail |
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| starry night- van gogh 1889 animation of brushstrokes landscape portrait proto-expressionist |
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| the night cafe- van gogh 1888 colored shadows & light avoided using much black agitated disorientating perspective light fixtures look like eyes |
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| l'arlesienne w gloves & umbrella- van gogh 1888 |
COMPARED TO:
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| night cafe at arles- gauguin 1888 figures w asiatic features |
- van gogh & gauguin have a falling out -van gogh cuts off his ear for the lady he was seeing at the time
-he is admitted to a mental health facility
paul gauguin:
-abandoned wife & escaped to brittany
-goes to tahiti as an escape from modern france
tahiti was actually a french colony
supported indigenous rights
had a travel journal that he wrote in while here
-big figure in primitivism
- primitivism: tendency of artists escaping to a non-western culture to find an alternative to western aesthetics
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| vision after the sermon: jacob wrestling w the angel- gauguin 1888 women of brittany complementary colors biblical event put into space of brittany rural reality + christian scripture flat, no shadows uncertainty of scene tree separates jacob + angel from figures = is it really happening or not? |
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| yellow christ- gauguin 1889 arbitary, warm colors cloisonne technique used as painterly version imagining christ inhibiting the same world as the figures |
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| green christ- gauguin 1889 arbitrary color bringing christ down from the cross imagining christ inhibiting the same world as the figures |
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| christ in the garden of olives- gauguin 1889 christ looks like guaguin- thinking about own relationship w christianity, ethics, morality |
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| self-portrait w a halo- gauguin 1889 serpent coiling btwn fingers |
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| bonjour monsieur gauguin- gauguin 1889 fence = isolates him |
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la orana maria (hail mary)- gauguin
1891
mixing christian w local tahitian traditions
mother & child
angel w blue & gold wings in the back
embrace different model of physical beauty
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| manao tupapau (the specter watches her)- gauguin 1892 vulnerability exotic sexuality gauguin's lover unidentifiable gender/androgenous? haunting vision that he experienced where he saw a spirit haunting her composition may be influenced by manet's olympia |
COMPARED TO:
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| sleeping hermaphroditus- gian lorenzo bernini 1620 |
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| mahana no atua (day of the god)- gauguin 1894 bottom register colorful & abstract tertiary colors mysterious, allegory? hidden narrative |
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| where do we come from? what are we? where are we going?- gauguin 1897 crisis painting circle of life idol figure attempted suicide after completing moved beyond exoticizing tahiti women are less sexualized eve figure? unrealistic exaggerated colors |
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| mont sainte victoire- cezanne 1904 |
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| portrait of gustave geffroy- cézanne 1895 |
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| madame cézanne in a yellow chair- cézanne 1890 |
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| the hanged man's house- cezanne 1873 |
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| the basket of apples- cezanne 1895 |
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| still life w plaster cupid- cézanne 1895 |
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| the abduction- cezanne 1867 |
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| mont sainte victoire seen from the bibemus quarry- cézanne 1897 |
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| the large bathers- cezanne 1906 unfinished trees form triangle |
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| bathers (les grandes baigneuses)- cezanne 1905 |
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| three bathers (trois baigneuses)- cezanne 1879-82 |
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| bathers outside a tent- cezanne 1883-5 |
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| the bather- cezanne 1885 |
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| ophelia among the flowers- odilon redon 1905 symbolism chromatic dissonance doesn't follow local color quasi-abstract reducing forms to decorative ends appeal to emotions elements of primitivism dreams, visions |
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| roger & angelica- redon ca. 1908 symbolism chromatic dissonance doesn't follow local color quasi-abstract reducing forms to decorative ends appeal to emotions elements of primitivism dreams, visions |
"the essential aim of our art is to objectify the subjects... instead of subjectifying the objective"
-jean moreas
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| the scream- edvard munch 1893 about the individual explicit about emotions |
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| the voice- munch 1893 play btwn representation & abstraction background = emotional state mysterious personal allegory about the individual |
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