lesson 3 Flashcards
(31 cards)
post-impressionism
-breaking free form naturalism of Impressionism
-independent artistic style for expressing emotions rather than imply optical impressions
- theme with deeper symbolism
-simplified colours and definite forms with an abstract tendency
Pointillism1886
respect to the work of :
Georges Seurat
Paul Signac
Henr-Edmond Cross
-tiny strokes, dots, dashes of primary colours are used to generate secondary colours
-it is an offshoot of impressionism and is also called:
Neo-Impressionism
Divisionism
-mélange optique - pulsation shimmer of light of the canvas
Michel Eugène Chevreul
->The Law of Simultaneous Contrast
-incomplete attempt of production a systematic approach to seeing colour in 1839
-design a 72-part colour-circle
-the active role of the brain in the formation of colour
-colours are also effects which are cretaedin the world inside our heads
Georges Seurat 1859-1891
-most imposant Post-Impressionist painter
-structured, monumental art to depict modern urban life
-combined tradition approach, with a study of modern techniques that he also acquired form contemporary optical theories
-he invented the term “chrome-Iuminarism” = intensifying the effect of color and light
Georges Seurat work of art:
Bathers at Asnières 1883-1884
A Sunday on La Grand Latte 1884
The Circus 1890-1891
Allesandro Mendini Armchiar “Poltrona Proust “ 1979
-its a postmodern reinterpretation of an old style armchair with a pattern inspired a what Proust loved the most:
Impressionism and Pointillism of Signac
Symbolism
-initially developed as a French literary movement in the 1880’s -> international avant-garde movement
-art should reflect an emotion or an idea (no the natural world)
-imaginary dream worlds , mysterious figures for biblical stories and Greek mythology
-Woman became the favoured symbol for the expression of there universe emotion
-subjective representation of an ida or emotion.
Symbolism artists
Henri Rousseau Le Douanier
Gaerano Oreviati (danza dell ore)
Art Nouveau (NEW ART)
Jugendstil
Liberty
-1880’s until WWI
-inspiration form the natural world
-influenced art and architecture -> applied arts, graphic work, illustration
-Sinous liens and “whiplash” curves with botanical studies
-unity of all the arts -> uplifting Gesamtkusntwerk
-short lived movement
-> Gaudi
The Vienna Secession 1897
-Gustave Klimt led
-believed that art and culture should be left to the artists (not statesmen)
-wanted to break the isolation (famous culture and the traditionalism)
-Secession house 1898 , design by Joseph Olbrich (best know examples for European architecture)
-1898-1903 published its official magazine “Ver Sacrum”
Gustave Klimt 1862-1918
-myth provided a two language of symbols and allusions
-make the vier interpret the symbolical meaning of the image
-began to use Classical symbols to the excavation of the instinctual world of being
-portraiture of women / the dark ugly features of unconscious
Gustave Klimt works:
Secession Poster 1898
Farm House with Birch Trees 1900
poppy Field 1907
Horticultural Landscape with hilltop 1916
Portrait of Sonny Knips 1898
The Sunflower 1902
Portrait of Adele Bloch Bauer I 1907
Egon Schiele 1890-1918
-protégé of Klimt
-singular style of draftsmanship, unusual use of color, physical raw, sexually provocative depictions of his sitters
-some extremely erotic
-arretest -> even more rough style
Egon Schiele works:
Woman with Black Hat 1909
Self Portrait with Arm Twisting above Head 1910
Fighter 1913
Seated Women ; Sitting woman
Windows 1914
Paul Cézanne 1839-1906
-one of the most influential artists
-unique method of building form with colour and his analytical approach to nature
-brilliant tones -> painting out-of-outdoors
=> tona scale
-builds forms completely form colour / scenes with distorted perspectival space
-objects are rendered without the sue of light or shadow -> gradation of colour
Paul Cézanne works:
Still life with open drawer 1877
Still life with Apples 1890
Gardanne 1885-1886
Mont Sainte -Victore 1882-1885
The Bather 1885
The large Bathers 1898-1906
Bathers 1874-75
Mont Sainte - Victoire
Paul Gauguin 1848-1903
-savage
-fled form urban civilisation in search of an edenic paradise -> create pure “primitive” art
-adopted and adapted Cézanne’s parallel constructive brushstrokes -> freed the colour form mimetic represetnion and distorted form fro expressive purpose
-preoccupations with dreams, mystery and evocative symbols
-used broad, matt fields of non-naturalistic color -> new synthetic style that combined decorative abstract pattering with figuration
Paul Gauguin works:
Vision after the Sermon or Jacob Wrestling with the Angel 1861 ( inspired by Japanese art)
Ornan Maria 1891-1892
Fatata te Miti 1892
Vincent Van Gough 1853-1890
-self taught
-admiration of French artist -> paint rural life
-> lightened his palette and experimented with the broken brushstrokes ( of impressionism)
-influenced by Japanese prints
-put in each of this works hie own personal symbolism:
sunflowers we’re joyous / life affirming
unlaced shoes we’re emblementic of his itinerant existence
Vincent Van Gough works:
The potato peelers 1885
La Berceuse 1889
Sunflowers 1889
The Bedroom in Arles 1889 (no perspective)
The Starry Night 1889
Edvard Munch 1863-1944
-expressionist painter
-great role in German expressionism -> strong mental anguish that was displayed in many of this pieces
-many worlds in the style of Symbolism
->focused on the internal view of the objects (no the Exterior or what the eye can see)
-many live and death scenes / love and terror and the feeling of loneliness
-> thought contrasting lines / darker colours/ blocks of colour / somer tones / exaggerated form -> the darker side of the art
Edvard Munch works:
Vampire 1893
Madonna 1894 and 1895-1902
The Danes of Life 1899
The Snow in the Avenue 1906
The Scream 1893
The Scream 1893
- autobiographical
-expressionistic construction based on his actual experience
-on a walk, after his two companions had left hin
-the flowing curves of art nouveau represent a subject liner fusion -> totality of organic suggestion
-man is part of nature
-the forlorn figure is distorted by the subjective flow of nature, the scream could be interpreted as expression the agony of the obliteration human personality
-it was Munch himself who underwent the experience depicted - the protagonist bears no resemblance to him or anyone else. - created is depersonalised
