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Impressionism Neo-Impressionism Secessionism Aestheticism Symbolism Post-Impressionism Modernism Fauvism Primitivism Exp

Impressionism. Originated in France 1860-1900Evoke strong but subtle, perceptual impressions of sunlight, color and shadowRejected Academic conventionsNot interested in telling stories and painting moralsThe sensations of light, color and movement. Dance at le Moulin de la Galette, Montmartre,

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Impressionism Neo-Impressionism Secessionism Aestheticism Symbolism Post-Impressionism Modernism Fauvism Primitivism Exp

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    1. Impressionism Neo-Impressionism Secessionism Aestheticism Symbolism Post-Impressionism Modernism Fauvism Primitivism Expressionism Ch. 19 ????? ?????????? ??????? Ch. 20 ???? ??????? Ch. 21 ????? (?)??? ??????????? Ch. 22 ????? (?)??????????? ??????????? Ch. 23 ????? ??????? ???? Ch. 24 ????? ?????????? ????????????? ???? Week 12 2007/11/28 Iris Tuan

    2. Impressionism Originated in France 1860-1900 Evoke strong but subtle, perceptual impressions of sunlight, color and shadow Rejected Academic conventions Not interested in telling stories and painting morals The sensations of light, color and movement

    3. Dance at le Moulin de la Galette, Montmartre, 1876, AUGUSTE RENOIR

    4. Rouen Cathedral. Harmony in Blue, 1893, CLAUDE MONET

    5. Neo-Impressionism A distinct group within the Impressionist movement Connecting corridor between the two larger movements of Impressionism and Post-Impressionism Less concerned with painting spontaneously and more interested in the preparatory and technical aspects of design and color form

    6. Neo-Impressionism Less interested in evoking spontaneity and movement Seurat labored intensively on preparatory studies for up to a year before beginning to work on the final painting The only artists to develop working methods “organizing” the color on his canvas Pointillism and Divisionism are the most significant of these theory based methods

    7. Bathers at Asnieres, 1884, GEORGES SEURAT THIS SIMPLE MOMENT OF LEISURE CAPTURED IN SHIMMERING PAINT DISGUISES THE ENORMOUS AMOUNT OF LABOUR THAT MADE IT POSSIBLE

    8. The little Country Maid, 1882, CAMILLE PISSARRO

    9. Secessionism In German and Austrian, the artists who broke with the traditions of the art Academies at the end of the 19th century Secession artists wanted independent exhibitions Three most significant Secessions: Munich, Berlin and Vienna

    10. Secessionism Although the Munich Secession showed some avant-grade work it also included a large amount of Naturalistic and Impressionistic painting and was not strongly associated with the period’s most experimental artists The Berlin Secession was formed in 1898 and quickly established itself as the voice of opposition to the conservatism of Berlin’s tradition of Academic painting

    11. Secessionism The Vienna Secession was founded by Gustav Klimt in 1897 The most distinctive work of this group of painters combined a flat, decorative style with subtle, often strong, use of color

    12. The Kiss, 1907-8, GUSTAV KLIMT

    13. Aestheticism Initially a 19th century literary movement led by writers like Oscar Wilde and Joris Karl Huysmans Aestheticism soon found advocates among artists who wanted to liberate art from morality, politics and social purpose

    14. Aestheticism From which Symbolism developed ‘Art for art’s sake’ Provoke a complex and highly nuanced assortment of sensuous and intellectual responses in the viewer

    15. Aestheticism The work as art object was more important than the subject of the painting Demanded that the viewer have sufficient ‘disinterest’ or detachment, to distinguish between feelings Aestheticism’s insistence on art’s independence from life and their scorn for the bourgeoisie

    16. Nocturne: Black and Gold - The Fire Wheel, 1875, JAMES ABBOTT MCNEILL WHISTLER

    17. A Sleeping Girl, c.1875, ALBERT MOORE

    18. Symbolism Symbolism emerged in the 1880s and was eclipsed by the rise of Modernism Symbolist art subverted bourgeois conventions and emphasized disturbing and disturbed states of mind Influenced by spiritualism, anarchism and socialism

    19. Symbolism Against the 19th century’s belief: science and technology Explored what these left out: the life of the spirit, the mysterious, uncanny, the unknown or the unspeakable Suggestive of another reality

    20. Symbolism Gauguin emphasized that the emotional response to art is more important than the intellectual. The artist must paint on the basis of his intuition and imagination rather than observation and description Melancholy, sexuality and disturbance are central to Symbolism

    21. Green Death, C.1905, ODILON REDON

    22. The Storm, 1893, EDVARD MUNCH

    23. Post-Impressionism Very broad term used to cover much art produced between the 1880s and the early 20th century The most significant artists: Gauguin, Cezanne and Van Gogh The English critic Roger Fry for his exhibition Manet and the Post-Impressionists in London

    24. Post-Impressionism Manet asserted his freedom to break with tradition in pursuit of his own vision Rejecting most bourgeois standards of taste Focus on design and structure and a refusal to imitate nature or moralise through narrative subjects

    25. Post-Impressionism Emphasis on form recovered the significance of art’s symbolic, spiritual and emotional meaning Cezanne approached his painting as something which had to be designed and given a shape Gauguin structured his works to convey what he thought was the spiritual truth of his subject matter

    26. Mountains at Saint-Remy, 1889, VINCENT VAN GOGH

    27. Still Life: Flask, Glass and Jug, c.1877, PAUL CEZANNE

    28. Ch. 19 ????? ?????????? ??????? ????:Il Gesa?? ???:???????? ????:??????? ??:??????? ??:??,???,????????? ??:??(??????) ???:???????? ???:????? ???:???

    29. Ch. 19 ????? ?????????? ??????? ???:???????? ???:???????? ???:??????????? ?????:????? ?????:??????? ?????:?? ?????:?????????

    30. Ch. 20 ???? ??????? ????:??(????) ???:?????????? ???:??????? ????:???? ??:????? ????:??? ????:??????? ???????????????? ????:????????????

    31. Ch. 20 ???? ??????? ????:???? ??:??? ????:???? ???:?? ???:??????

    32. Ch. 21 ????? (?)??? ??????????? ??????????:??——?? ???:???? ???:???????? ??:??????? ???:??????? ???:???——?????

    33. Ch. 22 ????? (?)??????????? ??????????? ????(????????) ?????( ??????? ) ????? ??????(??????) ??:???

    34. Ch. 23 ????? ??????? ???? ????????(????) ??????????? (????) ????????(????????) ????? ???:??????????? ???:????????? ???:????? ????:?????????

    35. Ch. 23 ????? ??????? ???? ????:???? ??:?????? ??:????? ?????:???—????

    36. Ch. 24 ????? ?????????? ????????????? ???— ?????311 ?????312 ??:?313 ???:?314 ??— ???:??????????????????? ??:????

    37. Ch. 24 ????? ?????????? ????????????? ??:???? ??:??????????? ??:?? ???:?????,????? ??:????? ??:??????? ????:??????? ????:????? ?.????:????????

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