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Georges Seurat Sunday Afternoon at La Grande Jatte 1884 - 86

Georges Seurat Sunday Afternoon at La Grande Jatte 1884 - 86. Name TWO influences on Seurat. - Ancient Greek art, Renaissance paintings, Impressionism, Colour theory, Ingres, Delacroix, Rembrandt What is the aim of Seurat’s art?

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Georges Seurat Sunday Afternoon at La Grande Jatte 1884 - 86

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  1. Georges Seurat Sunday Afternoon at La Grande Jatte 1884 - 86

  2. Name TWO influences on Seurat. - Ancient Greek art, Renaissance paintings, Impressionism, Colour theory, Ingres, Delacroix, Rembrandt • What is the aim of Seurat’s art? - To achieve harmony in his painting / make the moment lasting • What is the painting technique developed by Seurat known as? - Pointillism

  3. What is the mathematical theory used by Seurat known as? - Golden Ratio • Write down FIVE words that you will use to describe the composition found in Seurat’s work. - Balanced, structured, organized, still, peaceful, repetitive patterns, simple, quiet…

  4. The Passionate Humanist VINCENT VAN GOGH 1853 - 1890 POST-IMPRESSIONISM

  5. VINCENT VAN GOGH Starry Night 1889 POST-IMPRESSIONISM

  6. VINCENT VAN GOGH 1853 - 1890 • Dutch artist • Art & life closely interwoven • Aim of his paintings: • Wanted his pictures to give joy and consolation to every human being POST-IMPRESSIONISM

  7. VINCENT VAN GOGH 1853 - 1890 Netherlands (Dutch Period) 1880 - 1885 POST-IMPRESSIONISM

  8. VINCENT VAN GOGH 1853 - 1890 Women Miners 1882 POST-IMPRESSIONISM

  9. Keywork VINCENT VAN GOGH 1853 - 1890 The Potato Eaters 1885 POST-IMPRESSIONISM

  10. VINCENT VAN GOGH 1853 - 1890 • Dutch Period: • Social Concerns: • Spokesman for the poor & helpless • Focused on rural life & labour • Paintings characterised by dark somber colours and crude brushwork, especially the use of dark outlines • Subject matter = Peasants (toil and hardship; frugal way of life) POST-IMPRESSIONISM

  11. VINCENT VAN GOGH 1853 - 1890 Paris 1886 - 1888 POST-IMPRESSIONISM

  12. VINCENT VAN GOGH 1853 - 1890 View of the Boulevard de Clichy 1887 - 88 POST-IMPRESSIONISM

  13. VINCENT VAN GOGH 1853 - 1890 Self Portrait in front of Easel 1888 POST-IMPRESSIONISM

  14. VINCENT VAN GOGH 1853 - 1890 • Paris period: • Absorbed the lessons of Impressionism and the pointillist technique of Seurat • Exposed to influences from Japanese Ukiyo-e prints • Palette brightened; depicted contemporary surroundings POST-IMPRESSIONISM

  15. VINCENT VAN GOGH 1853 - 1890 Arles 1888 - 1889 POST-IMPRESSIONISM

  16. Keywork VINCENT VAN GOGH 1853 - 1890 The Yellow House 1888 POST-IMPRESSIONISM

  17. VINCENT VAN GOGH 1853 - 1890 Sunflowers 1888 POST-IMPRESSIONISM

  18. VINCENT VAN GOGH 1853 - 1890 Bedroom in Arles 1888 POST-IMPRESSIONISM

  19. VINCENT VAN GOGH 1853 - 1890 In a letter to his brother, Theo, Van Gogh wrote: “I had a new idea in my head and here is the sketch to it … this time it’s just simply my bedroom, only here colour is to do everything, and, giving by its simplification a grander style to things, is to be suggestive here of rest or of sleep in general. In a word, to look at the picture ought to rest the brain or rather the imagination. The walls are pale violet. The ground is of red tiles. The wood of the bed and chairs is the yellow of fresh butter, the sheets and pillows very light greenish lemon. The coverlet scarlet. The window green. The toilet-table orange, the basin blue. The doors lilac. And that is all – there is nothing in this room with closed shutters. The broad lines of furniture, again, must express absolute rest. Portraits on the walls, and a mirror and a towel and some clothes. The frame – as there is no white in the picture – will be white. This by way of revenge for the enforced rest I was obliged to take. I shall work it again all day, but you see how simple the conception is. The shading and the cast shadows are suppressed, it is painted in free flat washes like the japanese prints …” POST-IMPRESSIONISM

  20. Keywork VINCENT VAN GOGH 1853 - 1890 Self-Portrait with Bandaged Ear 1889 - 90 POST-IMPRESSIONISM

  21. Keywork VINCENT VAN GOGH 1853 - 1890 • Arles: • Most productive period • Used individual brushstrokes not only to break up colour but also to convey his own excitement. • Brushwork conveyed the imagination of the artist’s mind POST-IMPRESSIONISM

  22. VINCENT VAN GOGH 1853 - 1890 Saint Remy 1889 - 1890 POST-IMPRESSIONISM

  23. VINCENT VAN GOGH 1853 - 1890 Cypresses 1889 POST-IMPRESSIONISM

  24. VINCENT VAN GOGH 1853 - 1890 Corridor in the Asylum 1889 POST-IMPRESSIONISM

  25. Keywork VINCENT VAN GOGH 1853 - 1890 Starry Night 1889 POST-IMPRESSIONISM

  26. VINCENT VAN GOGH 1853 - 1890 Self Portrait 1889 POST-IMPRESSIONISM

  27. VINCENT VAN GOGH 1853 - 1890 • St Remy • Painted within periods of lucidity whilst confined to the asylum. • Painted the wheatfields, olive groves, and cypress trees of the surrounding countryside • Brushwork and outlines become heavier and more expressive POST-IMPRESSIONISM

  28. VINCENT VAN GOGH 1853 - 1890 Auvers-sur-Oise 1890 POST-IMPRESSIONISM

  29. VINCENT VAN GOGH 1853 - 1890 Dr Paul Gachet 1890 POST-IMPRESSIONISM

  30. VINCENT VAN GOGH 1853 - 1890 Church in Auvers 1890 POST-IMPRESSIONISM

  31. Keywork VINCENT VAN GOGH 1853 - 1890 Crows in the Wheatfield 1890 POST-IMPRESSIONISM

  32. VINCENT VAN GOGH 1853 - 1890 • Not mainly concerned with correct representation • Used colours and forms to convey what he felt about the things he painted, and what he wished others to feel. • Did not care much about having a photographically exact picture of nature; he would exaggerate and even change the appearance of things if this suited his aim. POST-IMPRESSIONISM

  33. The Savage Painter PAUL GAUGUIN 1848 - 1903 POST-IMPRESSIONISM

  34. Key Work PAUL GAUGUIN 1848 - 1903 POST-IMPRESSIONISM Vision After the Sermon: Jacob Wrestling with the Angel 1888 In a letter the artist wrote to Van Gogh he said 'For me the landscape and the fight only exist in the imagination of the people praying after the sermon.'

  35. PAUL GAUGUIN 1848 - 1903 POST-IMPRESSIONISM Van Gogh Painting Sunflowers 1888

  36. Key Work PAUL GAUGUIN 1848 - 1903 POST-IMPRESSIONISM The Yellow Christ 1889

  37. PAUL GAUGUIN 1848 - 1903 POST-IMPRESSIONISM Key Work We Shall Not Go To Market Today 1892

  38. PAUL GAUGUIN 1848 - 1903 POST-IMPRESSIONISM Day of God (Mahana No Atua) 1894

  39. PAUL GAUGUIN 1848 - 1903 POST-IMPRESSIONISM Key Work Where Do We Come From? What Are We? Where Are We Going? 1897 Imagine that you are one particular element in the painting – figure, statue, plant, etc and explain the painting as if you are that element.

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