(1885 – 1905)Influenced by:Altered understanding of physical realityAtomic physics & chemistry; experimental psychology & subconscious“All things become flimsy, with no strength or certainty.” – Kandinsky
New understanding of artistic traditionChallenges to the art establishment, new influences
Development of avant-garde cultureDemocracy & pluralism; rise of mass culture; alienated artists
Changes in artistic form and contentImitation replaced by internal processes & structures – new subject matter
Shared Characteristics:
• Negative reaction to purely optical
• Search for new types of subjects and forms of expression
• Attempt to deepen meaning – focus on conceptual over perceptual
Creating a model of the real world
Nature as observed
Perception
Mind
Intellect
Creating an imaginary world
Artist’s sensations
Conception
Spirit
Intuition
Is art most rightly concerned with:
or
…or both?
Seurat (1859-1891) Gauguin (1848-1903) Cezanne (1839-1906) Van Gogh (1853-1890)
“Woman Leaning on aParapet By the Seine” 1881
“Study for UneBeignade” 1883
“Bathers at Asnières” – Georges Seurat 1883-84
“A Sunday Afternoon on the Island of La Grande Jatte” – Georges Seurat 1884-86
“Bridge at Courbevoie” - Georges Seurat 1886-1887
“Orchard, Côte Saint-Denis
atPontoise”
1877 Paul CézanneCamille Pissarro
“Orchard in Pontoise” – Paul Cézanne 1877
1883-85
“Gulf of Marseilles Seen from L’Estaque” – Paul Cézanne
“The Bather” – Paul Cézanne
1885-87
“Victor Chocquet Seated”
-Paul Cezanne 1877
“Hortense Fiquet in a Striped Skirt”
-Paul Cezanne 1877-78
“Portrait of Gustave Geffroy”
Paul Cézanne
1895
“The Card Players” – Paul Cézanne 1890-92
“Two Card Players” –Paul Cezanne 1892-95
"Rideau, cruchon et compotier“ – Paul Cezanne 1893-94
“The Basket of Apples” – Paul Cezanne 1895
“Still Life with Apples” – Paul Cezanne 1895
“Mont Sainte-Victoire” – Paul Cezanne, 1885-1887
“Mont Sainte-Victoire” – Paul Cézanne 1885-1895
“Mont Sainte-Victoire Above the Tholonet Road” or “Hermitage, St. Petersburg” – Paul Cézanne 1900
“Mont Sainte-Victoire” – Paul Cézanne 1890 – 94
"May I repeat what I told you here: treat nature by means of the cylinder, the sphere, the cone,
everything brought into proper perspective so that each side of an object or a plane is directed towards a central point. Lines parallel to the
horizon give breadth... lines perpendicular to this horizon give depth. But nature for us men is more depth than surface, whence the need to introduce into our light vibrations, represented by the reds and yellows, a sufficient amount of blueness to