Impressionism
& post-
Impressionism
Danica S. De Leon
CTE 1-B
Art Appreciation
Miss. Paciencia Manuel
What is Impressionism?
Impressionism is a 19th-century art movement
characterized by relatively small, thin, yet visible brush
strokes, open composition, emphasis on accurate
depiction of light in its changing qualities (often
accentuating the effects of the passage of time), ordinary
subject matter, inclusion of movement as a crucial
element of human perception and experience, and unusual
visual angles. Impressionism originated with a group of
Paris-based artists whose independent exhibitions brought
them to prominence during the 1870s and 1880s.
Impressionism The Impressionists faced harsh opposition from the
conventional art community in France. The name of the
style derives from the title of a Claude Monet work,
Impression, soleil levant (Impression, Sunrise), which
provoked the critic Louis Leroy to coin the term in a
satirical review published in the Parisian newspaper Le
Charivari.
The development of Impressionism in the visual arts was
soon followed by analogous styles in other media that
became known as impressionist music and impressionist
literature. 2
There was no one unifying Impressionist style, but
the artists associated with Impressionism did share
similar modern approaches to painting. Rather than
be confined to a studio, many Impressionists
preferred to paint en plein air in the countryside
outside of Paris; this approach required the artists
to work quickly but allowed them to capture the
fleeting impressions of light. The artists used short,
Characteristics visible dabs of paint to capture the overall
impression of their subject, choosing not to pay
and Style of particular attention to the fine details. Instead of
using black and gray paint to depict shadows, the
Impressionism painters paired complementary colors. The paints
themselves were also brighter than those used in
previous eras, due to the invention of synthetic
pigments. The artists applied new layers of paint
over layers that were still wet, which softened the
forms and supplied a unique intermingling of
colors. The layers were rarely transparent – instead,
the application added opaque dimensions of color.
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While the content of Impressionist paintings
was not all that radical, the composition was.
The boundary between figures and background
were blurred, making the figures a part of an
overall view rather than the main subject, and
the figures appeared to be captured in a single
moment – as a snapshot – rather than posed.
This new approach coincided with the advent of
Japanese photography and drew inspiration from
Japanese style ukiyo-e art prints.
Influence The ukiyo-e style used foreshortening (angling
an object toward a viewer to change the allusion
of three-dimensional perspective on a two-
dimensional surface) asymmetry to invoke
movement and action within a scene. For the
Impressionist artists, this technique from the
East was a crucial tool in their exploration of a
new, modern painting style.
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In the Western world, reactions, criticism and reinterpretations of
Impressionism inspired many of the subsequent Modern art
movements.
The ethos of Impressionism made an enduring impact on music
and literature as well as the visual arts. Musical Impressionism
involved creating the impression of atmosphere or mood and
became popular in France in the late 19th century. French writers
and poets, in turn, represented Impressionism with syntactic
variation and fragmentary prose.
Legacy of Today, works by Impressionist artists retain incredible value in
Impressionism the market, founded on unbridled interest among private
collectors and the public institutions. In 2019, Sotheby’s sold
Monet’s Meules for $110.8 million, setting a new record for the
artist; the same year saw retrospectives at Paris’s Musée d’Orsay
of works by Berthe Morisot, a leading female Impressionist.
Works by Impressionist artists can be found in numerous public
institutions around the world, including the Musée Marmottan
Monet, Paris; the Metropolitan Museum of Art, New York; the
National Gallery, London; the Musée d'Orsay, Paris; the
Museum of Fine Arts, Boston; and the State Hermitage Museum,
St. Petersburg. 5
Impressionist
Artists
and their
artworks
Haystacks
CLAUDE MONET (Born1840. Died1926.)
Meules
Oscar-Claude Monet was a French painter and founder of
impressionist painting who is seen as a key precursor to
modernism, especially in his attempts to paint nature as he
perceived it.[1] During his long career, he was the most
consistent and prolific practitioner of impressionism's
philosophy of expressing one's perceptions before nature,
especially as applied to plein air (outdoor) landscape
painting.[2] The term "Impressionism" is derived from the
title of his painting Impression, soleil levant, exhibited in
the 1874 Salon des Refusés ("exhibition of rejects") initiated
by Monet and his associates as an alternative to the Salon.
Water Lilies Rouen Cathedral 7
Edgar Degas (Born1834. Died 1917.)
Danseuse au repos
Edgar Degas was a French Impressionist artist famous for
his pastel drawings and oil paintings.
Degas also produced bronze sculptures, prints and
drawings. Degas is especially identified with the subject of
dance; more than half of his works depict dancers.[3]
Although Degas is regarded as one of the founders of
Impressionism, he rejected the term, preferring to be called
a realist,[4] and did not paint outdoors as many
Impressionists did.
Degas was a superb draftsman, and particularly masterly in
depicting movement, as can be seen in his rendition of
dancers and bathing female nudes. In addition to ballet
dancers and bathing women, Degas painted racehorses and
racing jockeys, as well as portraits. His portraits are
notable for their psychological complexity and for their
portrayal of human isolation
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Camille Pissarro (Born 1831. Died 1903.)
Primrose Hill, Londres
Camille was a Danish-French Impressionist and Neo-
Impressionist painter born on the island of St Thomas (now in
the US Virgin Islands, but then in the Danish West Indies). His
importance resides in his contributions to both Impressionism
and Post-Impressionism. Pissarro studied from great
forerunners, including Gustave Courbet and Jean-Baptiste-
Camille Corot. He later studied and worked alongside Georges
Seurat and Paul Signac when he took on the Neo-
Impressionist style at the age of 54.
In 1873 he helped establish a collective society of fifteen
aspiring artists, becoming the "pivotal" figure in holding the
group together and encouraging the other members. Art
historian John Rewald called Pissarro the "dean of the
Impressionist painters", not only because he was the oldest of
the group, but also "by virtue of his wisdom and his balanced,
kind, and warmhearted personality"
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What is Post-Impressionism?
Post-Impressionism (also spelled
Postimpressionism) is a predominantly French
art movement that developed roughly between
1886 and 1905, from the last Impressionist
exhibition to the birth of Fauvism. Post-
Impressionism emerged as a reaction against
Post- Impressionists' concern for the naturalistic
depiction of light and color. Due to its broad
Impressionism emphasis on abstract qualities or symbolic
content, Post-Impressionism encompasses Les
Nabis, Neo-Impressionism, Symbolism,
Cloisonnism, Pont-Aven School, and
Synthetism, along with some later
Impressionists' work. The movement was led
by Paul Cézanne (known as father of Post-
impressionism), Paul Gauguin, Vincent van
Gogh, and Georges Seurat.[
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The term Post-Impressionism was first used by
art critic Roger Fry in 1906.[2][3] Critic Frank
Rutter in a review of the Salon d'Automne
published in Art News, 15 October 1910,
described Othon Friesz as a "post-impressionist
leader"; there was also an advert for the show The
Post-Impressionists of France.[4] Three weeks
later, Roger Fry used the term again when he
Post- organized the 1910 exhibition, Manet and the
Post-Impressionists, defining it as the
Impressionism development of French art since Manet.
Post-Impressionists extended Impressionism
while rejecting its limitations: they continued
using vivid colours, often thick application of
paint, and real-life subject matter, but were more
inclined to emphasize geometric forms, distort
form for expressive effect, and use unnatural or
arbitrary colour.
9/3/20XX Presentation Title 11
The artists Paul Cézanne, Paul Gauguin, Georges
Seurat and Vincent Van Gogh are virtually
metonymous with fin-de-siècle European art, and
each represents a discrete strain of Post-
Impressionist innovation. Cezanne pioneered
Synthetism, in which the artist's observations of
Post- nature and their emotions are brought into union
on the canvas, often in flat, simplified forms that
Impressionism anticipate Cubism. Gauguin moved away from
direct observation into the realm of imagination
Characteristics and augured the Primitivist movement with his
fruitful decade in Polynesia. Seurat devised the
and Style distinctive technique of Pointillism, in which
complex compositions are formed with tiny dots
of pure color, much as mechanically and digitally
color-separated images would be produced.
Finally, Van Gogh developed a highly personal,
emotionally reverberant style that inspired the
Expressionist movements that would define the
next century.
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It is well-known that the Post-Impressionists were
greatly inspired by the art of East Asia, especially
ukiyo-e woodblock prints, whose distinctive
division of scenes and flattening of planes
directly informed the work of Van Gogh, Bonnard
and Toulouse-Lautrec. The story of the Post-
Impressionists’ influence upon the development
of modern Asian art is more obscure. In the early
West Meets East, 20th century, during a short-lived but heady
moment of liberal eclecticism between the
East Meets West founding of the Chinese Republic and the
ascendancy of Mao Zedong, many Chinese artists
received government sponsorship to study art in
Europe. Many then returned to develop a deft
syncretism of Post-Impressionist perspectives,
palettes and gestures with the venerable tradition
of Chinese figurative painting. Among these
artists were Lin Fengmian ( 林風眠 ), Xu
Beihong ( 徐悲鴻 ), and Ding Yanyong ( 丁衍
庸 ).
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Among the artists who were directly influenced by the Post-
Impressionists are Edvard Munch, whose iconic work The
Scream was inspired by Van Gogh’s ferocity of color and
gesture; Henri Matisse, who experimented with pointillism
and other Post-Impressionist color theories before becoming
a founding Fauve; and Georges Braque, whose painterly
landscapes transformed into Cubist abstractions over the first
decade of the 20th century. Among the countless
contemporary artists who acknowledge a debt to the Post-
Impact and Impressionists are Theo Meier, Bharti Kheer and Red
Grooms.
Legacy of Post- The works of the original Post-Impressionist painters are
Impressionism among the most expensive paintings ever sold, with Vincent
Van Gogh’s Irises and L’Allée des Alyscamps and Cézanne’s
Rideau, Cruchon et Compotier all topping $50 million at
Sotheby’s.
These Post-Impressionist masters are well represented in
public collections on both sides of the Atlantic, including the
Metropolitan Museum of Art and the Solomon R.
Guggenheim Museum in New York and the Musée d'Orsay
and the Musée de l'Orangerie in Paris.
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Post-
Impressionist
Artists
and their
artworks
Vincent van Gogh (Born 1853. Died 1890.)
Vincent Willem van was a Dutch Post-Impressionist
painter who posthumously became one of the most
famous and influential figures in Western art history. In a
decade, he created about 2,100 artworks, including around
860 oil paintings, most of which date from the last two
years of his life. They include landscapes, still life's,
portraits and self-portraits, and are characterized by bold
colors and dramatic, impulsive and expressive brushwork
that contributed to the foundations of modern art. Not
commercially successful, he struggled with severe
depression and poverty, eventually leading to his suicide
at age thirty-seven.
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Paul Gauguin (Born 1848. Died 1903.)
Eugène Henri Paul Gauguin was a French Post-
Impressionist artist. Unappreciated until after his death,
Gauguin is now recognized for his experimental use of
color and Synthesist style that were distinct from
Impressionism. Toward the end of his life, he spent ten
years in French Polynesia. The paintings from this time
depict people or landscapes from that region.
Te Arii Vahine – La Femme aux mangos (II)
His work was influential on the French avant-garde and
many modern artists, such as Pablo Picasso and Henri
Matisse, and he is well known for his relationship with
Vincent and Theo van Gogh. Gauguin's art became
popular after his death, partially from the efforts of dealer
Ambroise Vollard, who organized exhibitions of his work
late in his career and assisted in organizing two important
posthumous exhibitions in Paris.[1][2]
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Paul Cézanne (Born 1838. Died 1906.)
Paul Cézanne was a French artist and Post-Impressionist
painter whose work laid the foundations of the transition
from the 19th-century conception of artistic endeavor to a
new and radically different world of art in the 20th century.
Cézanne is said to have formed the bridge between late
19th-century Impressionism and the early 20th century's
new line of artistic enquiry, Cubism. Cézanne's often
repetitive, exploratory brushstrokes are highly
characteristic and clearly recognizable. He used planes of
color and small brushstrokes that build up to form complex
fields. The paintings convey Cézanne's intense study of his
subjects. Both Matisse and Picasso are said to have
remarked that Cézanne "is the father of us all".
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The best way to predict your
future is to create it.
-Abraham Lincoln
THANKYOU!
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