• Post-Impressionism

• Moving away from depicting e ects of changing light and color—line, pattern, form, color,
with unique individual styles—more expressionist or analytical.

• Van Gogh, Gauguin—expressive

• Seurat and Cezanne—analytical

• Henri de Toulouse Lautrec

• Stunted growth/ability to heal due to rst cousin parents

• Mocked due to short stature—coped with alcoholism

• Parisian nightlife

• At the Moulin Rouge

• Place of impropriety—popular among middle-class men

• Patrons at tables

• Woman at right cut o , banister divides the work—like photography, depicts our view.

• Banister divides viewer and group

• Mask-like face—grotesquely illuminated by electric lights depicted (arti ciality)

• Caricature

• Colors not accurate to life—exaggerated

• Green face—could depict absinthe drinker?

• Toulouse Lautrec places himself next to very tall man to caraciturize himself

• Jane Avril—graphic poster

• Depiction of Jane Avril doing the can-can—not proper, in “seedy” nightlife

• Reduction of gures to lines, simple colors.

• In uence of Japanese prints

• Georges Seurat

• Grand-Jatte
• Interested in depicting scenes of modern life

• Analytical/scienti c approach—not plein air like the impressionists, in the studio

• Mimicked marble frieze—timelessness

• Figures become less signi cant, see through in the background

• Blend of many di erent colors that the eye blends together

• Within the pointillism, used varying dots and long dashes of paint

• Warm colors in light, cool in shadows

• Complementary blocks of color next to each other

• More interested in optical e ects than emotional

• Circus Sideshow
• Vincent Van Gogh

• Pointillism: divisionist/pointillist style along with brushwork, but was more interested in
emotional e ects than the optical e ects of color.

• The Potato Eaters

• Di erent style of painting than later.

• Brown colors, emphasizes poverty

• Interests shifted from religion to painting

• Copied Japanese prints

• Night Café—impasto—tall layers of paint that created furrows.

• Complementary pairing of reds and greens to create charged atmosphere—sickly color

• Vincent’s Bedroom in Arle

• In between illness he would be able to work. Mental illness hindered his work

• Self Portrait with Bandaged Ear

• Van Gogh—nature rst then imagination; Gaugin: imagination then nature

• Van Gogh threatened Gaugin with razor then cut o part of his own ear (could have been
gaugin

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• Starry Night

• Swirls of color

• Imbued with emotion and imagination

• Major impasto—extremely raised brushstrokes

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• Paul Gauguin

• Beach at Dieppe

• Flat patches of color, like Japanese prints.

• Self portrait—religious imagery, halo, snake. Complementary colors with orange-yellow and
green.

• Returning to primitive living—tired of Parisian life.

• Vision after the Sermon/Jacob Wrestling with the Angel

• Place with traditional clothing, religion in daily life.

• Traditionally clothed women.

• Women collectively imagining a religious vision. Japanese print inspires severe separating
fence/branch in the middle of the composition, separating religious gure and the
women.

• Purposeful simpli cation of gures. Closer to abstraction.

• First de ning symbolist painting.

• Where Do We Come From? What Are We? Where Are We Going?

• Went to Tahiti to experience people who were “closer to nature”

• Exoticism and eroticism of other cultures

• Underage island wife

• Bad dude

• Stages of life. Baby—>picking an apple—eve?—˘white bird—death, crouching female

gure.

• Simpli ed gures, little modeling. Blue, yellow, green colors, strong outlines

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• Paul Cezanne

• Breaks objects into simple, geometric shapes

• Mont Sainte-Victoire
• Does not care for photographic quality

• Analytical—breaks down into lines, planes and colors

• Cube-like brushstrokes (square brushes introduced for the rst time)

• Division into patches of cool/warm colors

• Painting objects from di erent viewpoints

• Mountain in background appears both close and far

• Basket of Apples
• Objects reduced to spheres/cones

• Strong outlines

• Same objects from di erent viewpoints

• Showing how changing his own focus changes the perspective of the forms

• Paints the same objects from di erent vantage points within the same painting

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• Still Life with Cherub
• Demonstrates severe juxtaposition of di erent viewpoints and perspectives—confusing,
dizzying image

• Demonstrates how when you move through a space you see it at di erent angles.

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