ID 2242 Exam 3 - Post Impressionism

Adjacent colors

colors located next to one another on the color wheel & light spectrum

Can be blended

Represent solid surfaces

complementary contrasts

colors opposite to each other on color wheel & light spectrum

Cannot be blended

Represent boundaries and shadows

homogeneous brushstrokes

technique to use the same size and shape brushstroke in painting- mainly impressionists used

Represent that everything is light/light texture

contiguous color

technique where paint is applied adjacent and next to each other

laws of shadows

shadows are not colorless and grey- they are refracted color of light gathering in the boundaries

The complementary colors (Red and green shadow)

glazing

technique where paint is applied in layers on top of each other

Gives 3D effect

Opposite of contiguous color technique

Society of Irregularists

Renoir started group that believed light reflects in different/irregular patterns in static and moving objects

Use of different brushstrokes to show motion or stillness

divided brushstrokes

Seurat painting technique

dotted paint strokes separated by intervals (empty space around dots)

optical mixture

Color mixture created by the eye as small bits of color are perceived to blend and form a mixture- Seurat used this method

Eye sees orange when red and yellow dots are placed next to each other

Opposite of mechanical mixing

Expressive theory

Charles Henry theory involving use of lines and color to express a mood

(Dynamogeny- ascending lines/warm colors)

(Equilibrium- Neutral lines/both warm and cool)

(Inhibition- descending lines/cool colors)

Seurat influenced by this theory

Post Impressionism

"paint not the thing itself, but the effect it produces" - Stephane Mallarme

(Quote to describe the movement)

moving away from painting things, but not light, but mood

Self Portrait, 1879

- Post-impressionism

-Cezanne

-"realization of the motif (pattern)"

• to realize - to achieve in colors, textures

• to paint the wallpaper in the face and the face in the wallpaper

• all the diagonals intersect to a body part

-Had earlier version that was a "failure"

• Really descriptive of what he looked like, which he didn’t like

-equivalence: comparison, substitution

-cut this brush to create a diamond-shaped brushstroke to continue the motif

Equivalence

comparison/substitution used in art movements Post impressionism

Mme. Cezanne with a Coffeepot, 1898

- Post-impressionism

-Cezanne

-"realization of the motif (pattern)"

-Equivalence: wife=coffeepot

• stiff and upright like coffeepot

-Equivalence: wife=teacup with spoon

• stiff, upright qualities

-colors in face resemble the same in the paintings in the backgruond

• the mountains in the paintings are in her face

-colors in hands are the same as the tablecloth

• as she spreads out tablecloth, she has patterns within the tablecloth and the tablecloth leaves texture in her hands

Mme Cezanne in a Red Armchair, 1893

- Post-impressionism

-Cezanne

-rounded shoulder of her arm compared to the rounded shoulder in the chair

-Equivalence: wife=armchair

-face in the upholstery

-she is soft and fluffy like the armchair

-curled up hands resemble the swirls in the chair

-diamond wallpaper finds its way in her scarf

• same colors/textures

-skirt includes Mt Ste Victoire

Still Life with Compotier, 1882

- Post-impressionism

-Cezanne

-"the folded napkins looked like snowy mountains"

-shifts into landscape

-knife=road

-fruit=shrubs

-homongenous burstroke = square

-multiple viewpoints

• parallel viewpoint and high viewpoint

-Time as subject matter in art

Mt Ste Victoire, 1872

- Post-impressionism

-Cezanne

-Had over 80 paintings of the mountain

• clouds take form of the moutains

"Found the mountain in the sky and the sky in the mountain"

-Equivalence; moutain (square) brushstroke

The Large Bathers, 1906

- Post-impressionism

-Cezanne

-"The landscape thinks itself through me and I am its consciousness"

-another portrait of wife in landscape

-arbitrary colors

-not descriptive

arbitrary colors

color chosen by an artist to express his or her feelings

Non-descriptive and non-imitative of the objects painted

The Tub, 1886

- Post-impressionism

-Degas

Multiple view points

• look down at the bather

• looking parallel to items of the desk

• idea of the duration of time

quivalence

• hair = color of copper

• body = same curves and colors in pitcher

The Bath, 1892

- Post-impressionism

-Mary Cassatt

-equivalence = embracing line (maternal embrace)

-kid and mother embracing eachother

-bath embracing the foot

-dress is striped, bowl is strikped

-kid is compared to color of the picher

Boating Party, 1894

- Post-impressionism

-Mary Cassatt

-equivalence = embracing line (maternal embrace)

-father is embracing ship

-mother holds shild

-saild encloses/embraces

Embracing line

term used by Cassatt to describe maternal and protection; shown by hugging arms EX

The Night Cafe, 1888

- Post-impressionism

-van Gogh

-"express the terrible passion of humanity of blood red and green"

"-cafe is a place of nausea"

-glazing

-contemporary contrasts

-table is distorted

-proprietor is not completed, maybe a ghost

-multiple view poitns

Bedroom in Arles, 1888

- Post-impressionism

-van Gogh

-room at mental health faculity

-“this could be my self portrait"

-not mainting about the thing itself

"I use color arbitrarily to express myself forcibly"

-next window is landscpae painting

-mirror not reflecting anything

-reflecting van Gogh’s moocd

-Looung parallel at window and the down on the chairs

-glaxing on floors

-red bedding may imply discomfort

-patterns on pillow inidcate where his head rests

Starry Night, 1889

- Post-impressionism

-van Gogh

"everything is in motion"

"the tree...like flames"

-equaivalence: swirling brushstroke

-wind miving across landscape

Crows Over the Wheat Field, 1890

- Post-impressionism

-van Gogh

-movment through weat field

-marks left wagon in feild

Self Portrait with a Skeleton Arm, 1895

- Post-impressionism

-Munch

"my art...study of soul, that is the study of my own self"

The Scream/Cry, 1893,

- Post-impressionism

-Munch

"I was walking down the road at sunset...suddenly the sky turned red as blood...then I heard the infinite scream of nature"

equivalence: blood red for sky

-equivalence: scream that starts at person and into nature in a soundwave pattern

skull: death’s head, effect of screaming

planimetric separation

• foreground, engaged eye

• middle ground (protagonist)

• background: soundwave

-blue/orange

-yellow/purple

-glazing

The Dance of life, 1899,

- Post-impressionism

-Munch

-a part of a series of Frieze of Life

• 3 major themes: love, anxiety, death

-3 figures

• woman in white = the virgin, black glazed with white, vibrating brushstrokes

• woman in red = sexually mature woman dancing with a male, black glazed with red, puddling brushstrokes

• woman in black = the widow, closed body language, red glazed in black, rigid/sharp brushstrokes

• essentially all the same woman

-equivalence: colors for ages

-brushstrokes for moods