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Roger Fly
The British art critic who coined the term “post-impressionism”
Post-Impressionism
A catch-all term for artist who followed in the wake of Impressionism. More concerned with formal ideas
Post-Impressionists
None identified with the term. There was less unity among them compared to Impressionists. Have a more calculated style compared to Impressionists
form and color
The two separate elements of art that post-impressionists took interest in, resulting in different experimentations with art
Cezanne, Van Gogh, and Gaugin
The big three for post-impressionism
form
What Cezanne took interest in more than any other post-impressionist. Seurat also took interest in this
color
What van Gogh and Gauguin took interest in experimenting with
Cezanne
Always remained a radical on the outskirts of the formal art world
20th century abstract art
Takes the most from Cezanne and Manet’s art. The forerunners of this style
logic and emotion, reason and irrationality
What Cezanne sought to combine
the world based on his perspective
What Cezanne is representing in his works rather than making a claim to naturalism and realism
Romanticism + Impressionism
An equation to describe the style of post-impressionism
the individual and emotions
These obsessions of romanticism return and are combined with impressionism to create post-impressionism
romantic impulse
This returns to the art world during post-impressionism
perpetual mechanisms
What Cezanne was excited in exploring. Explored how people saw the world and made sense of it
Delacroix
Whom Cezanne cited as a key artistic touchstone
contrary to the establishment
How Cezanne began his career. This institution loathed him
Napoleon III
The emperor who set up the Salon de Refuses and could generally understand impressionism. Hated Cezanne
establishment
Could appreciate the impressionists but never liked Cezanne
landscapes, nudes, and still lifes
The three subjects in Cezanne’s works where he messes around with various different concepts
repeating the same subject in different paintings
An act that Cezanne was fond of
contemporary French art critic quote
Succinctly describes his artistic process. “A man, a tree, an apple are not represented but used by Cezanne in the building up a painterly thing called a picture.” Demonstrated that Cezanne is interested in how forms create a picture and not depicting them accurately
color hatching
Element in Cezanne’s work that plays off the dark and light and gives the piece a sense of structure and density
blocky, geometric patches
How Cezanne built up his colors
sense of form
Cezanne implying mountains, trees, and houses in his piece, Mont St. Victoire
flatness
A key element to Cezanne’s works, achieved through equally-stressed foregrounds and backgrounds, small and flat brushstrokes, and a lack of depth
illusion of depth
A core element of art since the Renaissance that is now being rejected
art as a window
A persistently-understood metaphor from the Early Renaissance. Rejected by Post-Impressionism
carefully-arranged, planned brush strokes
How Cezanne composed his pieces despite how gestural and spontaneous they appear
sheet music vs. recorded piece
A metaphor to better understand how Cezanne wanted his work to be experienced. Like other abstract art, it relies on the viewer to do some of the intellectual legwork, and not everything is spelled out
unique interpretation
The concept that every viewer will have a subtly different experience taking in the work / composing it in their heads. A big idea for abstract art
cerebral intellectual experience
How Cezanne intended his work to be seen, his thought process differing from more concise artists like Raphael. Wanted people to more consciously consume his art
formal experimentation
Evident in Cezanne’s landscape paintings
nudes
Much of Cezanne’s experimentation with these are applicable in his landscapes
deliberate and calculated
Cezanne more prominently exhibited these traits than Impressionist artists
limits of painting
What Cezanne was interested in. His concerns were of a formal nature
capturing objects in their entirety
The problem Cezanne addressed with his still lifes. Showing all angles of an object at once
naturalistic, real, and mimetic
The expectations of painting that post-impressionists challenge by making it clear that the painting is a painting
representing an objective view of the world
The pursuit that Cezanne declares is impossible
Still Life With Basket of Apples
A Cezanne still life with evidence his experimentations with indicating three-dimensionality with a two-dimensional medium
mixed perspective
Showing multiple sides of an object where it would typically be impossible, such as the cookies, basket, and folds of the cloth in Cezanne’s Still Life With Basket of Apples
physical constraints
What artists since Giotto have been working against. Cezanne abandoned that resistance completely and instead worked with it
bold outlines
What Cezanne’s works often lacked, opting for contrasting colors to create roundness and form
painting
What Cezanne was making art about. Why he is considered a pioneer of later 20th century and abstract art
Critical ideas to 20th century modern art
Issues of flatness, the destruction of the metaphor of art as a window, the use of color instead of line to create form, mixing different perspectives, and emphasizing flatness
Seurat
Other Post-Impressionist who experimented with form
The Law of Simultaneous Contrast of Colors
A theoretical issue involving perception that Seurat obsessed over. The idea that two colors placed beside each other impose their own complementary colors on one another
pointillist style
Seurat’s way of painting. A mosaic-like approach using very small dots of color instead of line to produce form
Sunday on La Grande Jatte
A piece by Seurat that takes similar subject matter from Renoir’s pieces - leisure in an outdoor park - but decidedly more focused on using color to create form
using color to create form
What Cezanne and Seurat were interested in doing with their experimentations with form
using color to provoke an emotional response
What van Gogh and Gauguin were interested in doing with their experimentations with color
intensely romanticized
The state of van Gogh and his art following his life. Interferes with understanding what his work was trying to do
the mystical side
The aspect of religion that van Gogh took interest in
Japanese print
In the background of van Gogh’s self-portrait. Collected them and thought they were wonderful
itinerant preacher
What van Gogh wanted to be early on
adventures
In these, van Gogh explored the lifestyle of going out and walking around the countryside, talking to people and spreading the good word
lower-class people
The first subjects of van Gogh’s
little moralizing and politicalness
The element of van Gogh’s works that set him apart from naturalists
a traditional culture uncontaminated by the modern world
What van Gogh was always in search of
outside of modern life
Where van Gogh desired to me, despite his associated with modern art
exploring the peasants of the land
One way in which van Gogh sought to remove himself from modern life
green and yellow tones
The colors van Gogh used in Potato Eaters, giving the piece a sickly, emaciated feel. Used to provoke an emotional response from the viewer
Noon: Rest after Work (After Millet)
A piece by van Gogh in response to Millet’s original
tension between colors
What Noon: Rest after Work (After Millet) is focused on rather than the peasants depicted. The oranges of the field contrast with the cooler tones of the workers and the sky
boring and awful
van Gogh’s opinion of academic classes
gentle, romantic images
The pieces van Gogh made of rural life informed by his opinions toward poor and rural people. Differed from realism and Courbet in this sense
Charles Dickens
Whom van Gogh was a fan of. Advocated for better treatment of poor and rural people. Influenced his perception of said people
an extension of himself and his emotions
How van Gogh saw color
Starry Night
Easily van Gogh’s best-known work
impasto
The technique van Gogh used in his Starry Night. A very thick layer of paint built up. Cleary inspired by Rembrandt, another Dutch artist who pioneered the technique
inner turmoil
What van Gogh’s Starry Night represents gesturally through its swirly strokes. A projection of himself onto the landscape
sanatorium
Where van Gogh was staying after unfortunate incidents in his life. Where he painted Starry Night after being overtaken by emotions while looking out the window
romantic tones
Impossible to escape these when discussing van Gogh’s Starry Night
contemporary view of Starry Night
Often devalues the work as a commodified image and fails to recognize the psychological tensions, emotional intensity, and intimacy in the rhythmic patterns of the piece
Gauguin
Had a lust for life, infamous for his drinking and fighting lifestyle
Oral
Where van Gogh and Gauguin lived together briefly
slicing of his ear
What van Gogh did largely because of Gauguin
an entirely subjective abstraction
What Gauguin believed art to be, disregarding pursuits to represent things objectively
movement away from modern life
What van Gogh and Gauguin are a part of, contrasting Impressionists’ celebration of urbanism and modern life
true humanity
What Gauguin was in search of. Sought out isolated religious communities and later Tahiti, seeing them as primitive and “savage.”
primitive, savage mankind
How Gauguin saw isolated religious communities. What much of his work is about
artifice of modern life
What Gauguin wanted to strip away from his own work
universal language
By stripping away artificiality and what he deemed unnecessary details, Gauguin believed his art could speak this and be understood by everyone
formal training
What Gauguin lacked, having left his job and impulsively picked up painting. May have influenced his opinion regarding artificial, unnecessary details that dilute the messages of works
Tahiti
The country that Gauguin left France for, believing France to not be primitive enough for him
eradication of Tahitian culture
The attempt by France to do this greatly angered Gauguin, as he saw it as the destruction of a source of artistic inspiration for him
complexity
How Gauguin is simultaneously an invaluable source for leaning about Tahitian culture and also an imperialist who preyed on the people there
Spirit of the Dead Watches
A depiction of Gauguin’s teenage lover
spirit of death
Inspired by an alleged experience he had with her, this is present in the background of Spirit of the Dead Watches
everything having spiritual meaning
An aspect of Tahitian culture that Gauguin loved
life and death
Gauguin believed Tahitian culture had struck a balance between these two things
death
Gauguin believed western culture focused too much on this
Ingres and Manet
Artists who were equally influential in building up to Gauguin’s reclining female nude, demonstrating the impact of abstract art
