Post-Impressionism - Search for Structure 7/8

Claude Monet (France). Rouen Cathedral. 1894

• Series depicting one cathedral at different times of day

• Changing flux of different lighting

• Chose one of the most PERMANENT and UNMOVING structures, yet it still changes in his eyes through the light

Claude Monet. Three Poplars. 1891

• Trees become vertical bars, organized by the repeated tree forms

• Search for underlying impression

• Trees become the structural subject

• Post-impressionism- using these structures and moving away from impressions of them and into his own interpretation of WHAT YOU FEEL when you see these things.

Claude Monet, Four Poplars, 1891

BOTH are Claude Monet, Morning on the Seine, 1896

• Both same place, objective lake, but changing in his eye at different times of the day

• Move toward representing the visual experience of seeing, and nothing else!

Claude Monet, Water lillies, 1920

• No stable viewpoint, no horizon, what are we looking at? Water Lillies blending in

• Cropped so we dont see the horizon and just see the reflection and water lillies in the water

• asks our brains, what is this?

Neo - Impressionism- Pointillism

Georges Seurat, Sunday Afternoon on the Island of Grand Jatte, 1884-1885

• Stiffer bodies, order, etc

• Pointillism- how color and vision ACTUALLY works in our brain

• If you zoom in, the colors are extremely separate, but when we look from afar it creates a realistic color expression

• separate colors blur together in our minds

• He asked, how do I create systemic language for representing color and light-muted?

Sensation, Brushwork and the Fictive Picture Plane

Cezanne, Orchard, Côte-Saint-Denis. Pointise, 1877

• Cezanne was asking how do we rebuild the world structurally? On a 2D canvas…

• Here he is taking a new trajectory with thick brushstrokes, landscape construction

• Directional use of brushstrokes to create solids- POST-IMPRESSIONISM - gets a little more wonky to evoke a feeling rather than their own interpretation of objective truth

Paul Cézanne, Mont Sainte-Victoire, 1885

• Less interested in plays of light and turning to an interest in perception and volumetric structure

Paul Cezanne, Mont Sainte- Victoire, 1902-4

• Blocky paint to create structure

• Cezanne makes us aware that this surface is 2D while also trying to create perception and ~some~ depth

Paul Cézanne (France). The Black Clock. 1867-68

• Perspective is off

• ADD MORE HERE

Paul Cézanne. Basket of Apples. 1895

• Table does not line up correctly, perspective looks weird

• tilt of the table, apples look odd

• as a body, painting, the artist moves a lot to see it from every angle

• THis changes how we see the subject, and he reflects that in his work

Paul Cézanne. Mme. Cézanne in a Yellow Chair. 1888-90

• Portrait of a woman, not lifelike

Paul Cézanne.  The Large Bathers.  1898-1905

• How do shapes relate to one another

• Women are unproportional

• 
  

Serat vs Cezanne vs Monet

Monet- What happens to optical perception if we continue to push light and atmosphere?

Serat- Let’s take color and its scientific study to fuse in our own mind

Cezanne- 3D Architectural shape, yet calling attention to the flat canvas