SYMBOLISM / ART NOUVEAU / EXPRESSIONISM

EGON SCHIELE

• Austrian

• 1890-1918

• Protégé of KLIMT

• Celebrated for his singular style & unusual use of colours

• Extremely erotic & controvesial

• He was thought to supply collectors of pornography

• He was fascinated by his own appearance (countless self portraits)

• After being arrested (1912), due to the trauma, his style changed becoming even more rough

• He was a crucial persona in the advancement of MODERNISM in EU

Woman with Black hat, 1909

• symbolistic meaning (red head - evil, uncanny hand gestures, snake like patterns - eve)

• He had an approach of showing what is hidden

• The use of elaborated patterns is simmilar to climt

• The hands add psychological tension and nervousness

• Black hat - contrast between elegance and social anxiety

Self Portrait with Arm Twisting above Head, 1910, SCHIELE

• contorted position - reflection of his personality

• Teh intention of evoking discomfort in the viewer

• Conveys inner torment & psychological anguish of the artst

• Colour pallete (brown & yellow) = dirt/roughness/lacking beauty

• He decsribes himself by lines = liberty of representation

The fighter, 1913, SCHIELE

• his signature is like an elaborate logo,

• Posiion is extremely unnatural, evoking discomfrot

• The portrayal lacks beauty/harmony/elegance - unlike past representations of warrioirs

• Tightness of the figure and his muscles reresented by the lines

• Lack of realistic colour - magnification of unpleasance by adding green & red

Seated Woman with Legs Drawn Up (Adele Herms), 1917, SCHIELE

• provocative yet relaxed pose

• Straring directly at the viewer, as if seeing and condemning us

• Blends erotic sensuality, nervous energy, and distorted beauty in Expressionist style.

• Empty background - she is in an unknown place/space

• The colour pallete is again unnatural, amplifying the tenstion

Sitting Woman, 1914, SCHIELE

• psychological tension and intimacy

• Very narrow point of view

• Unnatural colour pallette used

• Yellowish bg, combined with the colour pallete, makes the painting even more unrealistic

• The women is completely made up of lines - striving for simplification

Windows (Facade of a House), 1914, SCHIELE

• visible lack of horizon or proper perspective

• Complete abstraction

• Visible simplification of the elements, making the facade flat

• Use of unnatural clours, adding a dream or fantasy like feeling of the portrayed object being unreal

Paul Cézanne

• French

• 1839-1906

• Building form with colour

• Analytical approach to nature

• In the begining he was an impressionist with a dark palette

• He later abandoned it in exchage for briliant tones, painting outdoors - developed a tonal style

• He would create scenes with distorted perpectival space

• No use of shadows, but extremly subtle gradation of colours

Still life with apples, 1877, CEZANE

• clearly post-impressionistic = builds form through colour, rather than outlines

• Focuses on the volume and depth, yet remains largely flat

• Constructive brushwork

• Quite vibrant and unrestrained palette

• There is no visible horizon and the perspective is crooked

• Everyday subject

Still life with apples, 1890, CEZANE

• post impressionistic

• Emphasises structure through overly realistic light

• Varied brushwork

• Distorted perspective

• Simple & everyday motifs

• Precisely and sharply marked object outlines (with heavy paint)

Inspired by Still life with apples, 1890, CEZANE

• 3d rendering of the original work

• Geometric abstraction

• Simplified

• Bright and saturated colour scheme

• Flat lighting

Gardanne, 1885-6, CEZANE

• post-i,pressionism and cubism

• Gemoetric simplification

• Flatness of colours

• Short layerd strokes

• Distorted perspective

• Focus on timeless landscapes

Mount Saint Victorie, 1882-5, CEZANE

• geometric volumes in trees and buildings

• Very delicate play of light via different hues of colour

• Lack of proper perspective

• The bg ground is blurry and uncertain

• Typical landscape without further meaning

Mount Sainte Victorie, 1887-90, CEZANE

• slightly more flat and abstract then the roevious one

• Visible use of colour hues as the only hsadow source

• All the things presented are blurry, blending into one

• Everything is of flowy construction = paint stains

• Dream like atmosphere die to the use of light colours

Mount Sainte Victorie, 1900-02, CEZANE

• very flat

• Use of very deliacte colours

• No shadows, delicate lightplay

• No horizon or proper perspective Complete= complete flatness

• Sketch like

• Reduction to gemoetric forms/ strokes of brush/ plains of colour

Mount Sainte Victorie, 1905 CEZANE

• completely fantastic and late post-impressionistic

• Patchy, without proper shape volumes

• Everything is like bloches of paint

• There is no horizon or perspective = flat surface

• Shadow and light play is barely visible

The bather, 1885, CEZANE

• The mn is drawn rather corrctly, but ina blurry way

• The bg is not easy to decipher = colourful fantasy

• the man’s body ( muscle etc.) is drawn very lightly with colour stains

• Minimal Light and shadow play

• Strong outline comparing to his landscapes

Bathers, 1874-75, CEZANE

• typical theme of portraying women in nature settings

• The objects shown are mostly vague shapes

• No outlines, only light play and brushwork

• Expressive and harsh brushwork

• No perspective & wrong proportions

Eugène Delacroix, Bathers, 1854

• clearly different from Cezane’s bathers

• Typical portrayal of women among nature in an oasis

• Everything is drawn in a traditional style

• The choice of colours is natural, unlike cezane

• The shadows and light are clear

• The woman’s’ bodies and faces are painted with great detail

Paul Cézanne, Tho Bathers, 1898-1905

• resembling of old bather paintings

• Influences from cubism = tension between surface pattern and solidity

• Harmony with nature

• Nudes blending with the bg

• Light colour palette

• No shadows or lights

• Bold brushwork

Paul Gaugin

• French

• 1848-1903

• Styles himself & his art as SAVAGE

• Started as impressionist, later fled to create “primitive art”

• He used distorted form and unnatural colour palette

• Preoccupation with dreams, mystery & symbols

• Achieved a new synthetic style by the use of broad fields of unnatural colours

• Combined abstract patterning & figuration

• Also carved, sculpted, made ceramics, etc.

Vision after the Sermon or Jacob Wrestling with the Angel, 1861, GAUGIN

• simmilarity with japanese art, branch taking a majority of the space of the canvas

• The branch divides reality and dream

• Heavy colours blend the reality & imagination

• Focus on “primitive” faith

• Rejection of naturalism

• Simplified forms and flat areas of vivid colour

Orana Maria (We Hail Thee Mary) , 1891-92, GAUGIN

• fusion of CHRISTIAN & TAHITIAN CULTURE

• Non-naturalistic hues

• Rigid poses

• Shallow space

• Bold outlines and flat block of colour

• Simplified reality

Fatata te Miti (By the Sea), 1892, GAUGIN

• idealisation of polynesian figures

• Free composition

• Blend of tradition with fantasy

• Intense and unnatural colour palette

• Flat spaces

• Low light/dark contrast

• Focus on a tree in the middle of the composition

Vincent Van Gogh

• Dutch

• 1853-1890

• Largely self taught

• Started by copying 19th century drawing manuals & books

• He admired french artists = painted the regular life

• He was a mic between impressionism, neo-impressionim & pointilism

• He always added a personal symbolism

• Sunflowers = joy, self affirmation

• Untied shoes = emblematic for his itinerant existance

The potato peelers, 1885, VAN GOGH

• dark & earthy palette = unpeeled potatoes & soil

• Dim lighting creating dramatic shadows = crammed interior

• Rough & expressive brushwork

• Visible texture prioritising emtional impact

• Coarse and worn faces

• Focus on social realism = harsh, common figures (proto-exressionism)

Tahitian woman with a flower, 1891, GAUGIN

• he used to work closely with van gogh (ear cutting incident ended it)

• Bold flat areas of simplified colour

• Artistic tenstion between pointilism and symbolism

• Idk?

Sunflowers, 1889, VAN GOGH

• van gogh explained to be teh only true representation of hsi feelings

• made with variations of the same colour

• Thick brushwork, creating textured/sculpture like surface = energy

• Expressive, swirling, typical of van gogh

• Radiant optimism in colour in contrast to potato peelers

• Dynamic compositin with varying stage of blooming

The Bedroom, 1888, VAN GOGH

• intimate part of our house, which here can be interpreted as an invitation into the life of the artists “come visit me, I’m alone”.

• The bed is made too big, everything si squeezed together & there is personal tools on the table. - everything underlines the welcoming messege

• the room is unreal as it is a projection of a room in van goghs brain = he invites us into his brain

• the perspective is off

• Thick and bold outlines give it a rhythmic quality

• Expressive use of colours

Starry night, 1889, VAN GOGH

• swirling brushstrokes

• Contrast of deep blue with white & yellow = energetic

• Exaggerated forms (flame like trees, orderly chaos)

• Symbolic blend of nature’s beauty with artists viison

• Emotional expressionism, prioritizing mood

• Modern abstraction