3. What are your thoughts on the DQ after reading both articles?

Transcription

1 1. What were your overall thoughts on the article? Why? 2. Did you feel the article gave you a better understanding of the driving question? (DQ: Does being a man or a woman in any way affect the subject an artist chooses or the ways in which he or she portrays that subject?) 3. What are your thoughts on the DQ after reading both articles?

2 Post-Impressionism Late 19 th century (1850 s-1900 s)

3 Characteristics of Post Impressionism Mentality: They did not like that Impressionism was all about color and light Did not like that Impressionism became formal art (too mainstream) They felt that Impressionism forgot to focus closely on formal artistic elements: line, color, pattern, and form..

4 Characteristics of Post Impressionism Mentality: They did not like that Impressionism was all about color and light Did not like that Impressionism became formal art (too mainstream) They felt that Impressionism forgot to focus closely on formal artistic elements: line, color, pattern, and form. Style: Subject/narrative was Parisian lifestyle of the middle class, French countryside, anything French related. Very unstable emotional painters and all of their works are their own interpretations of reality. Artists were regular drug and absinthe (hallucinogenic alcohol) users=influences their perception of reality.

5 Major Works of art

6 Henri de Toulouse-Lautrec, At the Moulin Rouge, 1892

7 Henri de Toulouse- Lautrec, At the Moulin Rouge, 1892 Toulouse-Lautrec specialty was Parisian night life

8 Henri de Toulouse- Lautrec, At the Moulin Rouge, 1892 Toulouse-Lautrec specialty was Parisian night life Large areas of flat color (no more play on light and color aka impressionism)

9 Henri de Toulouse- Lautrec, At the Moulin Rouge, 1892 Toulouse-Lautrec specialty was Parisian night life Large areas of flat color (no more play on light and color aka impressionism) Tiny bearded man in the back is self portrait

10 Henri de Toulouse- Lautrec, At the Moulin Rouge, 1892 Toulouse-Lautrec specialty was Parisian night life Large areas of flat color (no more play on light and color aka impressionism) Tiny bearded man in the back is self portrait Fanciful use of color

11 Henri de Toulouse- Lautrec, At the Moulin Rouge, 1892 Toulouse-Lautrec specialty was Parisian night life Large areas of flat color (no more play on light and color aka impressionism) Tiny bearded man in the back is self portrait Fanciful use of color Oil on canvas

12 Vincent Van Gogh, Night Café, 1888

13 Vincent Van Gogh, Night Café, 1888 Emotionally unstable artist who suffered from mental illness.

14 Vincent Van Gogh, Night Café, 1888 Emotionally unstable artist who suffered from mental illness Best friends with his brother Theo, wrote him hundreds of letters.

15 Vincent Van Gogh, Night Café, 1888 Emotionally unstable artist who suffered from mental illness Best friends with his brother Theo, wrote him hundreds of letters. I wanted to convey an oppressive atmosphere---where one can ruin oneself, go mad, or commit a crime -Van Gogh (letter to Theo about Night Café)

16 Vincent Van Gogh, Night Café, 1888 Emotionally unstable artist who suffered from mental illness Best friends with his brother Theo, wrote him hundreds of letters.

17 Vincent Van Gogh, Night Café, 1888 Emotionally unstable artist who suffered from mental illness Best friends with his brother Theo, wrote him hundreds of letters. Unrealistic interpretation of a bar

18 Vincent Van Gogh, Night Café, 1888 Emotionally unstable artist who suffered from mental illness Best friends with his brother Theo, wrote him hundreds of letters. Unrealistic interpretation of a bar Objects and scenery are oddly positioned, cartoon like.

19 Vincent Van Gogh, Night Café, 1888 Emotionally unstable artist who suffered from mental illness Best friends with his brother Theo, wrote him hundreds of letters. Unrealistic interpretation of a bar Objects and scenery are oddly positioned, cartoon like. Oil on Canvas

20 George Seurat, Sunday Afternoon on the Grand Jatte,

21 George Seurat, Sunday Afternoon on the Grand Jatte, Uses a technique: Pointillism- a technique of painting small dots of color in applied patterns to form an image

22 George Seurat, Sunday Afternoon on the Grand Jatte, Uses a technique: Pointillism- a technique of painting small dots of color in applied patterns to form an image

23 George Seurat, Sunday Afternoon on the Grand Jatte, Uses a technique: Pointillism Traditional perspective of art elements

24 George Seurat, Sunday Afternoon on the Grand Jatte, Uses a technique: Pointillism Traditional perspective of art elements Figures are statuesque, uncommunicative, & faceless= commentary on modern society and how frozen people are.

25 George Seurat, Sunday Afternoon on the Grand Jatte, Uses a technique: Pointillism Traditional perspective of art elements Figures are statuesque, uncommunicative, & faceless= commentary on modern society and how frozen people are. Oil on canvas

26 Paul Gaugin, Where do we come from? What are we? Where are we going?, 1897

27 Paul Gaugin, Where do we come from? What are we? Where are we going?, 1897 Gaugin obsessed with Tahiti lifestyle, country, and culture.

28 Paul Gaugin, Where do we come from? What are we? Where are we going?, 1897 Gaugin obsessed with Tahiti lifestyle, country, and culture. Left Paris to remove himself from materialism and reconnect with nature.

29 Paul Gaugin, Where do we come from? What are we? Where are we going?, 1897 Gaugin obsessed with Tahiti lifestyle, country, and culture. Left Paris to remove himself from materialism and reconnect with nature. Figures are of native Tahitians living off the land, primitive lifestyle

30 Paul Gaugin, Where do we come from? What are we? Where are we going?, 1897 Gaugin obsessed with Tahiti lifestyle, country, and culture. Left Paris to remove himself from materialism and reconnect with nature. Figures are of native Tahitians living off the land, primitive lifestyle Used colors that were native to the tropical flora of the island

31 Paul Gaugin, Where do we come from? What are we? Where are we going?, 1897 Gaugin obsessed with Tahiti lifestyle, country, and culture. Left Paris to remove himself from materialism and reconnect with nature. Figures are of native Tahitians living off the land, primitive lifestyle Used colors that were native to the tropical flora of the island Interpretation of this piece found in a letter he wrote to his friend

32 Paul Gaugin, Where do we come from? What are we? Where are we going?, 1897 Where are we going? Near to death an old woman What are we? Day to day existence Where do we come from? Source. Child. Life begins Behind a tree two sinister figures, cloaked in garments of somber colour, introduce, near the tree of knowledge, their note of anguish caused by that very knowledge in contrast to some simple beings in a virgin nature, which might be paradise as conceived by humanity, who give themselves up to the happiness of living. -Gaugin