Period, Style, and Form Week 12 Notes - Impressionism and Post-Impressionism
Period, Style, and Form Week 12 Notes - Impressionism and Post-Impressionism THFM 4600
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This 0 page Class Notes was uploaded by Ashleigh Schneider on Saturday November 14, 2015. The Class Notes belongs to THFM 4600 at Bowling Green State University taught by Margaret McCubbin in Summer 2015. Since its upload, it has received 17 views. For similar materials see Period, Style, and Form in Theatre at Bowling Green State University.
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Date Created: 11/14/15
Period Style and Form Week 12 Monday Impressionism and PostImpressionism I The Impressionist period 0 Impressionism painting in terms of tone rather than in terms of the object itself 0 Pure Impressionists painted as though they had caught the subject unaware in a burst of light 0 Chose to present the everyday world and landscapes differently from classical or romantic tendencies I The weak point was this style could result in a loss of form and solidity O The Academy I Provided training for artists in acceptable styles I Therefore it supported and trained the men who were willing to work within the defined formula 0 Everyone else was not accepted I Academic standards applied to official patronage I Artists could no longer support themselves independently I David I Strongly in uenced the new Academy but refused to head it 0 The Salon I The original idea was to present an exhibition of the best work by established artists and a place for budding artists to be discovered I Went from being a competition room to a sales room and weapon to keep control over younger artists I Paintings had strict guidelines I Subject matter and size decided a painting s success and value I A perfect Salon painter was a narrator O Rebellion I An alternate exhibit was created known as the Salon of Realism I In 1863 the real battle between the rebels and the establishment happened I So many paintings were rejected that a separate Salon des Refuses was created to show rejected work I The Salon des Refuses 0 Was both a success and a failure 0 Patrons I Gustave Callibotte I A naval architect who bought rejected paintings not just because they were an investment but also because he enjoyed them 0 Bought his Impressionist friends paintings when they were desperate 0 Many of the paintings he collected were accepted by the Louvre and are their main Impressionist collection I Victor Chocquet 0 A friend of the Impressionists who had very little money but made many sacrifices to acquire the paintings he loved 0 Artists I Manet I Was considered to be the founder of Impressionism I Refused to accept the term Impressionism for his work 0 Luncheon on the Grass 0 Most scandalous painting at the Salon des Refuses although he just wanted it to be accepted 0 Technique was an innovation 0 Everyone hated it because they believed it was not picturesque and immoral 0 Olympia O No attempt at romanticizing or making a social comment I Only drama is in the paint 0 Achieves the realistic objectivity that Courbet was attempting to create with realism 0 Interesting for the subject and the way he chose to deal with it I James McNeil Whistler 0 In uenced by Japanese prints 0 Worked in a muted palette of colors I Called his paintings a variety of names so the public would see his paintings as painting not as a picture of something I Claude Monet 0 Followed the basic parts of the Impressionist style 0 Greatest of the artists at capturing outdoor light 0 Painted unblended colors 0 This technique was later picked up by pointillists I Saw everything in terms of light I Edgar Degas I Never actually accepted pure Impressionism I Was the finest draftsman and composer of the Impressionists 0 Did not like the term Impressionists O Painted city streets intimate interiors and theaters I Made no moral assessments and did not commit himself I Auguste Renoir 0 His paintings were always filled with joy 0 Originally apprenticed to a porcelain decorator 0 His view on women 0 They exist as a symbol of life 0 Everything echoes of her fertility 0 Worked in the Impressionist style for a while but eventually combined the best parts of Impressionism with formal values 0 His last works were abstract expressions of color and form 0 Became crippled by rheumatism and by the end of his life was painting in a wheelchair with a brush strapped to his hand Berthe Morisot 0 The granddaughter of Fragonard and the sisterinlaw of Manet O Manet helped her to master figures and she taught him how to lighten his palette 0 Treated with equality by the other Impressionist artists Mary Cassatt 0 Degas was her role model and friend 0 Was a firstrate printmaker who brought a new crispness and economy to the medium 0 Introduced her wealthy American friends to the Impressionists 0 Because of this many Impressionist works live in America today Winslow Homer 0 Originally trained as a lithographer but became a painter after the Civil War 0 Worked in several aesthetics and sometimes combined the two The Ten 0 A looseknit group of artists who exhibited together beginning in March of 1898 0 Reacted against the dominant art associations of the time 0 Some moved into realistic portraiture while others continued painting impressionistically PostImpressionism 0 Was a sharp departure from the natural look of the world A distortion of visual reality 0 Most of these artists started with Impressionism and moved on to something else 0 Classicists Pointillism the application of color in dots of uniform size Divisionism the breakingup of the colors into their component parts Believed human experience could be clarified and universalized Georges Seurat 0 A leader of the NeoImpressionist artists 0 His work was an extremely systematic form of Impressionism that was concerned with rediscovering contours forms and masses that had become ambiguous I Developed a formula 0 Simplify all natural forms to almost geometric silhouettes modifying them where necessary to increase their effectiveness as pure design Assemble these silhouettes into a composition 0 Paint this composition using the pointillistic technique in O accord with color theories held by the artist I Died at the age of 32 after selling and giving away almost nothing I Paul Signac I Had as much to do with the formation of NeoImpressionism as Seurat O Helped Seurat appreciate the work of the Impressionists 0 His work showed energetic dashes of freely patterned color rather than tiny dots I Cezanne I A contemporary of the Impressionist group I The most revolutionary artist since the start of the Renaissance I Believed that geometry is the basis of all form and that abstract values are of more importance than realistic ones 0 His work only began to be valued in the last ten years of his life 0 Romantic I Lead to the future school of Expressionism I Used a lot of free distortion of form and color to express inner sensations or emotions I They were not concerned with the structural use but to portray intense and personal emotions I Emile Bernard I One of the earliest Romantics I Painted his first painting in the Synthetist style I Paul Gauguin I Built his whole persona around the concept of Bohemianism I Used pure color and reduced forms to their essential outlines 0 His style eventually transformed into his South Seas period which had rich colors and were mythical I The Nabis I A group of French artists whose name came from the Hebrew word for prophets I Heavily in uenced by Gauguin Believed a painting should be a parallel of nature Bonnard 0 One of the best known painters of this school 0 Eventually reverted to a modified style called Intimisme and painted intimate domestic interiors I Vincent Van Gogh One of the greatest and most in uential artists of the 19th century Modern Expressionism comes from his work Compelled to paint as a direct expression of self and was not a professional artist Early work was Realist in subject matter and Expressionistic in style Eventually became more concerned with aesthetic qualities and less with subject matter Developed a method of painting with short choppy strokes of bright color Most notable paintings include Sun owers and Starry Night I Toulouse Lautrec Work was sometimes defined as Impressionist and sometimes as PostImpressionist Was a draftsman first and a painter second Recognized that in advertising 0 The design must be harmonious with the lettering complementing the 2rld dimension 0 The poster must make its total effect immediately 0 Fantastic and Visionary Art I A subgroup of the Romantics I Odilon Redon A symbolist who believed that the painter s goal is not to investigate the world around him but rather the world of dream and mystery His interest was in ambiguities I Henri Rousseau Began a selftaught painter who did it mostly for fun but eventually became a professional painter Developed a personal style which combined a highly cultivated manner with primitive simplicities