FINE112 Lecture Notes - Lecture 1: Post-Impressionism, Berggruen Institute, Odilon Redon

33 views5 pages
22 Jul 2016
Department
Course
Professor
Themes
Responses to modernity (subject matter)
Attitudes to nature and representation (concern with naturalistic vs
expressive/symbolic use of light colour, etc.)
Technique and form (approaches to composition, brushwork, application of
painting)
Odilon Redon. The Eye Like a Strange Balloon Mounts Toward Infinity. Charcoal on
paper, 42.2x33.3cm, 1882. New York: Museum of Modern Art
Post Impressionism and Symbolism:
How are they forming responses to modernity?
different attitudes and approaches to nature and representation, move
towards abstraction; symbolism
some artists depicting colour in very naturalistic way- other artists not doing
this, not trying to imitate or copy nature- use colour in a much more abstract
or expressive way
different attitude to technique and form, application of paint, brushwork, etc
Georges Seurat (1859-1891)
associated with Divisionist technique
influenced by colour theory and optics
leader of avant-garde after the Impressionists
works looked at for their use of technique (and application of scientific
principles) as well as a social critique of late nineteenth century middle class
society
next generation of artists; after realists/impressionists
Sunday Afternoon on the Island of La Grand Jatte; working/middle
class/leisure, one of images of modernity-
Seurat was devoted to study of colour/light effects, in order to achieve
greater luminosity in his paintings; a higher state of aesthetics
Colour in relation to light vs local colour (focused on by Seurat)
Local colour is not influenced by sunlight or artificial light: permanent
attribute of depicted object
Focus of Grand Jatte was depiction of luminosity- what makes something
beautiful or animated is not its local colour but rather how light illuminates it
and the effects on colour/luminosity
It’s not meant to be a scientific observation of colour, but rather how light
can have a part in art
Seurat’s use of colour theory is always mediated by someone else; another
artist, art critique, etc.
Art could better nature; take things that are “ugly” in nature and purify them
(symbolist approach to colour and light), improving upon nature
Eg. Seurat’s trees don’t have shadows
find more resources at oneclass.com
find more resources at oneclass.com
Unlock document

This preview shows pages 1-2 of the document.
Unlock all 5 pages and 3 million more documents.

Already have an account? Log in
Geroges Seurat. Les Poseuses (3 models). 1887. Oil on wood. 39.4cm x 48.9cm.
Berggruen Collection.
Viewer is placed in a crammed place; viewer is put into the point of view of
the artist
Same model is being shown in 3 different vantage points
Seurat references his own work in the background- Grand Jatte; Seurat is
recreating the natural light of the Grand Jatte, placing it in within interior,
different location- back to use of light/colour theory
Self conscious understanding of how art can transcend and transform nature-
more at the level of an ideal
Paul Signac. Against the Enamel of a Background Rhymic with Beats and Angles,
Tones and Colours, Portraif of M. Félix Fénéon in 1890. 1890-91. Oil on canvas. 83.5 x
92.5 cm.
Signac coined neo impressionism and divisionism- application of paint where
the colours are separated without mixing
Refers to the theory and idea along with the technique
Georges Seurat. Le Chahut. 1889-90.
Optical mixture; diversionist technique, our eye mixes the colour. Oil on
canvas, 169 x 139cm.
Depicted middle/leisure classes of late 19th century; not everyone might
agree
Form of his technique and effect it has on the viewer is what impacted art
historians and critiques read the way he approached subject matter
Poster art of his day; entertainers/celebrities/night spots
Sometimes called “The Can-Can”- a dance that was done with partners-
depicts desire
Some argue that the pointillism technique depicts a very formal and stiff
image; some may say that this reflects mass production/modernity
Separation of colour to render form
Henri de Toulouse-Lautrec. Le Divan Japonais. 1893.
advertisement that was a commission for the cabaret for the Divan Japonais
using flat outlines/strong/bold outlines and large areas of colour to draw
attention to certain parts of the scene
Lautrec (1864-1901)
ability to represent character in masterful way
less than 5ft tall
find more resources at oneclass.com
find more resources at oneclass.com
Unlock document

This preview shows pages 1-2 of the document.
Unlock all 5 pages and 3 million more documents.

Already have an account? Log in

Get access

Grade+
$10 USD/m
Billed $120 USD annually
Homework Help
Class Notes
Textbook Notes
40 Verified Answers
Study Guides
1 Booster Class
Class+
$8 USD/m
Billed $96 USD annually
Homework Help
Class Notes
Textbook Notes
30 Verified Answers
Study Guides
1 Booster Class