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Post-Impressionism and Symbolism

The document discusses developments in art and architecture in Europe and America between 1870 and 1900. It focuses on Post-Impressionism and Symbolism during this period. Key developments included experimentation with form and color by Post-Impressionist artists like Cezanne and Gauguin. Symbolist artists explored imagination and fantasy. The Arts and Crafts Movement promoted high quality craftsmanship. Art Nouveau featured organic forms. Architects incorporated new materials and technologies, exemplified by Eiffel's tower and Sullivan's innovative skyscrapers. The period saw modernist artists break from conventions to focus on the facts of art making.

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Post-Impressionism, and Symbolism Europe and America, 1870 to 1900 Gardner‟s Art Through the Ages, 13e, Chapter 31 1
Industrialization of Europe and U.S. about 1850 2
Goals • Understand why the Industrial Revolution, Darwinism, Marxism and sociopolitical changes altered ideas about the nature and subject matter of art in the later 19th century. • Examine the meanings of “Modernism” and “Realism” philosophically and in the appearance of art and architecture. • Understand the formal and content issues of the Post- Impressionists and Symbolists. • Examine experiments in materials and form in art and architecture at the turn of the century. 3
Post-Impressionism • Understand the differences in emotional expression and subject choices between the Impressionists and the Post- Impressionists. • Understand the Post-Impressionist experimentation with form and color. • Recognize the individuality of the Post-Impressionist artists and the styles each one developed. • Examine the extraordinary art of Cezanne and his interest in form, paving the way for Cubism. 4
JAMES ABBOTT MCNEILL WHISTLER, Nocturne in Black and Gold (The Falling Rocket), ca. 1875. Oil on panel, 1‟ 11 5/8” x 1‟ 6 1/2”. Detroit Institute of Arts, Detroit (gift of Dexter M. Ferry Jr.). 5
HENRI DE TOULOUSE-LAUTREC, At the Moulin Rouge, 1892–1895. Oil on canvas, 4‟ x 4‟ 7”. Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection). 6
GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, 6‟ 9” x 10‟. The Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926). 7
VINCENT VAN GOGH, Night Café, 1888. Oil on canvas, 2‟ 4 1/2” x 3‟. Yale University Art Gallery, New Haven. 8
VINCENT VAN GOGH, Starry Night, 1889. Oil on canvas, 2‟ 5” x 3‟ 1/4”. Museum of Modern Art, New York. 9
PAUL GAUGUIN, Vision after the Sermon or Jacob Wrestling with the Angel, 1888. Oil on canvas, 2‟ 4 3/4” x 3‟ 1/2”. National Gallery of Scotland, Edinburgh. 10
PAUL GAUGUIN, Where Do We Come From? What Are We? Where Are We Going? 1897. Oil on canvas, 4‟ 6 3/4” x 12‟ 3”. Museum of Fine Arts, Boston (Tompkins Collection). 11
PAUL CÉZANNE, Mont Sainte-Victoire, 1902–1904. Oil on canvas, 2‟ 3 1/2” x 2‟ 11 1/4”. Philadelphia Museum of Art, Philadelphia (The George W. Elkins Collection). 12
PAUL CÉZANNE, Basket of Apples, ca. 1895. Oil on canvas, 2‟ 3/8” x 2‟ 7”. The Art Institute of Chicago, Chicago. 13
Symbolism • Examine the issues of imagination, fantasy, and formal changes in the art of the Symbolists. • Understand the expression of “modern psychic life” in the art of the Symbolists. 14
PIERRE PUVIS DE CHAVANNES, Sacred Grove, 1884. Oil on canvas, 2‟ 11 1/2” x 6‟ 10”. The Art Institute of Chicago. 15
GUSTAVE MOREAU, Jupiter and Semele, ca. 1875. Oil on canvas, 7‟ x 3‟ 4”. Musée Gustave Moreau, Paris. 16
ODILON REDON, The Cyclops, 1898. Oil on canvas, 2‟ 1” x 1‟ 8”. Kröller-Müller Museum, Otterlo. 17
HENRI ROUSSEAU, Sleeping Gypsy, 1897. Oil on canvas, 4‟ 3” x 6‟ 7”. Museum of Modern Art, New York. 18
EDVARD MUNCH, The Scream, 1893. Tempura and pastels on cardboard, 2‟ 11 3/4” x 2‟ 5”. National Gallery, Oslo. 19
GUSTAV KLIMT, The Kiss, 1907–1908. Oil on canvas, 5‟ 10 3/4” x 5‟ 10 3/4”. Österreichische Galerie Belvedere,Vienna. 20
GERTRUDE KASEBIER, Blessed Art Thou among Women, 1899. Platinum print on Japanese tissue, 9 3/8” X 5 ½”. Museum of Modern Art, New York. 21
Sculpture in the Later 19th Century • Examine the issues of realism and expression related to sculpture in the later 19th century. • Understand the selection of contemporary subject matter by sculptors. • Recognize representative sculptors and works of the later 19th century. 22
Sculpture: Realist and Expressive • Examine issues of realism, expression and subject matter in sculpture of the later 19th century. 23
AUGUSTUS SAINT-GAUDENS, Adams Memorial, Rock Creek Cemetery, Washington, 1891. Bronze, 5‟ 10” high. Smithsonian American Art Museum,Washington, D.C. 24
JEAN-BAPTISTE CARPEAUX, Ugolino and His Children, 1865–1867. Marble, 6‟ 5” high. Metropolitan Museum of Art, New York. 25
AUGUSTE RODIN, Walking Man, 1905. Bronze, 6‟ 11 ¾” high. Musee d‟Orsay, Paris. 26
AUGUSTE RODIN, Burghers of Calais, 1884-1889. Bronze, 6‟ 10 ½” high, 7‟ 11” long, 6‟ 6” deep. Musee Rodin, Paris. 27
Decorative Art: Arts and Crafts Movement and Art Nouveau • Examine the ideas of Ruskin and Morris in shaping the Arts and Crafts Movement. • Understand the interest in aesthetic functional objects in the Arts and Crafts Movement. • Examine the preference for high-quality artisanship and honest labor. • Examine the organic forms of Art Nouveau in art and architecture. 28
Objects and Décor of the Arts & Crafts • Understand the interest in aesthetic functional objects and the preference for high-quality artisanship and honest labor. 29
WILLIAM MORRIS, Green Dining Room, South Kensington Museum (now Victoria & Albert Museum), London, England, 1867. 30
CHARLES RENNIE MACKINTOSH and MARGARET MACDONALD MACKINTOSH, reconstruction (1992–1995) of Ladies‟ Luncheon Room, Ingram Street Tea Room, Glasgow, Scotland, 1900–1912. Glasgow Museum, Glasgow. 31
Art Nouveau Art and Architecture • Examine the organic natural forms in Art Nouveau art and architecture. 32
VICTOR HORTA, staircase in the Van Eetvelde House, Brussels, 1895. 33
LOUIS COMFORT TIFFANY, lotus table lamp, ca. 1905. Leaded Favrile glass, mosaic, and bronze, 2‟ 10 1/2” high. Private collection. 34
ANTONIO GAUDI, Casa Milá, Barcelona, 1907. 35
Architecture in the Later 19th Century • Understand the new technology and changing needs of urban society and their effects on architecture. • Examine new materials use in architecture and the forms made possible as a result. • Understand how architects were able to think differently about space as a result of new technology and materials. • Examine the remarkable work and theories of Louis Sullivan. 36
New Technology and Materials • Understand new technology, changing needs of urban society, and new materials in architecture. 37
ALEXANDRE-GUSTAVE EIFFEL, Eiffel Tower, Paris, France, 1889. 38
HENRY HOBSON RICHARDSON, Marshall Field wholesale store, Chicago, 1885–1887 (demolished 1930). 39
The Architecture of Louis Sullivan • Understand the issues of space and decoration in the remarkable work and theories of Louis Sullivan. 40
LOUIS HENRY SULLIVAN, Guaranty (Prudential) Building, Buffalo, 1894–1896. 41
LOUIS HENRY SULLIVAN, Carson, Pirie, Scott Building, Chicago, 1899–1904. 42
Discussion Questions  In what ways did the Modernist art of the later 19th century break from the past?  How did Modernist artists call attention to the „facts‟ of art making?  What are some key elements of the Post-Impressionist painters? How did their work inspire other artists?  What would you consider the most important breakthrough in architecture? 43