Europe and America,
1870 to 1900:
Post-Impressionism
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Post-Impressionism
• Understand the differences in emotional expression and
subject choices between the Impressionists and the PostImpressionists.
• Understand the Post-Impressionist experimentation with
form and color.
• Recognize the individuality of the Post-Impressionist artists
and the styles each one developed.
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Henri de Toulouse-Lautrec
Figure 31-14 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).
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HENRI DE TOULOUSE-LAUTREC
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HENRI DE TOULOUSELAUTREC
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HENRI DE TOULOUSE-LAUTREC, Jan Avril
Dancing, oil on cardboard, 1892
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HENRI DE TOULOUSE-LAUTREC
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HENRI DE TOULOUSELAUTREC, Portrait of Vincent
van Gogh
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Figure 31-15 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).
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Chris Jordan – Cans Seurat, 2007 & Georges Seurat – Sunday Afternoon at the Grande Jatte: Made
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out of 106,000 aluminum cans- the number consumed in the U.S. every 30 seconds.
Figure 31-18 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.
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Figure 31-19 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).
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Vincent van Gogh,
Self-Portrait
Vincent van Gogh,
Self-Portrait
van Gogh, The Potato Eaters, 1885
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Vincent van Gogh, Sower with Setting Sun, after Millet,
1888
left: Hiroshige, "The Plum Garden in Kameido"
right: Van Gogh, "Flowering Plum Tree"
left: Hiroshige, "Great Bridge, Sudden Shower at Atake"
right: Van Gogh, "The Bridge in the Rain"
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Figure 31-16 VINCENT VAN GOGH, Night Café, 1888. Oil on canvas, 2’ 4 1/2” x 3’. Yale University Art Gallery, New
Haven (bequest of Stephen Carlton Clark).
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Figure 31-17 VINCENT VAN GOGH, Starry Night, 1889. Oil on canvas, 2’ 5” x 3’ 1/4”. Museum of Modern Art, New
York (acquired through the Lillie P. Bliss Bequest).
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van Gogh, Wheatfield with Crows, July, 1890. Possibly his last
painting before he commits suicide.
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Post-Impressionist Form
• Examine the extraordinary art of Cezanne and his interest in
form, paving the way for Cubism.
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PAUL CÉZANNE, Mont Sainte-Victoire, 1897. Oil on canvas
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Figure 31-20 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).
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PAUL CÉZANNE, Mont Sainte-Victoire Seen from Les Lauves 1904–1906. Oil on canvas
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Figure 31-21 PAUL CÉZANNE, Basket of Apples, ca. 1895. Oil on canvas, 2’ 3/8” x 2’ 7”. The Art Institute of Chicago,
Chicago (Helen Birch Bartlett Memorial Collection, 1926).
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Cezanne, Still Life with Skull, 1895
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Cezanne, Still Life with Water Jug, 1892-3
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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?
 Why did the public find the subjects, forms, and techniques
of the Impressionists shocking?
 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?
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