Post-Impressionism
Paul Gauguin
Paul Gauguin
Gauguin had a multicultural
awareness due to his extensive
travel of the world.
Gauguin gave up his successful
life to escape civilization and live
as a painter in Tahiti. Painting took
over his life in 1888.
Known for his arbitrary use of
secondary and tertiary colors.
He was a very arrogant man who
thought quite highly of his own
ability as a painter.
Gauguin was also very inspired by
the visual characteristics of
Japanese printmaking.
Gauguin, Self Portrait,
1888.
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Post-Impressionism
Paul Gauguin
Gauguin flattens his picture plane
much like the Japanese printmakers
that he often studied.
This was painted while he was in
Tahiti. While in the foreign land, he
used exotic people to represent
biblical characters. In this painting
he uses a Tahitian woman to
represent the Virgin Mary, and he
uses a young Tahitian boy to
represent the Young Christ.
This painting clearly demonstrates
Gauguin’s use of arbitrary
intermediate and tertiary colors in
his paintings.
Paul Gauguin
Ia Orana Maria (Hail Mary), 1891.
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Paul Gauguin
Gauguin thought quite highly of himself as a
creator of art. The concept as a ‘creator’
caused Gauguin to see himself as a prophet.
He believed himself to be as important as a
prophet because of his ability to see the world
in a visionary way as well as his ability to
depict that visionary world onto his canvases.
This is a self portrait of Gauguin surrounded
by biblical references. Notice the apples to
the right of his face, and the snake that he
holds in his hands. There are many biblical
references to sin, while at the same time the
painting alludes to Gauguin being divine.
Paul Gauguin
Self Portrait With Halo, 1889.
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Paul Gauguin
Paul Gauguin, Woman With a Flower, 1891
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Paul Gauguin
Paul Gauguin, Tahitian Women on the Beach, 1891 POST-IMPRESSIONISM
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Paul Gauguin
Paul Gauguin, Where Do We Come From? What Are We? Where Are We Going?, 1897.
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Gauguin’s painting reads from right to
left in this case. ( just as Japanese
writing is read from right to left )
Emphasis is built on the concept of the
“Golden Mean” or “Rule of Thirds”.
This image was done toward the end of Gauguin’s career
and it is known as his Masterpiece. It was his largest work
and was created in only a month. This work was
completed just prior to his attempted suicide by way
of an arsenic overdose. (He was saved when his
body violently rejected the poison!)
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George Seurat
George Seurat
Considered a “Classical” Post Impressionist painter who
created his images in the absence of line.
Seurat was very interested in the science of color
theory. He spent his short life studying and mastering
the theory of color and how the eye received color.
He worked in a new style that he called Pointillism
Seurat was intrigued by Impressionism but he felt that
lacked the form and structure that all good paintings
need. It was his mission to take Impressionism to a much
higher and refined level by use of optical blending.
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George Seurat
George Seurat, The Side Show, 1888.
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George Seurat
George Seurat,
The Circus, 1891.
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George Seurat, Le Pont de Courbevoie, 1886-87.
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George Seurat, Le Pont de Courbevoie (DETAIL)
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George Seurat
Seurat, Study for La Grand Jatte, 1884.
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George Seurat
Seurat, Study for La Grand Jatte, 1884.
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George Seurat, The Bathers, 1884.
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Seurat, Sunday Afternoon on the Island of La Grande Jatte, 1886.
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Seurat, Sunday Afternoon (DETAIL)
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George Seurat
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George Seurat – Sketch of Eiffel Tower
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George Seurat
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Contrast Cezanne’s ‘Nudes’ with Seurat’s ‘nudes’!
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On display at the Art Institute of Chicago
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On display at the Art Institute of Chicago
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On display at the Art Institute of Chicago
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On display at the Art Institute of Chicago
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Auguste Rodin
Auguste Rodin
Artist who resurrected the art of bronze
sculpture work, as seen in:
The Burghers of Calais
The Gates of Hell
The Thinker
The Kiss
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Auguste Rodin
Rodin working on bust, 1863.
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Auguste Rodin
Auguste Rodin,
Burghers of Calais, 1884-86.
The armies of King Edward II of England laid
siege to the French city of Calais in 1347 during
the Hundred Years’ War, and forced them to
surrender. He offered to spare the people of the
city if any six of its top leaders would surrender
themselves to him, presumably to be executed.
Edward demanded that they walk out wearing
nooses around their necks, and carrying the
keys to the city and castle. One of the wealthiest
of the town leaders volunteered first, and five
other burghers joined with him. It was this
moment, and this poignant mix of defeat, heroic
self-sacrifice, and willingness to face imminent
death that Rodin captured in his sculpture,
scaled somewhat larger than life.
Although the burghers expected to be executed,
their lives were spared by the intervention of
England's queen, who persuaded her husband
to exercise mercy by claiming that their deaths
would be a bad omen for her unborn child.
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Auguste Rodin
Auguste Rodin,
Burghers of Calais, 1884-86.
Several copies of the bronze work
was made. In it, Rodin creates a
sculpture that strays from the typical
‘heroic’ sculpture: The men look
worn, tired and scared. Their hands
are disproportionately large, and the
work is left with an unfinished, lumpy
look. Rodin also directed that the
sculpture by placed, not on a high
pedestal, but rather at eye level, so
the viewers can create a sense of
empathy from the Burghers.
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Auguste Rodin
Auguste Rodin,
The Gates of Hell
1880-1917
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Auguste Rodin
Auguste Rodin,
The Kiss, c1880.
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Auguste Rodin
Auguste Rodin,
The Thinker (or The Poet)
c1880
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Auguste Rodin
Rodin's Funeral in Meudon - November 24, 1917
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