CHAPTER TWENTY-SIX PROGRESS AND ITS DISCONTENTS: POST-IMPRESSIONISM, SYMBOLISM, AND ART NOUVEAU, 1880–1905
Post-Impressionism
Key Images Paul Cézanne, Mont Sainte-Victoire, p. 906, 26.1 Paul Cézanne, Still Life with Apples in a Bowl, p. 907, 26.2 Paul Cézanne, Mont Sainte-Victoire Seen from Bibemus Quarry, p. 908, 26.3 Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, p. 909, 26.4 Puvis de Chavannes, The Sacred Grove, p. 909, 26.5 Georges Seurat, Le Chahut, p. 910, 26.6 Henri de Toulouse-Lautrec, La Goulue, p. 912, 26.7 Henri de Toulouse-Lautrec, At the Moulin Rouge, p. 913, 26.8 Vincent van Gogh, The Potato Eaters, p. 913, 26.9 Vincent van Gogh, Portrait of Père Tanguy, p. 914, 26.10 Vincent van Gogh, Night Café, p. 915, 26.11 Vincent van Gogh, Starry Night, p. 916, 26.12 Paul Gauguin, The Vision after the Sermon (Jacob Wrestling with the Angel), p. 917, 26.13 Paul Gauguin, Where Do We Come From? What Are We? Where Are We Going? p. 918, 26.14
• The collective term ″Post-Impressionist″ applies to significant avant-garde art of the 1880s and 1890s.
• Paul Cézanne′s paintings were a balance of two- and three-dimensional space as he carefully balanced swatches of color in his brushstroke ″to make of Impressionism something solid…″ (p. 905)
• Over his career, Cézanne′s paintings became increasingly abstract.
• Georges Seurat explored scientific color theory in his paintings developing a technique he called ″chromoluminarianism.″ This technique was later called ″pointillism″or ″divisionism.″
• Henri de Toulouse-Lautrec′s greatest impact was through his lithographic posters of Parisian nightlife.
• Van Gogh explored an intensely personal, emotive expression in painting, in which color intensity and distortions of form serve to communicate emotions.
• Gauguin sought, through Symbolism (which he called ″Synthetism″) to rediscover a world which did not suffer from moral decay and spiritual bankruptcy. This quest took him to the French colony of Tahiti in the South Pacific.
Symbolism
Key Images Édouard Vuillard, The Suitor, p. 919, 26.15 Gustave Moreau, The Apparition (Dance of Salomé), p. 920, 26.16 Odilon Redon, The Eye Like a Strange Balloon Mounts Towards Infinity, from the series Edgar A. Poe, p. 921, 26.17 Henri Rousseau, The Dream, p. 921, 26.18 Max Klinger, The Abduction (from A Glove), p. 922, 26.19 James Ensor, Christ’s Entry into Brussels in 1889, p. 923, 26.20 Edvard Munch, The Scream, p. 923, 26.21 Aubrey Beardsley, Salomé, p. 924, 26.22 Gustav Klimt, The Kiss, p. 924, 26.23 George Inness, The Trout Brook, p. 925, 26.24 Albert Pinkham Ryder, Siegfried and the Rhine Maidens, p. 925, 26.25 Henry Ossawa Tanner, Angels Appearing before the Shepherds, p. 926, 26.26 Auguste Rodin, The Gates of Hell (entire structure), p. 927, 26.27 Auguste Rodin, The Thinker, p. 927, 26.28 Auguste Rodin, The Walking Man, p. 928, 26.29 Auguste Rodin, Burghers of Calais, p. 929, 26.30
• Gauguin′s Symbolist followers, the Nabis, continued to explore the pictorial relationships at the core of much of Post-Impressionist painting.
• Many Symbolist works have a dreamlike quality.
• Edvard Munch′s The Scream is exemplary of expressionist visual characteristics.
• Auguste Rodin often disregarded Classical ideas about form in his sculptures, contorting them to embody their inner state. This expression of fears and states of mind links him to aims of the Symbolists.
• Rodin’s seemingly ″unfinished″ works were an attempt to create a new aesthetic which would convey the artistic process of ″growth.″
Art Nouveau and the Search for Modern Design
Key Images Louis Comfort Tiffany, A Wooded Landscape, p. 929, 26.31 Victor Horta, Interior Stairwell of the Tassel House, Brussels, p. 930, 26.32 Hector Guimard, Métro Station, Paris, p. 930, 26.33 Antoni Gaudi, Casa Milà Apartments, Barcelona, p. 931, 26.34 Charles Rennie Mackintosh, north façade of the Glasgow School of Art, Glasgow, p. 932, 26.36 Charles Rennie Mackintosh, Salon de Luxe, Willow Tearoom, Glasgow, p. 932, 26.37
• Art Nouveau, a primarily decorative style based on the whiplash line, intended to unify the arts of design by producing a ″total work of art″ which would help restore a sense of humanity in the face of mass industrialization.
• A response to William Morris′ Arts and Crafts Movement, Art Nouveau relied on ″biomorphic motifs″ that broke the rules of conventional architecture, resulting in a more organic style suggesting growth and evolution.
• This can be seen in Victor Horta′s Tassel House in Brussels with the tendril-like ironwork of the interior stairwell, Hector Giumard′s Métro Station in Paris, and Antoni Gaudi′s Casa Milà Apartments in Barcelona.
• These buildings have the dreamlike quality seen in the work of the Symbolists.
American Architecture: The Chicago School
Key Images Henry Hobson Richardson, Marshall Field Wholesale Store, Chicago, p. 933, 26.38 Louis Sullivan, Wainwright Building, St. Louis, p. 934, 26.39 Louis Sullivan, Schlesinger and Meyer Store (now Carson, Pirie & Scott Department Store), Chicago p. 935, 26.40 Louis Sullivan, Cast-iron ornament, Schlesinger and Meyer Store, Chicago, p. 935, 26.41 Frank Lloyd Wright, Robie House, Chicago, p. 936, 26.42 Frank Lloyd Wright, Living room of the Francis W. Little House, Minnesota, p. 937, 26.44
• The birth of modern architecture can be dated to the 1880s and 1890s when the first skyscrapers were erected in Chicago.
• These architects were known as the Chicago School.
• Utilizing contemporary materials and construction techniques, Louis Sullivan designed the first skyscraper, the Wainwright Building, in 1890–91.
• Frank Lloyd Wright is best known for his Prairie Houses.
Photography
Key Images Peter Henry Emerson, Poling the Marsh Hay, p. 938, 26.45 Gertrude Käsebier, Blessed Art Thou Among Women, p. 939, 26.46 Edward Steichen, Rodin with His Sculptures, ″Victor Hugo″ and ″The Thinker,″ p. 940, 26.47 Alfred Stieglitz, The City of Ambition, p. 941, 26.48 Jacob Riis, Five Cents a Spot, Unauthorized Lodgings in a Bayard Street Tenement, p. 941, 26.49
Eadweard Muybridge, Untitled (Sequence photographs of the trot and gallop), from La Nature, p. 942, 26.50 Étienne-Jules Marey, Man in Black Suit with White Stripes Down Arms and Legs, p. 942, 26.51
• The utilization of photography greatly expanded at the end of the nineteenth century, moving beyond Pictorialism to include documentary photography and motion photography.
• The Photo Secession promoted Pictorial aesthetic which emphasized a painterly look. Pictorial photographs were often highly textured.
Key Terms/Places/Names
Post-Impressionism Neo-Impressionism ″Chromoluminarianism″ Pointillism Divisionism Moulin Rouge cloisonné enamels Symbolism primitivism Synthetism the Nabis Art Nouveau Arts and Crafts Movement The Chicago School curtain wall spandrels Prairie Houses Photo Secession Pictorialist Photography
Discussion Questions
1. Contrast Henri de Toulouse-Lautrec′s At the Moulin Rouge (p. 913, 26.8) with Auguste Renoir′s Luncheon of the Boating Party (p. 875, 25.16).
2. In what ways was Georges Seurat′s work influenced by the Impressionists? How was it different?
3. What aspects of Impressionism were embraced and rejected by Paul Cézanne?
4. In what ways did the Pictorial aesthetic affect photography?
5. What was the contribution of The Chicago School?
6. Describe the organic qualities in Horta′s Tassel House (p. 930, 26.32), Guimard′s Métro Station (p. 930, 26.33), and Gaudi’s Casa Milà Apartments (p. 931, 26.34).
Resources
Books
Bonafoux, Pascal. Van Gogh, The Passionate Eye, tr. Anthony Zielonka. New York: Harry Abrams, 1992.
Cachin, Françoise. Gauguin, The Quest for Paradise, tr. I. Mark Paris. New York: Harry Abrams, 1992.
Denvir, Bernard. Post-Impressionism. New York: Thames and Hudson, 1992.
McQuillan, Melissa. Van Gogh. New York: Thames and Hudson, 1989.
Thomson, Belinda. Gauguin. New York: Thames and Hudson, 1987.
Verdi, Richard. Cézanne. New York: Thames and Hudson, 1992.
DVDs
Alfred Stieglitz—The Eloquent Eye (American Masters) (2001). Winstar. 85 min. Biography: Vincent van Gogh, A Stroke of Genius (2004). A&E Home Video. 50 min. Cézanne in Provence (2006). PBS Home Video. Cézanne: Three Colours Cézanne (2001). Image Entertainment. 56 min. Edvard Munch (2006). New Yorker Video. 174 min. The Impressionists—Seurat (2006). Kultur Video. 50 min. The Post Impressionists—Cézanne (2006). Kultur Video. 50 min. The Post Impressionists—Edvard Munch (2006). Kultur Video. 50 min. The Post Impressionists—Gauguin (2006). Kultur Video. 50 min. The Post Impressionists—Henri Rousseau (2006). Kultur Video. 50 min. The Post Impressionists—Toulouse-Lautrec (2006). Kultur Video. 50 min. The Post Impressionists—Van Gogh (2006). Kultur Video. 50 min. Toulouse-Lautrec and Montmartre (2005). Homevision. 30 min.
www
Cézanne in Provence http://www.cezanne-2006.com/cezanne_2006/?ID=2&lg=en
Henri de Toulouse-Lautrec http://www.lautrec.info/
Munch Museum (Oslo) http://www.munch.museum.no/
The Van Gogh Museum (Amsterdam) http://www3.vangoghmuseum.nl/vgm/index.jsp?lang=nl
Van Gogh & Gauguin (Van Gogh Museum) http://www.vangoghgauguin.com/
CHAPTER TWENTY-SIX
ReplyDeletePROGRESS AND ITS DISCONTENTS:
POST-IMPRESSIONISM, SYMBOLISM, AND ART NOUVEAU, 1880–1905
Post-Impressionism
Key Images
Paul Cézanne, Mont Sainte-Victoire, p. 906, 26.1
Paul Cézanne, Still Life with Apples in a Bowl, p. 907, 26.2
Paul Cézanne, Mont Sainte-Victoire Seen from Bibemus Quarry, p. 908, 26.3
Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, p. 909, 26.4
Puvis de Chavannes, The Sacred Grove, p. 909, 26.5
Georges Seurat, Le Chahut, p. 910, 26.6
Henri de Toulouse-Lautrec, La Goulue, p. 912, 26.7
Henri de Toulouse-Lautrec, At the Moulin Rouge, p. 913, 26.8
Vincent van Gogh, The Potato Eaters, p. 913, 26.9
Vincent van Gogh, Portrait of Père Tanguy, p. 914, 26.10
Vincent van Gogh, Night Café, p. 915, 26.11
Vincent van Gogh, Starry Night, p. 916, 26.12
Paul Gauguin, The Vision after the Sermon (Jacob Wrestling with the Angel), p. 917, 26.13
Paul Gauguin, Where Do We Come From? What Are We? Where Are We Going? p. 918, 26.14
• The collective term ″Post-Impressionist″ applies to significant avant-garde art of the 1880s and 1890s.
• Paul Cézanne′s paintings were a balance of two- and three-dimensional space as he carefully balanced swatches of color in his brushstroke ″to make of Impressionism something solid…″ (p. 905)
• Over his career, Cézanne′s paintings became increasingly abstract.
• Georges Seurat explored scientific color theory in his paintings developing a technique he called ″chromoluminarianism.″ This technique was later called ″pointillism″or ″divisionism.″
• Henri de Toulouse-Lautrec′s greatest impact was through his lithographic posters of Parisian nightlife.
• Van Gogh explored an intensely personal, emotive expression in painting, in which color intensity and distortions of form serve to communicate emotions.
• Gauguin sought, through Symbolism (which he called ″Synthetism″) to rediscover a world which did not suffer from moral decay and spiritual bankruptcy. This quest took him to the French colony of Tahiti in the South Pacific.
Symbolism
Key Images
Édouard Vuillard, The Suitor, p. 919, 26.15
Gustave Moreau, The Apparition (Dance of Salomé), p. 920, 26.16
Odilon Redon, The Eye Like a Strange Balloon Mounts Towards Infinity, from the series Edgar A. Poe, p. 921, 26.17
Henri Rousseau, The Dream, p. 921, 26.18
Max Klinger, The Abduction (from A Glove), p. 922, 26.19
James Ensor, Christ’s Entry into Brussels in 1889, p. 923, 26.20
Edvard Munch, The Scream, p. 923, 26.21
Aubrey Beardsley, Salomé, p. 924, 26.22
Gustav Klimt, The Kiss, p. 924, 26.23
George Inness, The Trout Brook, p. 925, 26.24
Albert Pinkham Ryder, Siegfried and the Rhine Maidens, p. 925, 26.25
Henry Ossawa Tanner, Angels Appearing before the Shepherds, p. 926, 26.26
Auguste Rodin, The Gates of Hell (entire structure), p. 927, 26.27
Auguste Rodin, The Thinker, p. 927, 26.28
Auguste Rodin, The Walking Man, p. 928, 26.29
Auguste Rodin, Burghers of Calais, p. 929, 26.30
• Gauguin′s Symbolist followers, the Nabis, continued to explore the pictorial relationships at the core of much of Post-Impressionist painting.
• Many Symbolist works have a dreamlike quality.
• Edvard Munch′s The Scream is exemplary of expressionist visual characteristics.
• Auguste Rodin often disregarded Classical ideas about form in his sculptures, contorting them to embody their inner state. This expression of fears and states of mind links him to aims of the Symbolists.
• Rodin’s seemingly ″unfinished″ works were an attempt to create a new aesthetic which would convey the artistic process of ″growth.″
Art Nouveau and the Search for Modern Design
Key Images
Louis Comfort Tiffany, A Wooded Landscape, p. 929, 26.31
Victor Horta, Interior Stairwell of the Tassel House, Brussels, p. 930, 26.32
Hector Guimard, Métro Station, Paris, p. 930, 26.33
Antoni Gaudi, Casa Milà Apartments, Barcelona, p. 931, 26.34
Charles Rennie Mackintosh, north façade of the Glasgow School of Art, Glasgow, p. 932, 26.36
Charles Rennie Mackintosh, Salon de Luxe, Willow Tearoom, Glasgow, p. 932, 26.37
• Art Nouveau, a primarily decorative style based on the whiplash line, intended to unify the arts of design by producing a ″total work of art″ which would help restore a sense of humanity in the face of mass industrialization.
• A response to William Morris′ Arts and Crafts Movement, Art Nouveau relied on ″biomorphic motifs″ that broke the rules of conventional architecture, resulting in a more organic style suggesting growth and evolution.
• This can be seen in Victor Horta′s Tassel House in Brussels with the tendril-like ironwork of the interior stairwell, Hector Giumard′s Métro Station in Paris, and Antoni Gaudi′s Casa Milà Apartments in Barcelona.
• These buildings have the dreamlike quality seen in the work of the Symbolists.
American Architecture: The Chicago School
Key Images
Henry Hobson Richardson, Marshall Field Wholesale Store, Chicago, p. 933, 26.38
Louis Sullivan, Wainwright Building, St. Louis, p. 934, 26.39
Louis Sullivan, Schlesinger and Meyer Store (now Carson, Pirie & Scott Department Store), Chicago p. 935, 26.40
Louis Sullivan, Cast-iron ornament, Schlesinger and Meyer Store, Chicago, p. 935, 26.41
Frank Lloyd Wright, Robie House, Chicago, p. 936, 26.42
Frank Lloyd Wright, Living room of the Francis W. Little House, Minnesota, p. 937, 26.44
• The birth of modern architecture can be dated to the 1880s and 1890s when the first skyscrapers were erected in Chicago.
• These architects were known as the Chicago School.
• Utilizing contemporary materials and construction techniques, Louis Sullivan designed the first skyscraper, the Wainwright Building, in 1890–91.
• Frank Lloyd Wright is best known for his Prairie Houses.
Photography
Key Images
Peter Henry Emerson, Poling the Marsh Hay, p. 938, 26.45
Gertrude Käsebier, Blessed Art Thou Among Women, p. 939, 26.46
Edward Steichen, Rodin with His Sculptures, ″Victor Hugo″ and ″The Thinker,″ p. 940, 26.47
Alfred Stieglitz, The City of Ambition, p. 941, 26.48
Jacob Riis, Five Cents a Spot, Unauthorized Lodgings in a Bayard Street Tenement, p. 941, 26.49
Eadweard Muybridge, Untitled (Sequence photographs of the trot and gallop), from La Nature,
p. 942, 26.50
Étienne-Jules Marey, Man in Black Suit with White Stripes Down Arms and Legs, p. 942, 26.51
• The utilization of photography greatly expanded at the end of the nineteenth century, moving beyond Pictorialism to include documentary photography and motion photography.
• The Photo Secession promoted Pictorial aesthetic which emphasized a painterly look. Pictorial photographs were often highly textured.
Key Terms/Places/Names
Post-Impressionism
Neo-Impressionism
″Chromoluminarianism″
Pointillism
Divisionism
Moulin Rouge
cloisonné enamels
Symbolism
primitivism
Synthetism
the Nabis
Art Nouveau
Arts and Crafts Movement
The Chicago School
curtain wall
spandrels
Prairie Houses
Photo Secession
Pictorialist Photography
Discussion Questions
1. Contrast Henri de Toulouse-Lautrec′s At the Moulin Rouge (p. 913, 26.8) with Auguste Renoir′s Luncheon of the Boating Party (p. 875, 25.16).
2. In what ways was Georges Seurat′s work influenced by the Impressionists? How was it different?
3. What aspects of Impressionism were embraced and rejected by Paul Cézanne?
4. In what ways did the Pictorial aesthetic affect photography?
5. What was the contribution of The Chicago School?
6. Describe the organic qualities in Horta′s Tassel House (p. 930, 26.32), Guimard′s Métro Station (p. 930, 26.33), and Gaudi’s Casa Milà Apartments (p. 931, 26.34).
Resources
Books
Bonafoux, Pascal. Van Gogh, The Passionate Eye, tr. Anthony Zielonka. New York: Harry Abrams, 1992.
Cachin, Françoise. Gauguin, The Quest for Paradise, tr. I. Mark Paris. New York: Harry Abrams, 1992.
Denvir, Bernard. Post-Impressionism. New York: Thames and Hudson, 1992.
McQuillan, Melissa. Van Gogh. New York: Thames and Hudson, 1989.
Thomson, Belinda. Gauguin. New York: Thames and Hudson, 1987.
Verdi, Richard. Cézanne. New York: Thames and Hudson, 1992.
DVDs
Alfred Stieglitz—The Eloquent Eye (American Masters) (2001). Winstar. 85 min.
Biography: Vincent van Gogh, A Stroke of Genius (2004). A&E Home Video. 50 min.
Cézanne in Provence (2006). PBS Home Video.
Cézanne: Three Colours Cézanne (2001). Image Entertainment. 56 min.
Edvard Munch (2006). New Yorker Video. 174 min.
The Impressionists—Seurat (2006). Kultur Video. 50 min.
The Post Impressionists—Cézanne (2006). Kultur Video. 50 min.
The Post Impressionists—Edvard Munch (2006). Kultur Video. 50 min.
The Post Impressionists—Gauguin (2006). Kultur Video. 50 min.
The Post Impressionists—Henri Rousseau (2006). Kultur Video. 50 min.
The Post Impressionists—Toulouse-Lautrec (2006). Kultur Video. 50 min.
The Post Impressionists—Van Gogh (2006). Kultur Video. 50 min.
Toulouse-Lautrec and Montmartre (2005). Homevision. 30 min.
www
Cézanne in Provence
http://www.cezanne-2006.com/cezanne_2006/?ID=2&lg=en
Henri de Toulouse-Lautrec
http://www.lautrec.info/
Munch Museum (Oslo) http://www.munch.museum.no/
The Van Gogh Museum (Amsterdam) http://www3.vangoghmuseum.nl/vgm/index.jsp?lang=nl
Van Gogh & Gauguin (Van Gogh Museum) http://www.vangoghgauguin.com/