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29.5 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.

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Emotion and the Impressionists

• Understand emotional expression and subject choices in Post-Impressionist art.

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Figure 29-34 VINCENT VAN GOGH, The Night Café, 1888. Oil on canvas, approx. 2’ 4 1/2” x 3’. Yale University Art Gallery, New Haven (bequest of Stephen Carlton Clark, B.A., 1903).

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Figure 29-35 VINCENT VAN GOGH, Starry Night, 1889. Oil on canvas, approx. 2’ 5” x 3’ 1/4”. Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest).

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Figure 29-36 PAUL GAUGUIN, The 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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Post-Impressionist Experimentation

• Understand the Post-Impressionist experimentation with form and color.

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Figure 29-37 PAUL GAUGUIN, Where Do We Come From? What Are We? Where Are We Going?, 1897. Oil on canvas, 4’ 6 13/ 16” x 12’ 3”. Museum of Fine Arts, Boston (Tompkins Collection).

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Figure 29-38 GEORGES SEURAT, detail of A Sunday on La Grande Jatte, 1884–1886.

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Figure 29-39 GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, approx. 6’ 9” ´ 10’. The Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926).

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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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Figure 29-40 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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Figure 29-41 PAUL CÉZANNE, The 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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Figure 29-42 PIERRE PUVIS DE CHAVANNES, The Sacred Grove, 1884. Oil on canvas, 2’ 11 1/2” x 6’ 10”. The Art Institute of Chicago, Chicago (Potter Palmer Collection).

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Figure 29-43 GUSTAVE MOREAU, Jupiter and Semele, ca. 1875. Oil on canvas, approx. 7’ x 3’ 4”. Musée Gustave Moreau, Paris.

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Figure 29-44 ODILON REDON, The Cyclops, 1898. Oil on canvas, 2’ 1” x 1’ 8”. Kröller-Müller Museum, Otterlo, The Netherlands.

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29.6 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.

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Figure 29-45 HENRI ROUSSEAU, The Sleeping Gypsy, 1897. Oil on canvas, 4’ 3” x 6’ 7”. Museum of Modern Art, New York (gift of Mrs. Simon Guggenheim).

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Figure 29-46 EDVARD MUNCH, The Cry, 1893. Oil, pastel, and casein on cardboard, 2’ 11 3/4” x 2’ 5”. National Gallery, Oslo.

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29.7 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.

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Sculpture: Realist and Expressive

• Examine issues of realism, expression and subject matter in sculpture of the later 19th century.

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Figure 29-47 JEAN-BAPTISTE CARPEAUX, Ugolino and His Children, 1865–1867. Marble, 6’ 5” high. Metropolitan Museum of Art, New York (Josephine Bay Paul and C. Michael Paul Foundation, Inc. and the Charles Ulrich and Josephine Bay Foundation, Inc., gifts, 1967).

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Figure 29-48 AUGUSTUS SAINT-GAUDENS, Adams Memorial, Rock Creek Cemetery, Washington, 1891. Bronze, 5’ 10” high.

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Figure 29-49 AUGUSTE RODIN, Walking Man, 1905, cast 1962. Bronze, 6’ 11 3/4” high. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington (gift of Joseph H. Hirshhorn, 1966).

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Figure 29-50 AUGUSTE RODIN, Burghers of Calais, 1884–1889, cast ca. 1953–1959. Bronze, 6’ 10 1/2” high, 7’ 11” long, 6’ 6” deep. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington (gift of Joseph H. Hirshhorn, 1966).

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29.8 The Arts and Crafts Movement

• 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 preferred nature forms of Art Nouveau in art and architecture.

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Objects and Décor of the Arts & Crafts

• Understand the interest in aesthetic functional objects and the preference for high-quality artisanship and honest labor.

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Figure 29-51 WILLIAM MORRIS, Green Dining Room, 1867. Victoria & Albert Museum, London.

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Figure 29-52 CHARLES RENNIE MACKINTOSH, reconstruction (1992–1995) of Ladies’ Luncheon Room, Ingram Street Tea Room, Glasgow, Scotland, 1900–1912. Glasgow Museum, Glasgow.

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Figure 29-53 VICTOR HORTA, staircase in the Van Eetvelde House, Brussels, 1895.

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Figure 29-54 AUBREY BEARDSLEY, The Peacock Skirt, 1894. Pen-and-ink illustration for Oscar Wilde’s Salomé.

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Nature in Art Nouveau Architecture

• Examine the organic nature forms in Art Nouveau architecture.

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Figure 29-55 ANTONIO GAUDI, Casa Milá, Barcelona, 1907.

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Figure 29-56 GUSTAV KLIMT, The Kiss, 1907–1908. Oil on canvas, 5’ 10 3/4” x 5’ 10 3/4”. Austrian Gallery, Vienna.

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29.7 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.

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New Technology and Materials

• Understand new technology, changing needs of urban society, and new materials in architecture.

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Figure 29-57 ALEXANDRE-GUSTAVE EIFFEL, Eiffel Tower, Paris, 1889 (photo: 1889–1890). Wrought iron, 984’ high.

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Figure 29-58 HENRY HOBSON RICHARDSON, Marshall Field wholesale store (demolished), Chicago, 1885–1887.

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The Architecture of Louis Sullivan

• Understand the issues of space and decoration in the remarkable work and theories of Louis Sullivan.

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Figure 29-59 LOUIS SULLIVAN, Guaranty (Prudential) Building, Buffalo, 1894–1896.

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Figure 29-60 LOUIS SULLIVAN, Carson, Pirie, Scott Building, Chicago, 1899–1904.

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Figure 29-61 RICHARD MORRIS HUNT, The Breakers, Newport, Rhode Island, 1892.

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Figure 29-62 LOUIS COMFORT TIFFANY, Lotus table lamp, ca. 1905. Leaded Favrile glass, mosaic, and bronze, 2’ 10 1/2” high. Private collection.

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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 would you consider the most important breakthrough in architecture?