post-impressionism and seurat
TRANSCRIPT
POST-IMPRESSIONISM
MODERN ART IN EUROPE IN THE LATE 19th CENTURY
INTRODUCTION to Post-Impressionism
• By 1885-86 necessity of a shift in the conception of the image . From impressionistic evanescence to a new kind of firmness, solidity.
• The term “postimpressionism” does not identify a movement but rather assembles different individual styles : post- impressionist trends
• Most significant artists: Georges Seurat, Paul Cézanne, Paul Gauguin, Vincent Van Gogh
• They all started from the impressionist experience but then extended beyond it and its limitations
Post-impressionism wants to express new thematic and stylistic force, experimenting with new visual languages
Two main trends inside post-impressionism
Scientific post-impressionism Lyrical post-impressionismCézanne , Seurat Gauguin, Van Gogh
Scientific post-impressionism desire to abandon and overcome impressionist preoccupation with the fleeting moment
Scientific Theories Michele Eugene Chevreul : "Loi du contraste simultané des
couleurs« (publ. 1839)
PRINCIPLE OF SIMULTANEOUS CONTRAST
Two contiguous colors seen side by side are perceived differently as they really are (as viewed separately ona black background)
Maxwell-Chevreul new scientific theories about optics and vision of light and colour
Seurat’s experimentation with the new theories
Contrasting and complementary colors can optically mix to reach far more vivid tones than those achieved by mixing paint alone (theory of SIMULTANEOUS CONTRAST AND RETINAL FUSION)
SEURAT’S NOVELTY : technique of CHROMOLUMINISMapplication of the theory OF “MELANGE OPTIQUE” to the
technique of JUXTAPOSITION OF DOTS
TECHNIQUE OF CHROMOLUMINISM
- Analysis of the colors of objects- Attempt to synthesize them through small dots or
touches of color- Dots of color approximately equal in size
lying side by side produce an optical fusion
The result is ….Greater luminosity and brilliance of colors are
achieved
Phenomenon of the duration of the light impression on the retina
POINTILLISM
Seurat defined the optical synthesis he achieved as
“a mixture of the lights and their shadows in accordance with the
laws of contrast sequence and
irradiation”
The Circus, 1891
A Sunday Afternoon on the Island of La Grande Jatte1884-86, oil on canvas, 2.07x3.08 m – The Art Institute of Chicago
1886: VIII impressionist exhibition
Theme: summer middle class weekend leisure
Composition: the geometry of space and distribution of figures is almost classical
Figures: static, volumetric but also without body weight
( might be a criticism to middle class society)
Effects of the technique of POINTILLISM
- Both characters and natural elements are made of the same multicolor fine dust
- No spontaneity (#impressionist painting) and no en plain air painting
- Almost 3 years to be finished
Scientific approach application of GOLDEN RATIO (see relationship btw bodies and shadows)