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Paul Cézanne: 19th century bridge to 20th century modernism
Paul Cézanne: 19th century bridge to 20th century modernism
POSTED SEPTEMBER 3, 2018
Paul Cézanne was born in Aix-en-Provence in 1839. He is one of the cultural giants of the nineteenth century who paved the way for the revolutionary changes at the turn of the twentieth century. Recognition of his genius came late in life but time has been kind to his reputation and lucrative to those who own his paintings. In 2011, the royal family of Qatar paid 250 million dollars to purchase one of his “Card Player” paintings. At the time, this was the highest price paid for any painting ever.
Paul Cézanne was born in Aix-en-Provence in 1839. He is one of the cultural giants of the nineteenth century who paved the way for the revolutionary changes at the turn of the twentieth century. Recognition of his genius came late in life but time has been kind to his reputation and lucrative to those who own his paintings. In 2011, the royal family of Qatar paid 250 million dollars to purchase one of his “Card Player” paintings. At the time, this was the highest price paid for any painting ever.
"Also known as the "Master of Aix" after his ancestral home in the South of France, Cézanne is credited with paving the way for the emergence of twentieth-century modernism, both visually and conceptually. In retrospect, his work constitutes the most powerful and essential link between the ephemeral aspects of Impressionism and the more materialist, artistic movements of Fauvism, Cubism, Expressionism, and even complete abstraction." [Art Story]
"Also known as the "Master of Aix" after his ancestral home in the South of France, Cézanne is credited with paving the way for the emergence of twentieth-century modernism, both visually and conceptually. In retrospect, his work constitutes the most powerful and essential link between the ephemeral aspects of Impressionism and the more materialist, artistic movements of Fauvism, Cubism, Expressionism, and even complete abstraction." [Art Story]
Self-Portrait by Paul Cézanne 1880-1 The National Gallery, London. Bought, Courtauld Fund, 1925 © The National Gallery, London
Paul Cezanne Orchard in Pontoise, 1877
Camille Pissarro - Orchard with Flowering Trees, Spring, Pontoise, 1877
Cézanne is sometimes classified as a Post-Impressionist but, over the course of his life, he painted in many styles and art historians have identified four stages of his development. His earliest paintings, through 1870, were emotional and expressive – the output of an intense young man. Some had violent or erotic subjects. These paintings were generally composed in dark colors, which led some to name this stage of Cézanne's artistic development the “dark period”.
Cézanne is sometimes classified as a Post-Impressionist but, over the course of his life, he painted in many styles and art historians have identified four stages of his development. His earliest paintings, through 1870, were emotional and expressive – the output of an intense young man. Some had violent or erotic subjects. These paintings were generally composed in dark colors, which led some to name this stage of Cézanne's artistic development the “dark period”.
The paintings of the next stage were influenced by the techniques and colors of the Impressionists. It included many landscapes created in the open air. Cézanne was a slow and exacting artist. One wonders how he kept pace with his Impressionist friend Camille Pissaro, who strongly influenced Cézanne and with whom Cézanne often painted outdoors. Perhaps he did not. In comparing paintings by the two artists of the identical scene (an orchard in Pontoise), Richard Murphy in The World of Cézanne[WOC] contrasts Cézanne's greater interest in the architectural elements – the buildings and walls near the orchard - with Pissaro's emphasis on the light variations and colors around the leaves and the trees. Pissaro's painting shows the orchard in full blossom while Cézanne's has most of the leaves and blossoms gone from the trees and the building and wall more clearly seen. Murphy writes: “...there was quite possibly a purely practical reason for the differences... Cézanne worked so slowly that the blossoms may very well have fallen from the trees before he could complete his picture.”
The paintings of the next stage were influenced by the techniques and colors of the Impressionists. It included many landscapes created in the open air. Cézanne was a slow and exacting artist. One wonders how he kept pace with his Impressionist friend Camille Pissaro, who strongly influenced Cézanne and with whom Cézanne often painted outdoors. Perhaps he did not. In comparing paintings by the two artists of the identical scene (an orchard in Pontoise), Richard Murphy in The World of Cézanne[WOC] contrasts Cézanne's greater interest in the architectural elements – the buildings and walls near the orchard - with Pissaro's emphasis on the light variations and colors around the leaves and the trees. Pissaro's painting shows the orchard in full blossom while Cézanne's has most of the leaves and blossoms gone from the trees and the building and wall more clearly seen. Murphy writes: “...there was quite possibly a purely practical reason for the differences... Cézanne worked so slowly that the blossoms may very well have fallen from the trees before he could complete his picture.”
Beginning about 1878, Cézanne entered what has been called his “Constructive Period.” Cézanne referred to his paintings as “constructions after nature”, built out of “plastic equivalents and color”, and urged that we “see in nature the cylinder, the sphere and the cone”. [WOC] This artistic philosophy seems almost Platonic – looking for an ideal form beyond the immediate visual impression, imbuing meaning beyond that given by our senses. For twenty years, he had spent time painting in both Paris and in Provence. Then in the late 1870's, he moved back to Aix more or less permanently and away from the influence of the Impressionists. Besides landscapes and portraits, he began painting still lifes (more than 200 over the course of his life) - bringing back a genre that had lost favor over the years. A still life lends itself easily to his artistic philosophy – the forms are more distinct and the painting could be “constructed” more easily.
Beginning about 1878, Cézanne entered what has been called his “Constructive Period.” Cézanne referred to his paintings as “constructions after nature”, built out of “plastic equivalents and color”, and urged that we “see in nature the cylinder, the sphere and the cone”. [WOC] This artistic philosophy seems almost Platonic – looking for an ideal form beyond the immediate visual impression, imbuing meaning beyond that given by our senses. For twenty years, he had spent time painting in both Paris and in Provence. Then in the late 1870's, he moved back to Aix more or less permanently and away from the influence of the Impressionists. Besides landscapes and portraits, he began painting still lifes (more than 200 over the course of his life) - bringing back a genre that had lost favor over the years. A still life lends itself easily to his artistic philosophy – the forms are more distinct and the painting could be “constructed” more easily.
The last stage of his development was “a period of synthesis during which his painting, incorporating elements of all the previous styles, became freer and more nearly abstract.” [WOC] His later works laid the groundwork for the abstract painting of the twentieth century. Cézanne died in 1906 at the age of 67, having contracted pneumonia after painting in a downpour for two hours. Both Matisse and Picasso have been credited with the line that “Cézanne is the father of us all”.
The last stage of his development was “a period of synthesis during which his painting, incorporating elements of all the previous styles, became freer and more nearly abstract.” [WOC] His later works laid the groundwork for the abstract painting of the twentieth century. Cézanne died in 1906 at the age of 67, having contracted pneumonia after painting in a downpour for two hours. Both Matisse and Picasso have been credited with the line that “Cézanne is the father of us all”.
Except where noted, all images are from Wikimedia Commons/WikiArt.
Two paintings from the "Constructive Period"
Two paintings from the "Constructive Period"
Cezanne - The Bay of Marseilles, view from L'Estaque 1885
Cezanne - Still Life with Open Drawer, c.1879
The Card Players
The Card Players
During the period from 1890 to 1895, Cézanne created five "Card Players" paintings. They are considered a cornerstone of his final period, when he created some of his most acclaimed works. The canvases range in size from roughly 4-1/2 by 6 feet all the way down to 1-1/2 by 2 feet, and the chronology of the paintings is a subject of debate. In 2011, one of the paintings was sold for $250 million.
The men who posed for the Provencal peasants playing cards were farmhands, some of whom were employed at Cézanne's estate. During the five-year span in which he painted The Card Players, Cézanne created a dozen or so sketches and several painted portraits as practice for his series. The same farmhands were called on, sometimes again and again, to sit for these test studies. With so many tests of The Card Players uncovered, it's been speculated that these sketches and early portraits were made while the models posed in a local café. From there, the practiced painter used these pieces—instead of the living models—as sources for the final paintings. This theory is supported by infrared scans that show a great deal of sketches and repainting within the acclaimed works. (Mentalfloss.com)
Mont Sainte-Victoire
Mont Sainte-Victoire
Mont Sainte-Victoire, near Aix, was one of Cezannes favorites subjects. He painted the mountain in oil or water color more than two dozen times.
Cézanne bought an acre of land near Mont Sainte-Victoire in 1901 and by the end of the following year he had built a studio on it. From here, he would walk further uphill to a spot that offered a sweeping view of Mont Sainte-Victoire and the land before it. The painter Emile Bernard recalled accompanying Cézanne on this very walk: "Cézanne picked up a box in the hall [of his studio] and took me to his motif. It was two kilometers away with a view over a valley at the foot of Sainte-Victoire, the craggy mountain which he never ceased to paint[…]. He was filled with admiration for this mountain." (Khan Academy)
The Mont Sainte Victoire paintings show a progression towards the abstract art of the 20th century. as Cezanne paved the way for 20th century artists artists like Matisse and Picasso to revolutionize the field.
Clockwise from the top left:
Plain at Mont Sainte-Victoire, 1885
Mont Sainte-Victoire seen from the Bibemus Quarry, 1897
Mont Sainte-Victoire, 1904
John Muir: "Nature as a poet, an enthusiastic workingman, becomes more and more visible the farther and higher we go; for the mountains are fountains — beginning places, however related to sources beyond mortal ken."
Chia Tao: “I asked the boy beneath the pines.
He said: the Master’s gone alone
herb picking somewhere on the mount,
cloud-hidden, whereabouts unknown.”
How Cézanne, Van Gogh, and Gauguin inspired 20th century art
How Cézanne, Van Gogh, and Gauguin inspired 20th century art
Part I: From Cezanne to Cubism
Part I: From Cezanne to Cubism
POSTED NOVEMBER 1, 2018
It seems arbitrary that the greatest painters of the late 19th century are referred to as the Post-Impressionists. Granted, they did come after the Impressionists and their art was a response to that enormously influential movement. More than this, though, they sowed the seeds for the modern art movements of the 20th century. The work of the most renowned of these painters - Van Gogh, Cézanne, and Gauguin - ultimately led to Expressionism, Cubism and various forms of Primitivism* and Symbolism. Each of these great painters of the late 19th century had his individual goals for his works. They were not content to reproduce nature nor were they concerned with the exact representation of objects.
It seems arbitrary that the greatest painters of the late 19th century are referred to as the Post-Impressionists. Granted, they did come after the Impressionists and their art was a response to that enormously influential movement. More than this, though, they sowed the seeds for the modern art movements of the 20th century. The work of the most renowned of these painters - Van Gogh, Cézanne, and Gauguin - ultimately led to Expressionism, Cubism and various forms of Primitivism* and Symbolism. Each of these great painters of the late 19th century had his individual goals for his works. They were not content to reproduce nature nor were they concerned with the exact representation of objects.
The invention of photography in the 19th century had freed painters from their centuries-long efforts to represent reality. By the late 1800's, artists were looking to do more than just reproduce what could be seen.
The invention of photography in the 19th century had freed painters from their centuries-long efforts to represent reality. By the late 1800's, artists were looking to do more than just reproduce what could be seen.
The depiction of three-dimensional space with realistically rendered people, objects, and landscapes on a canvas - the illusion of form and space -had been what Western artists through the ages had addressed and solved. The Impressionists' revolutionary attempt to capture a fleeting moment in nature with "fast brushstrokes on an increasingly flattened canvas"** led the next generation of painters to perceive a loss of the traditional representation of three-dimensional forms in two-dimensional paintings. In addition, artists after the Impressionists perceived in the latter's paintings of everyday life a loss of content and deep meaning - important concepts in Western art for centuries.
The depiction of three-dimensional space with realistically rendered people, objects, and landscapes on a canvas - the illusion of form and space -had been what Western artists through the ages had addressed and solved. The Impressionists' revolutionary attempt to capture a fleeting moment in nature with "fast brushstrokes on an increasingly flattened canvas"** led the next generation of painters to perceive a loss of the traditional representation of three-dimensional forms in two-dimensional paintings. In addition, artists after the Impressionists perceived in the latter's paintings of everyday life a loss of content and deep meaning - important concepts in Western art for centuries.
Paul Cézanne (1836-1906)
Paul Cézanne (1836-1906)
Paul Cezanne's painting went through several stages before arriving at an art that was freer and more abstract than his earlier paintings. Both Matisse and Picasso - artists who helped define the revolutionary developments in the visual arts throughout the opening decades of the twentieth century - have been credited with the line that “Cézanne is the father of us all”.
Paul Cezanne's painting went through several stages before arriving at an art that was freer and more abstract than his earlier paintings. Both Matisse and Picasso - artists who helped define the revolutionary developments in the visual arts throughout the opening decades of the twentieth century - have been credited with the line that “Cézanne is the father of us all”.
Cézanne was concerned with the loss of form in Impressionism. In the mid-1870's, he "began to address technical problems of form and color by experimenting with subtly gradated tonal variations, or constructive brushstrokes." By the 1890's Cezanne was constructing solid-looking forms completely from color without the use of light and shadow. "Still Life with Apples and a Pot of Primroses" (c.1890, below left) reveals Cézanne’s artistic evolution and mastery of this style of building forms completely from color and creating scenes with distorted perspectival space. The objects in this painting, such as the fruit and tablecloth, are rendered without use of light or shadow, but through extremely subtle gradations of color.
Cézanne was concerned with the loss of form in Impressionism. In the mid-1870's, he "began to address technical problems of form and color by experimenting with subtly gradated tonal variations, or constructive brushstrokes." By the 1890's Cezanne was constructing solid-looking forms completely from color without the use of light and shadow. "Still Life with Apples and a Pot of Primroses" (c.1890, below left) reveals Cézanne’s artistic evolution and mastery of this style of building forms completely from color and creating scenes with distorted perspectival space. The objects in this painting, such as the fruit and tablecloth, are rendered without use of light or shadow, but through extremely subtle gradations of color.
Cézanne wanted to go beyond impressionism and show not only what you can see of an object but also what you know about it. To accomplish this, he painted some works with varying points of view for a single image. His "Still Life with Statuette" (1894-95) (below right) provides an example. We look down at the base of the statuette and at the top surface of the table. Yet we also see the Cupid statuette's face as if we are looking at it straight on and we see the side of the table as if we are standing to the table's left.
Cézanne wanted to go beyond impressionism and show not only what you can see of an object but also what you know about it. To accomplish this, he painted some works with varying points of view for a single image. His "Still Life with Statuette" (1894-95) (below right) provides an example. We look down at the base of the statuette and at the top surface of the table. Yet we also see the Cupid statuette's face as if we are looking at it straight on and we see the side of the table as if we are standing to the table's left.
Still Life with Apples and a Pot of Primroses, c. 1890
Still Life with Apples and a Pot of Primroses, c. 1890
Mont Sainte Victoire 1902-1904
Mont Sainte Victoire 1902-1904
Still Life with Statuette", 1894-95
Still Life with Statuette", 1894-95
Another result of his experimentation was the creation of works with little regard to the rules of traditional perspective. His Mont Sainte Victoire from 1902-04 (left) illustrates his use of solid patches of paint to give the painting both two-dimensionality (when viewed up close) and three-dimensionality (when viewed at a distance).
Another result of his experimentation was the creation of works with little regard to the rules of traditional perspective. His Mont Sainte Victoire from 1902-04 (left) illustrates his use of solid patches of paint to give the painting both two-dimensionality (when viewed up close) and three-dimensionality (when viewed at a distance).
He felt that the illusion of perspective denied the fact that a painting is a flat two-dimensional object. He liked to flatten the space in his paintings to place more emphasis on their surface - to stress the difference between a painting and reality. He saw painting in more abstract terms as the construction and arrangement of color on a two-dimensional surface.
He felt that the illusion of perspective denied the fact that a painting is a flat two-dimensional object. He liked to flatten the space in his paintings to place more emphasis on their surface - to stress the difference between a painting and reality. He saw painting in more abstract terms as the construction and arrangement of color on a two-dimensional surface.
Finally Cézanne said that nature contained geometrical shapes as the cylinder and the cube. In his advice to artists, he wrote "Treat nature by the cylinder, the sphere, the cone..."
Finally Cézanne said that nature contained geometrical shapes as the cylinder and the cube. In his advice to artists, he wrote "Treat nature by the cylinder, the sphere, the cone..."
Left: 'Factory at Horta de Ebbo'
Above: 'Viaduct at L'Estaque'
It was this flat abstract approach, combined with the emphasis on geometrical forms and multiple perspectives that appealed to the Cubists.
It was this flat abstract approach, combined with the emphasis on geometrical forms and multiple perspectives that appealed to the Cubists.
Their early paintings, such as Picasso's 'Factory at Horta de Ebbo' (1909) and Braque's 'Viaduct at L'Estaque' (1908), took Cezanne to an extreme, and, in the process, developed Cubism, the first abstract style of modern art.
Their early paintings, such as Picasso's 'Factory at Horta de Ebbo' (1909) and Braque's 'Viaduct at L'Estaque' (1908), took Cezanne to an extreme, and, in the process, developed Cubism, the first abstract style of modern art.
Acknowledgements: The key sources for the posts on the post-impressionists' impact on 20th c. art are:
*From E. H. Gombrich's The Story of Art.
**From Sharon Latchaw Hirsh's "How to Look at and Understand Great Art" (Great Courses)
***Wikipedia
****The Art Story
How Cezanne, Van Gogh, and Gauguin inspired 20th century art
How Cezanne, Van Gogh, and Gauguin inspired 20th century art
Part II: From Van Gogh to Expressionism
Part II: From Van Gogh to Expressionism
POSTED NOV 5, 2018
"I feel that there is nothing more truly artistic than to love people."- Vincent Van Gogh (1853-1890)
"I feel that there is nothing more truly artistic than to love people."- Vincent Van Gogh (1853-1890)
Vincent Van Gogh was the son of a Dutch vicar and a deeply religious person. He had worked for several years as a lay preacher in England and Belgium. Impressed with the work of Millet and his social message (e.g., "The Gleaners") and introduced to the Impressionists by his brother Theo, he took up painting in 1881. His lifelong friendship with Theo and most of what is known of Vincent's thoughts and theories of art, are recorded in the hundreds of letters they exchanged until Van Gogh's death in 1890.
Vincent Van Gogh was the son of a Dutch vicar and a deeply religious person. He had worked for several years as a lay preacher in England and Belgium. Impressed with the work of Millet and his social message (e.g., "The Gleaners") and introduced to the Impressionists by his brother Theo, he took up painting in 1881. His lifelong friendship with Theo and most of what is known of Vincent's thoughts and theories of art, are recorded in the hundreds of letters they exchanged until Van Gogh's death in 1890.
In February 1888, suffering from health problems and entertaining thoughts of forming a colony of artists, he moved to Arles in the south of France, attracted by its intense light and sunny skies. In less than a year, though, Van Gogh had a breakdown. After an altercation with fellow painter Paul Gauguin in December 1888, he cut off his own ear. In May 1889, he went into a mental asylum. Fourteen months later, he was dead by his own hand. One of the most influential artists of all time with his works now known, loved and celebrated throughout the world, he died with his genius unrecognized except by a few.
In February 1888, suffering from health problems and entertaining thoughts of forming a colony of artists, he moved to Arles in the south of France, attracted by its intense light and sunny skies. In less than a year, though, Van Gogh had a breakdown. After an altercation with fellow painter Paul Gauguin in December 1888, he cut off his own ear. In May 1889, he went into a mental asylum. Fourteen months later, he was dead by his own hand. One of the most influential artists of all time with his works now known, loved and celebrated throughout the world, he died with his genius unrecognized except by a few.
Self-portrait with a Straw Hat (1887)
In spite of his illness, the time in Arles was one of Van Gogh's most prolific periods: he completed 200 paintings, and more than 100 drawings and watercolors. He was enchanted by the local landscape and light; his works from this period are rich in yellow, ultramarine and mauve. His paintings include harvests, wheat fields and general rural landmarks from the area, including The Old Mill (1888), a picturesque structure bordering the wheat fields.***
In spite of his illness, the time in Arles was one of Van Gogh's most prolific periods: he completed 200 paintings, and more than 100 drawings and watercolors. He was enchanted by the local landscape and light; his works from this period are rich in yellow, ultramarine and mauve. His paintings include harvests, wheat fields and general rural landmarks from the area, including The Old Mill (1888), a picturesque structure bordering the wheat fields.***
Like Cezanne, Van Gogh was "not mainly concerned with correct representation. He used colors and forms to convey what he felt about the things he painted, and what he wished others to feel."* In a letter to Theo, he describes what today's psychologists would call a state of flow: "...the emotions are sometimes so strong that one works without being aware of working...and the strokes come with a sequence and coherence like words in a speech or a letter."
Like Cezanne, Van Gogh was "not mainly concerned with correct representation. He used colors and forms to convey what he felt about the things he painted, and what he wished others to feel."* In a letter to Theo, he describes what today's psychologists would call a state of flow: "...the emotions are sometimes so strong that one works without being aware of working...and the strokes come with a sequence and coherence like words in a speech or a letter."
Van Gogh's unmistakable brushstrokes of pure color not only "breakup the color but also convey his own excitement" and emotions - emotions that he also wanted his viewer to feel. His letter to Theo bout his "Bedroom at Arles" - the third and final version is below - explains this well: "I had a new idea in my head and here is the sketch to it...this time it's simply my bedroom, only here color is to do everything, and, giving by its simplification a grander style to things, is to be suggestive here of rest and of sleep in general. In a word, to look at the picture ought to rest the brain or rather the imagination."
Van Gogh's unmistakable brushstrokes of pure color not only "breakup the color but also convey his own excitement" and emotions - emotions that he also wanted his viewer to feel. His letter to Theo bout his "Bedroom at Arles" - the third and final version is below - explains this well: "I had a new idea in my head and here is the sketch to it...this time it's simply my bedroom, only here color is to do everything, and, giving by its simplification a grander style to things, is to be suggestive here of rest and of sleep in general. In a word, to look at the picture ought to rest the brain or rather the imagination."
For my part I know nothing with any certainty, but the sight of the stars makes me dream. Vincent Van Gogh
Although he sold only one painting during his lifetime, Van Gogh is now one of the most popular artists of all time. His canvases with densely laden, visible brushstrokes rendered in a bright, opulent palette emphasize Van Gogh's personal expression brought to life in paint. Each painting provides a direct sense of how the artist viewed each scene, interpreted through his eyes, mind, and heart.****
Although he sold only one painting during his lifetime, Van Gogh is now one of the most popular artists of all time. His canvases with densely laden, visible brushstrokes rendered in a bright, opulent palette emphasize Van Gogh's personal expression brought to life in paint. Each painting provides a direct sense of how the artist viewed each scene, interpreted through his eyes, mind, and heart.****
Nowhere was Van Gogh's influence greater than in the Expressionist art movement, originating in Germany in the early 20th century and then spreading to other countries, including France and Russia. Expressionism's typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas. Expressionist artists sought to express the meaning of emotional experience rather than physical reality.***
Nowhere was Van Gogh's influence greater than in the Expressionist art movement, originating in Germany in the early 20th century and then spreading to other countries, including France and Russia. Expressionism's typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas. Expressionist artists sought to express the meaning of emotional experience rather than physical reality.***
Volumes have been written and major art exhibitions have been staged on Van Gogh's influence on Expressionism. Below are a few paintings from Van Gogh and Expressionist painters that illustrate this influence both in subject matter and style.
Volumes have been written and major art exhibitions have been staged on Van Gogh's influence on Expressionism. Below are a few paintings from Van Gogh and Expressionist painters that illustrate this influence both in subject matter and style.
Van Gogh's radically idiosyncratic, emotionally evocative style has continued to affect artists and movements throughout the 20th century and up to the present day, guaranteeing Van Gogh's importance far into the future.**** (The Art Story)
Van Gogh's radically idiosyncratic, emotionally evocative style has continued to affect artists and movements throughout the 20th century and up to the present day, guaranteeing Van Gogh's importance far into the future.**** (The Art Story)
Far left: Self-Portrait (1889)
Far left: Self-Portrait (1889)
Left: Karl Schmidt-Rottluff: Self-Portrait (1906)
Left: Karl Schmidt-Rottluff: Self-Portrait (1906)
Below Left: The Road Menders, Van Gogh (1889)
Below Left: The Road Menders, Van Gogh (1889)
Below Right: The White Tree Trunks, Emil Nolde (1908)
Below Right: The White Tree Trunks, Emil Nolde (1908)
Lowest left: The Yellow House, Van Gogh (1888)
Lowest left: The Yellow House, Van Gogh (1888)
Lowest right: Houses in Munich, Vassily Kandinsky (1908
Lowest right: Houses in Munich, Vassily Kandinsky (1908
How Cezanne, Van Gogh, and Gauguin inspired 20th century art
How Cezanne, Van Gogh, and Gauguin inspired 20th century art
Part III: From Gauguin to Primitivism and Symbolism
Part III: From Gauguin to Primitivism and Symbolism
POSTED NOV 20, 2018
Neither Cezanne, in his quest for a new harmony, nor Van Gogh, in his search for a new message, "posed as 'revolutionaries'; they did not want to shock complacent critics. Both of them...had almost given up hope of anybody paying attention to their pictures - they just worked on because they had to."[1] This was not the case with Paul Gauguin (1848-1903), reflected in his statement that "All art is either revolution or plagiarism."
Neither Cezanne, in his quest for a new harmony, nor Van Gogh, in his search for a new message, "posed as 'revolutionaries'; they did not want to shock complacent critics. Both of them...had almost given up hope of anybody paying attention to their pictures - they just worked on because they had to."[1] This was not the case with Paul Gauguin (1848-1903), reflected in his statement that "All art is either revolution or plagiarism."
Gauguin had become convinced that Western art was in danger of becoming slick, of consisting of techniques that could be learned to produce certain effects. As part of the Paris art scene in the 1870's, Gauguin's works were influenced by Impressionism. He gradually became disillusioned with Impressionism and began experimenting. The most important of these early experiments is "Four Breton Women" (1886) [right], which shows a marked departure from the Impressionist style, as does Bord de Mer II (1887) [right] which he painted in Martinique during his brief stay there from June to November 1887. Even though his time on the island was short, it was influential. Rural and indigenous populations remained a popular subject in Gauguin's work after he left the island.
Gauguin had become convinced that Western art was in danger of becoming slick, of consisting of techniques that could be learned to produce certain effects. As part of the Paris art scene in the 1870's, Gauguin's works were influenced by Impressionism. He gradually became disillusioned with Impressionism and began experimenting. The most important of these early experiments is "Four Breton Women" (1886) [right], which shows a marked departure from the Impressionist style, as does Bord de Mer II (1887) [right] which he painted in Martinique during his brief stay there from June to November 1887. Even though his time on the island was short, it was influential. Rural and indigenous populations remained a popular subject in Gauguin's work after he left the island.
Back in Brittany, in 1888 he painted "The Vision After the Sermon" [below right] - leaving naturalism and realism behind in this symbolist painting. Inspired by Japanese woodblock prints, Gauguin developed the idea of non-naturalistic landscapes. Gauguin is showing it is possible to move away from naturalism towards a more abstracted, even symbolic, manner of painting.
Back in Brittany, in 1888 he painted "The Vision After the Sermon" [below right] - leaving naturalism and realism behind in this symbolist painting. Inspired by Japanese woodblock prints, Gauguin developed the idea of non-naturalistic landscapes. Gauguin is showing it is possible to move away from naturalism towards a more abstracted, even symbolic, manner of painting.
Gauguin's style of symbolism is sometimes called "synthetic symbolism" or synthetism - to differentiate it from that of more naturalistic symbolist artists. It refers to the flat style with heightened coloration that Gauguin uses to "synthesize" two planes of reality.
Gauguin's style of symbolism is sometimes called "synthetic symbolism" or synthetism - to differentiate it from that of more naturalistic symbolist artists. It refers to the flat style with heightened coloration that Gauguin uses to "synthesize" two planes of reality.
"This style required working more from memory and internal images, rather than nature, and thus broke with Impressionist theory. It became Gauguin's greatest innovation and contribution to fine art painting and he used its vivid color schemes to express emotion rather than to reflect a natural hue - a freedom which allowed him to make the ground red, the sky green or yellow." (Visual Arts website)
"This style required working more from memory and internal images, rather than nature, and thus broke with Impressionist theory. It became Gauguin's greatest innovation and contribution to fine art painting and he used its vivid color schemes to express emotion rather than to reflect a natural hue - a freedom which allowed him to make the ground red, the sky green or yellow." (Visual Arts website)
Gauguin felt that traditional European painting had become too imitative and lacked symbolic depth. By contrast, the "Primitive" art of Africa and Asia seemed to him full of mystic symbolism and vigor. He extended his criticism to European civilization in general. He thought that "all the cleverness and knowledge which had been accumulated in Europe had deprived men of the greatest gift - strength and intensity of feeling and of a direct way of expressing it." [1]
Gauguin felt that traditional European painting had become too imitative and lacked symbolic depth. By contrast, the "Primitive" art of Africa and Asia seemed to him full of mystic symbolism and vigor. He extended his criticism to European civilization in general. He thought that "all the cleverness and knowledge which had been accumulated in Europe had deprived men of the greatest gift - strength and intensity of feeling and of a direct way of expressing it." [1]
And so, Gauguin left France and set sail for Tahiti for the first time on April 1, 1891. His avowed intent was to escape European civilization and "everything that is artificial and conventional." He had traveled to the South Pacific hoping to find artistic inspiration in ‘primitive’ cultures living in harmony with nature and unsullied by European values. Instead, he found a world already transformed by colonial rule. But in his paintings Gauguin created the world he sought, interweaving the mythologies and imagery of the islands with that of the West and his own imagination. Gauguin considered la Orana Maria (Tahitian for "Hail Mary") [below right] his best work since arriving in Tahiti, a painting that embodied his fascination with the exotic. He described it in a letter to a friend:
And so, Gauguin left France and set sail for Tahiti for the first time on April 1, 1891. His avowed intent was to escape European civilization and "everything that is artificial and conventional." He had traveled to the South Pacific hoping to find artistic inspiration in ‘primitive’ cultures living in harmony with nature and unsullied by European values. Instead, he found a world already transformed by colonial rule. But in his paintings Gauguin created the world he sought, interweaving the mythologies and imagery of the islands with that of the West and his own imagination. Gauguin considered la Orana Maria (Tahitian for "Hail Mary") [below right] his best work since arriving in Tahiti, a painting that embodied his fascination with the exotic. He described it in a letter to a friend:
"A yellow angel points out Mary and Jesus to two Tahitian women. Mary and Jesus are likewise Tahitians and naked, except for the paréo, a flowered cotton cloth tied to suit one’s fancy. In the background very dark mountains and blossoming trees. Foreground emerald green. To the left bananas…"
"A yellow angel points out Mary and Jesus to two Tahitian women. Mary and Jesus are likewise Tahitians and naked, except for the paréo, a flowered cotton cloth tied to suit one’s fancy. In the background very dark mountains and blossoming trees. Foreground emerald green. To the left bananas…"
Gauguin returned from Tahiti to France in August 1893 but continued to execute paintings on Tahitian subjects such as his "Nave nave moe" (Sacred spring, sweet dreams) and to create "primitive" sculptures and ceramics such as his controversial Oviri (Sauvage). In 1894, Gauguin submitted a large ceramic sculpture "Oviri" to the Société Nationale des Beaux-Arts. It was only admitted after sculptor and ceramicist Ernest Chaplet threatened to withdraw all of his own work.
Gauguin returned from Tahiti to France in August 1893 but continued to execute paintings on Tahitian subjects such as his "Nave nave moe" (Sacred spring, sweet dreams) and to create "primitive" sculptures and ceramics such as his controversial Oviri (Sauvage). In 1894, Gauguin submitted a large ceramic sculpture "Oviri" to the Société Nationale des Beaux-Arts. It was only admitted after sculptor and ceramicist Ernest Chaplet threatened to withdraw all of his own work.
To the European art world, his work seemed primitive and savage. Not only was his subject matter strange and exotic. "He tried to enter into the spirit of the natives and to look at things as they did."[1]
To the European art world, his work seemed primitive and savage. Not only was his subject matter strange and exotic. "He tried to enter into the spirit of the natives and to look at things as they did."[1]
He stayed in France for almost two years, trying unsuccessfully to raise funds through the sale of his works for a return to Tahiti. In June 1895 a friend arranged a cheap passage back to Tahiti, and Gauguin never saw Europe again.
He stayed in France for almost two years, trying unsuccessfully to raise funds through the sale of his works for a return to Tahiti. In June 1895 a friend arranged a cheap passage back to Tahiti, and Gauguin never saw Europe again.
He arrived in September 1895 and was to spend the next six years living in Papeete. In April 1897 he received word that his daughter Aline had died from pneumonia. Failing health and pressing debts brought him to the brink of despair. At the end of the year. he completed his monumental "Where Do We Come From? What Are We? Where Are We Going?", which he regarded as his masterpiece and final artistic testament. [2]
He arrived in September 1895 and was to spend the next six years living in Papeete. In April 1897 he received word that his daughter Aline had died from pneumonia. Failing health and pressing debts brought him to the brink of despair. At the end of the year. he completed his monumental "Where Do We Come From? What Are We? Where Are We Going?", which he regarded as his masterpiece and final artistic testament. [2]
Gauguin indicated that the painting should be read from right to left, with the three major figure groups illustrating the questions posed in the title. The three women with a child represent the beginning of life; the middle group symbolizes the daily existence of young adulthood; and in the final group, according to the artist, "an old woman approaching death appears reconciled and resigned to her thoughts"; at her feet, "a strange white bird...represents the futility of words" or "the uselessness of vain words". The blue idol in the background apparently represents what Gauguin described as "the Beyond." Of its entirety he said, "I believe that this canvas not only surpasses all my preceding ones, but that I shall never do anything better—or even like it." [2]
Gauguin indicated that the painting should be read from right to left, with the three major figure groups illustrating the questions posed in the title. The three women with a child represent the beginning of life; the middle group symbolizes the daily existence of young adulthood; and in the final group, according to the artist, "an old woman approaching death appears reconciled and resigned to her thoughts"; at her feet, "a strange white bird...represents the futility of words" or "the uselessness of vain words". The blue idol in the background apparently represents what Gauguin described as "the Beyond." Of its entirety he said, "I believe that this canvas not only surpasses all my preceding ones, but that I shall never do anything better—or even like it." [2]
The painting is the culmination of Gauguin's post-impressionistic style. His art stressed the vivid use of colors and thick brushstrokes and aimed to convey an emotional or expressionistic strength.
The painting is the culmination of Gauguin's post-impressionistic style. His art stressed the vivid use of colors and thick brushstrokes and aimed to convey an emotional or expressionistic strength.
Four Breton Women, 1886
Four Breton Women shows a marked departure from his earlier Impressionist style and incorporates something of a naive quality seen in illustrations of the time, exaggerating features to the point of caricature [2]
Bord de mer II, 1887
Gauguin finished 11 paintings during his stay in Mertinique. The works as a whole are brightly colored, loosely painted, outdoor scenes with indigenous figures. [2]
The Vision After the Sermon (Jacob Wrestling with the Angel), 1888
Gauguin applies large areas of flat color to this composition, and the red ground departs from conventional representation of earth, field, or grass. In portraying the watching figures Gaugin experiments with the distortion of shapes, exaggerating features, and use of strong contour lines. Gauguin structures the painting by placing a tree trunk diagonally through its center. By sectioning the image this way, he creates a visual separation between the Breton women and their vision of an angel wrestling with Jacob. [2]
Ia Orana Maria, 1892
Above: Nave nave moe (Sacred spring, sweet dreams), 1894
Below: "Oviri" originally rejected when submitted in 1894 to the Société Nationale des Beaux-Arts.
"Where Do We Come From? What Are We? Where Are We Going?" (1887-88)
Gauguin considered this monumental painting (55 in × 148 in) his masterpiece and final artistic statement.
Gauguin's paintings influenced a number of late 19th and early 20th century modern art movements - particularly Symbolism. Primitivism, and Fauvism. In rejecting the idea of the artist's fidelity to the represented world, Gauguin helped pave the way for the eventual abandonment of representational art altogether.
Gauguin's paintings influenced a number of late 19th and early 20th century modern art movements - particularly Symbolism. Primitivism, and Fauvism. In rejecting the idea of the artist's fidelity to the represented world, Gauguin helped pave the way for the eventual abandonment of representational art altogether.
Symbolism
Symbolism
Gauguin, the leader of the Synthetists , felt that direct observation of nature was only a part of the creative process, and that the input of memory, imagination and emotion intensified those impressions, resulting in more meaningful forms. Gauguin's synthetic symbolism (or synthetism) works were painted in a radical, expressive style, in which forms and colors were deliberately distorted and exaggerated, their pictures synthesized a number of different elements: the appearance of nature, the artist's 'dream' before it and the formal qualities of form and color.
Gauguin, the leader of the Synthetists , felt that direct observation of nature was only a part of the creative process, and that the input of memory, imagination and emotion intensified those impressions, resulting in more meaningful forms. Gauguin's synthetic symbolism (or synthetism) works were painted in a radical, expressive style, in which forms and colors were deliberately distorted and exaggerated, their pictures synthesized a number of different elements: the appearance of nature, the artist's 'dream' before it and the formal qualities of form and color.
Gauguin deeply influenced later generations of artists. During his lifetime, his Synthetist works provided important inspiration for the Symbolism Movement (1886-1900). Symbolist Edvard Munch's painting "The Dance of Life" is one example of his influence.
Gauguin deeply influenced later generations of artists. During his lifetime, his Synthetist works provided important inspiration for the Symbolism Movement (1886-1900). Symbolist Edvard Munch's painting "The Dance of Life" is one example of his influence.
"The Dance of Life" (1899) - Edvard Munch
Munch presents the three stages of woman: the virgin symbolized by white, the carnal woman of experience in red, and the aged, satanic woman in black. The sea is the beyond, eternity, the edge of life into the vast unknown, and finally, death. The dance is therefore the playing out of earthly life and the life of the senses before death, and for the time being, at least, keeps death at bay. The faces of the the dancing couple, though, symbolize a separateness. Munch was among the first to iterate artistically the modern theme of alienation and isolation.
Munch presents the three stages of woman: the virgin symbolized by white, the carnal woman of experience in red, and the aged, satanic woman in black. The sea is the beyond, eternity, the edge of life into the vast unknown, and finally, death. The dance is therefore the playing out of earthly life and the life of the senses before death, and for the time being, at least, keeps death at bay. The faces of the the dancing couple, though, symbolize a separateness. Munch was among the first to iterate artistically the modern theme of alienation and isolation.
Primitivism
Primitivism
Many trace the early 20th century tendency toward Primitivism to Gauguin, who employed flattened decorative effects and stylized forms that were similar to the objects he encountered in museums and on his travels in Tahiti and Hawaii as well as closer to home in Brittany, the rural area of France that had become popular with artists in the mid-19th century. The local customs and religious rituals recalled an earlier time for which the artists and other urban dwellers were nostalgic. Gauguin's fascination with these other cultures prompted him to further push his aesthetic explorations in even more radical directions. Gauguin wanted to convey ideas and emotions through line and color, manipulating rural and exotic subject matter.
Many trace the early 20th century tendency toward Primitivism to Gauguin, who employed flattened decorative effects and stylized forms that were similar to the objects he encountered in museums and on his travels in Tahiti and Hawaii as well as closer to home in Brittany, the rural area of France that had become popular with artists in the mid-19th century. The local customs and religious rituals recalled an earlier time for which the artists and other urban dwellers were nostalgic. Gauguin's fascination with these other cultures prompted him to further push his aesthetic explorations in even more radical directions. Gauguin wanted to convey ideas and emotions through line and color, manipulating rural and exotic subject matter.
"The Dream" by Henri Rousseau follows Gauguin's example of fascination with exotic cultures. Some other artists influenced by primitivism include the German expressionist Emil Nolde (1867-1956), the Fauvist Henri Matisse (1869-1954), and Pablo Picasso(1881-1973), among many others.
"The Dream" by Henri Rousseau follows Gauguin's example of fascination with exotic cultures. Some other artists influenced by primitivism include the German expressionist Emil Nolde (1867-1956), the Fauvist Henri Matisse (1869-1954), and Pablo Picasso(1881-1973), among many others.
"The Dream: (1910) - Henri Rousseau
Rousseau painted more than 25 jungle works but never traveled outside France. He instead drew on images of the exotic as it was presented to the urban dweller through popular literature, colonial expositions, and the Paris Zoo. The lush jungle, wild animals, and mysterious horn player featured in this work were inspired by Rousseau's visits to the city's natural history museum and Jardin des plantes (a combined zoo and botanical garden). Of his visits the artist said, "When I am in these hothouses and see the strange plants from exotic lands, it seems to me that I am entering a dream."
Rousseau painted more than 25 jungle works but never traveled outside France. He instead drew on images of the exotic as it was presented to the urban dweller through popular literature, colonial expositions, and the Paris Zoo. The lush jungle, wild animals, and mysterious horn player featured in this work were inspired by Rousseau's visits to the city's natural history museum and Jardin des plantes (a combined zoo and botanical garden). Of his visits the artist said, "When I am in these hothouses and see the strange plants from exotic lands, it seems to me that I am entering a dream."
Fauvism
Fauvism
Fauvism was the first avant-garde art movement of the 20th Century. The Fauves ("wild beasts") were a loosely allied group of French painters with shared interests. Spearheaded by a trio of young, Paris-based painters – Henri Matisse, André Derain and Maurice de Vlaminck – it was characterized by intense, expressive, non-naturalistic color, along with loose brushwork and simplified forms. Active from around 1905 to 1910, the Fauvists drew on – and advanced – several recent currents of art: chiefly that of the Impressionists and Pointillists and Gauguin and Van Gogh, who refused to use colors in a way that literally corresponded to the subjects they were describing. André Derain's "The Turning Road, L'Estaque" takes Gauguin's and Van Gogh's non-representational use of color to an extreme. The Fauvists were a short-lived movement. But the path to abstract expressionism, still more than 30 years in the future, was underway.
Fauvism was the first avant-garde art movement of the 20th Century. The Fauves ("wild beasts") were a loosely allied group of French painters with shared interests. Spearheaded by a trio of young, Paris-based painters – Henri Matisse, André Derain and Maurice de Vlaminck – it was characterized by intense, expressive, non-naturalistic color, along with loose brushwork and simplified forms. Active from around 1905 to 1910, the Fauvists drew on – and advanced – several recent currents of art: chiefly that of the Impressionists and Pointillists and Gauguin and Van Gogh, who refused to use colors in a way that literally corresponded to the subjects they were describing. André Derain's "The Turning Road, L'Estaque" takes Gauguin's and Van Gogh's non-representational use of color to an extreme. The Fauvists were a short-lived movement. But the path to abstract expressionism, still more than 30 years in the future, was underway.
There is no question that early Fauve works, such as this one by Derain, were influenced by Gauguin. In his image at L'Estaque Derain uses flat areas of color, typical of the Fauvist style, abstaining from any traditional manner of denoting shadow. The Fauvists considered the juxtaposition of complementary colors an adequate method by which to capture the difference between light and shade. The artist allows the painted sections to bleed, one into the other, thereby creating a sensation of volume and depth on the flat canvas. The simplified description of both landscape elements and the figures themselves, gives them an abstract appearance that emphasizes the overall decorative nature of the work. This painting, with its bold, vibrant colors and simplification of form, is one of the first examples of Fauvism and served as a precursor to works by Kandinsky and other Expressionists. (The Art Story)
There is no question that early Fauve works, such as this one by Derain, were influenced by Gauguin. In his image at L'Estaque Derain uses flat areas of color, typical of the Fauvist style, abstaining from any traditional manner of denoting shadow. The Fauvists considered the juxtaposition of complementary colors an adequate method by which to capture the difference between light and shade. The artist allows the painted sections to bleed, one into the other, thereby creating a sensation of volume and depth on the flat canvas. The simplified description of both landscape elements and the figures themselves, gives them an abstract appearance that emphasizes the overall decorative nature of the work. This painting, with its bold, vibrant colors and simplification of form, is one of the first examples of Fauvism and served as a precursor to works by Kandinsky and other Expressionists. (The Art Story)
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