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Paintings Of The French Impressionists Essay

Words: 1098 Length: 3 Pages Document Type: Essay Paper #: 37672402

Monet used brushstrokes and many shades of vivid greens and pinks to portray the garden as if it were viewed through a mist.

In 1910, English writer Roger Fry coined the phrase "post impressionism" as he organized an exhibition in London (Shone, 1979, p. 9). Just as the paintings of the impressionists caused a scandal in the art world some forty years earlier, the post impressionist work of artists such as Gaugin and Van Gogh "outraged all notions of what good painting should be" (Shone, p. 9).

The post-impression movement included, in addition to Gaugin and Van Gogh, artists such as Toulouse-Lautrec, Seurat, and the later work of Cezanne. Like the Impressionists, these artists used real-life subjects, portraying them with distinct brushstrokes, thick paint, and bright colors. Times were changing, and the post-Impressionists responded by modernizing what the Impressionists had done, imposing more form and structure to show greater depth of expression and emotion. The post-Impressionists wanted to demonstrate more careful renderings of the world around them. A famous example is Georges Seurat's a Sunday Afternoon on the Island of La Grande Jatte (1884-1886), a painting that is now part of the permanent collection of the Art Institute of Chicago. In Sunday Afternoon, Seurat employed a new technique, pointillism. Instead of laying down lots of color quickly to give an impression of people at the shore, Seurat used tiny dots of color and placed them very close together. One can see the individual dots upon close inspection of the work, but from afar, the eye blends the colors, making the shapes very clear and with distinct edges.

Another famous example of post-Impressionism is Van Gogh's Starry Night. That soft and misty glow of Impressionist paintings is gone. In its place is a brightly colored sky that swirls and appears to move. The stars and the moon are bright above a peaceful village. A somewhat ominous shape looms up on the left side of the…… [Read More]

Brettell, R.R. (1995). Modern French painting and the art museum. Art Bulletin 77 (2).

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