Post-Impressionism and Van Gogh: The Incomparable Association.

Artists in the early 1900s commonly utilized techniques of distortion and exaggeration, characteristics of expressionism, to establish the element of emotion. According to Wolf (2017), expressionist artists often incorporate “swirling, swaying, and exaggeratedly executed brushstrokes to convey the turgid emotional state of the artist reacting to the anxieties of the modern world” (p. 1). Amplification of the human figure often evokes strong emotions for audiences of many different cultures. Additionally, the style reflects the consequences of urbanization, such as the alienation of individuals in society (Wolf, 2017). Expressionism allows artists to surpass realism and reflect the tribulations of living in a modern society.

In Abstract Expressionism - a certain construction of the world we call “individuality” is revealed in its true, that is to say, contingent, vulgarity. And so is painting; or rather, so are paintings like Hofmann’s “The Garden” and Adolph Gottlieb’s “Black, Blue Red” - done as they were under the sign or spell of such a construction, by “individuals” believing utterly (innocently, idiotically) in its power.

Post-impressionism and Pop Art resulted as an artistic reaction on both sides. Post-Impressionism groups diverse pictorial tendencies that arose in France surroundings to 1880-1905 like reaction to the impressionism. In the other hand pop art was an artistic reaction to abstract expressionism. It can seem surprising the fact that in so short space of time, as soon as a quarter of century, so many evolutions and involutions in the land of art have taken place, mainly considering that until second half of century XIX, the great

While the painters after the Impressionism period were collectively called the “Post-Impressionists,” the label is quite reductive. Each artist had their own unique style, from Seurat’s pointillism to Signac’s mosaic-like divisionism, Cezanne, Émile Bernard, and others. These artists were all connected in that they were reacting to the aesthetics of Impressionism. Two of the more influential painters from this movement were Vincent van Gogh and Paul Gauguin, who aimed to connect with viewers on a deeper level by access Nature’s mystery and meaning beyond its superficial, observable level. However, each artist’s approach to achieving this goal was different. In close examination of Vincent van Gogh’s Self-Portrait (Dedicated to Paul Gauguin) and Paul Gauguin’s Self-Portrait with Portrait of Émile Bernard (Les misérables), one may clearly see the two artists’ contrasting styles on display.

This essay analyses the aesthetic and ideological underpinnings of the Modernist artwork, Impression, Sunrise of Claude Monet. The artwork and Impressionism is considered to be a visual articulation of the avant-garde and the latter statement is explained. References to the writings of Charles Harrison, Clement Greenberg and Wilhelm Worringer is used to theorise the aesthetics of modernity.

With the advent of Modernism in the early twentieth century, many artists and critics began making theoretical pronouncements about their works and ideas. Using three different artists and their writings from the Theories of Modern Art book by Herschel B. Chipp. I will study the artist’s works and ideas in relation to the role of art in their society, the role of traditional practices in art, their view on nature versus reality, and their view on the relationship between art and truth. The three artists and works will be the Fauvist Henri Matisse’s “Notes of a Painter,” the German Expressionist Franz Marc’s “How Does a Horse See the World?” as well as “Aphorism,” and lastly the Dadaist Jean Arp’s, “Abstract Art, Concrete Art.”

In this unit, we have learned different modern art styles such as Post-impressionism, Cubism and Fauvism. The works created in these periods are considered to be inspired by each other but still different in the background. In this essay, three representative modern works will be compared to demonstrate their relations and differences.

The people back in the 19th century really didn’t accept Van Gaogh’s truthful and emotionally morbid way of expressing the way of art is to himself. It finally was seen as art through the people’s eyes. This set a stage of art that is now known as Expressionism. It is best characterized by the use of symbols and a style that expresses the artist’s inner feelings about his subject. His style of painting is exemplified by a projection of the painter’s inner experience onto the canvas he paints on. Van Gogh’s paintings are done with his feelings that goes on in his life. (Mark Harden’s Artchive)

Art is produced to "be appreciated primarily for their beauty of emotional power" (OED). The speaker in chapter eleven of The Picture of

In this paper, I will discuss the form, content, and subject matter of three different paintings. Each of the paintings represents the following: representational painting, abstract painting, and a portrait. The paintings I have chosen are: Edward Hopper’s Nighthawks 1942, Wassily Kodinsky’s Colour Studies: Squares and Concentrentic Circles 1913, and Pablo Picasso’s Self-Portrait 1907.

The nineteenth century painting, Wanderer above the Sea of Fog, by Caspar David Friedrich, for example, would be, in my opinion, an example of an artist using a painting to convey an emotional message. The painting portrays a man standing on rocky ground, gazing into a wide and, seemingly, eternal foggy abyss. I think that Friedrich was trying to convey emotional messages of mystery and wonder, but also hope through this painting.

The following essay will identify three examples of each, 19th century Impressionist and Post-Impressionist paintings and seeks to explain how these works fall into the two distinct styles.

I am intrigued by the way that artists reflect their emotion by the use of colour. Therefore I have decided to focus on Picasso, Soutine and Matisse. I am going to delve into their frame of mind and attempt to unpick their emotions and link them to how each artist expresses that feeling by using a specific palette of colour. I am fascinated by how the chosen artists may go through similar emotions but reflect these emotions in a completely different way through personal connotations to colour. For example Picasso goes through many periods but one of his main periods was the blue period where he uses blue to link to the fact that he is depressed. This relationship between the artist’s deeper feelings and how they portray this through the expression of colour will be the main focus of this essay. I will use specific

These personalities were analyzed further by looking at the portraits that were exchanged between the artist and how they presented their personal image. Analysis of the portraits led to a broader discussion about each artist personality type and how these conflicting attitudes drove Van Gogh and Gauguin apart.

Van Gogh was a Post Impressionist artist who painted expressively to portray emotions subjectively, like Gauguin, rather then