POST IMPRESSION

                                         

POST IMPRESSION

Image result for post impressionism
STARRY FRIGHT
  • Post-Impressionism in Western painting, movement in France that represented both an extension of Impressionism and a rejection of that style’s inherent limitations. 
  • The term Post-Impressionism was coined by the English art critic Roger Fry for the work of such late 19th-century painters as Paul Cézanne, Georges Seurat, Paul Gauguin, Vincent van Gogh, Henri de Toulouse-Lautrec, and others. 
  • All of these painters except van Gogh were French, and most of them began as Impressionists; each of them abandoned the style, however, to form his own highly personal art. Impressionism was based, in its strictest sense, on the objective recording of nature in terms of the fugitive effects of colour and light.
  •   The work of these painters formed a basis for several contemporary trends and for early 20th-century modernism.
  • The Post-Impressionists often exhibited together, but, unlike the Impressionists, who began as a close-knit, convivial group, they painted mainly alone. 


ARTIST

Vincent Van Gogh 

                                                     Image result for vincent van gogh

  • Vincent van Gogh was the eldest of six children born to a Dutch pastor. As a child he was very quiet and would rather be alone than play with his brothers and sisters.
  •  At 16, van Gogh’s father arranged for him to work for his uncle at a firm of art dealers in the Hague. 
  • He approached the job with enthusiasm and in time was transferred to London. 
  • Although from a well-educated family, van Gogh preferred the company of peasants to that of the well-to-do of London, and he attempted several unsuccessful careers as both schoolmaster and missionary in England and Belgium.



THE PAINTING


Image result for the potato eaters

  • The painting that was completed consisted of 5 figures sitting around a square table eating potatoes; four of them are females and one male.
  •  Although the piece is laced in darkness, the mixed emotions residing in the faces of the occupants shine out brightly. 
  • These figures are so intense that one can nearly hear the conversations being spoken around the table. 
Perhaps this vibrancy layered with the darkness is what draws one closer to examine the smaller details of the painting. These details include but are not limited to:
  • The rafter boards in the back of the piece.
  • The soft gentle lines forming a window in the darkness.
  • The picture frame hung on a darkened wall.
  • The large platter of potatoes, and the boney fingers stretched out to obtain them.
  • The woman pouring a brew similar to coffee.
  • The large rectangular column behind the table that seems to hold the building up.
  • The weathered edges of the table.
Potato Eater Sketch
  • These subtle aspects create the illusion that the building is an actual residence for the five figures. 
  • This portrayal of ordinary peasant life did not come in a burst of creativity; Van Gogh had planned out the painting of The Potato Eaters far in advance, and had inspiration to create a multiple figure painting as far back as 1883. 
  • After completing various sketches and trial paintings of the piece, Van Gogh sent reversed lithograph prints to two art dealers of the time and one of his fellow colleagues, while still planning to create a final draft of the sketch in paint. 


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