introduction to avant garde
TRANSCRIPT
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INTRODUCTION TO THE
AVANT-GARDESgabriela-teacher.blogspot.com
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There was a time when Art was this…
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But then, in the 1870’s, came…
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IMPRESSIONISM
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For the first time, the spectator plays an active
role in the art work.
They don’t just look at it, but also INTERPRET it.
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monetclaude
And the leader of Impressionism was…
1840-1926
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Monet abandonned his studio to paint directly from
nature or from reality.
His favourite theme is the effect of light on objects.
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He painted several series of paintings showing the same objects under different natural lights.
Haytacks series
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Cathedrals series
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London’s Parliament series
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We can see his evolution in the way he painted shades
and shadows.
At the beginning, shade is dark…
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1871
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He started to use short and clear brush strokes that the spectator’s eye mixed into
very luminous results.
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1872
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1873
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1873
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1877
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1877
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1878
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1880
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“When I looked at that work I thought that my glasses were dirty, what does this canvas
represent?...That canvas didn’t have an obverse or a reverse side!
Impression!”.
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1897
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From the beginning of his work, we can see an
evolution…
Light is the most important element. Shapes don’t need
to be precise.
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1899
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…but in Impressionism, shades have their own
colors…
…and colors are very bright…
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1900
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Brush strokes give a lot of movement to the
Impressionist art works.
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1900
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1904
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1906
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1919
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1841-1919
Pierre Auguste
Renoir
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Renoir’s favourite theme was the “everyday” of the
leisure class.
He evolved from a more classical style to impressionism…
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He also left the studios to start painting open-air.
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1872
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Soon, he started to use short thick brush strokes to provide his paintings with
movement.
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1873
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Again, the light reflected on objects becomes very
important…
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1875
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…and he plays with light and shade projected on
humans, to create a certain atmosphere, a feeling.
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1876
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Immediacy was important in Impressionism: they
wanted to show what was exactly happening at one
moment
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1879
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1881
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His work gained more and more movement…
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1883
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1908
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1916
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Édouard Manet
1832 - 1883
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1863
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1864
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1873
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1881 1861
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1878
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1878
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1880
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1881
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Alfred
Sisley
1839-1899
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1874
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He found in brush strokes the perfect technique for
his landscapes.
See more: http://www.alfredsisley.org/the-complete-works.html
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Edgar Degas
1834-1917
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Degas didn’t paint open-air and his theme was dance
and dancers.
Some think he was not an Impressionist, but in fact he
experimented with color and form.
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1871
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His favourite theme was the human body, but he wasn’t classical: he depicted it in
strange postures from unusual angles.
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1870
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And his work had a lot of movement. He used oil
paint with brush strokes, but mostly dry pastels.
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1879
1893
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1888
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NEO-IMPRESSIONISM
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Georges Seurat
1859-1881
He radicalised Impressionism into Pointillism.
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Colors are not mixed: they are applied one close to
another, and the spectator’s eye blends
them.
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Paul Signac 1863-1935
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Signac was a pointillist artist whose color palette
was even more vivid.
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POST-IMPRESSIONISM
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Post-Impressionism is a movement of artistic
freedom. Each painter has their particular characteristics.
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Paul Cézanne
1839-1906
He represents the bridge between Impressionism and
Cubism.
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Cézanne’s brush strokes got bigger and bigger and
became plans of color.
These plans build up to form complex elements.
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1904
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He simplified natural forms into more geometrical
elements.
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He started to use black outlines around objects.
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Paul Gauguin 1848-1903
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He though that Art was abstract by definition.
He experimented with really saturated pure colors.
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He lived in Tahiti and became influenced by the primitive arts, with a lot of
mystical symbolism.
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Vincent Van Gogh
1853-1890
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At the beginning, he tended to use darker neutral
colors.
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But soon he started to use colors in a more expressive
way, depending on his mood.
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He sometimes used a thick black outline around
objects.
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He used dramatic brush strokes which expressed emotions and a feeling of
movement.
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Henri Toulouse-Lautrec
1864-1901
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He depicted the colorful and theatrical life of Paris in the late 19th century.
His art was colorful, provocative, elegant and
modern.
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Because he painted the figure in movement, his
lines are nervous, fast and non precise.
His color palette is vivid and intense.
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He got a contract to design the Moulin Rouge’s
posters.
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