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LOS POSIMPRESIONISTAS
CARACTERÍSTICAS
GENERALES
DEL POSIMPRESIONISMO
Interés por la construcción
de la forma, el dibujo y la
expresividad de los...
VAN GOGH
VINCENT VAN GOGH
• Van Gogh un hombre
atormentado
• Incomprendido y repudiado
• Su arte reflejo de su mundo
interior
• La ...
LOS COMEDORES DE PATATAS 1885
RETRATO DE
PÉRE TANGUY
1887
EL PUENTE DE LANGLOIS 1888
LA CASA AMARILLA 1888
DOCE GIRASOLES
EN UN JARRON
1888
LA HABITACIÓN DE VINCENT EN ARLES 1888
CAFÉ DE NOCHE INTERIOR 1888
Café de noche. Interior - (1888)
“En mi cuadro Café de noche
he intentado expresar que el café es
un lugar en el que uno p...
CAFÉ DE
NOCHE
EXTERIOR
1888
“Aquí tienes un
nocturno pintado
sin una mota de negro,
sólo hecho a base de un
maravilloso az...
NOCHE ESTRELLADA SOBRE EL RODANO 1888
LA NOCHE ESTRELLADA 1889
AUTORRETRATO
1889
CAMPO DE TRIGO CON CUERVOS 1890
CARRETERA EN AUVERS 1890
IGLESIA DE
AUVERS
1890
RETRATO DEL
DOCTOR GACHET
1890
LA RONDA
DE PRESOS
1890
“Bueno, mi trabajo;
arriesgo en él mi
vida, y mi razón se
ha hundido en él
hasta la mitad.”
Vincen...
GAUGUIN
PAUL GAUGUIN
• Navegante y corredor de bolsa
llegó tarde al mundo de la pintura.
• Se aficionó con el grupo
impresionista....
LA VISIÓN DESPUÉS DEL SERMÓN 1888
"La familia Schuffenecker" (1889).
EL CRISTO
AMARILLO
1889
PAISAJE 1890
MUJERES TAHITIANAS 1891
PAISAJE TAHITIANO 1893
EL DIA DE DIOS 1894
MATERNIDAD
1896
¿DE DÓNDE VENIMOS? ¿QUÉ SOMOS? ¿A DÓNDE VAMOS? 1897
TOULOUSE-LAUTREC
H. TOULOUSE-LAUTREC
• Varía totalmente la
visión impresionista.
• Él es un hombre de la
bohemia y la noche.
• Y plasma esa...
Justine Dieuhl
en el Jardín de
"Père Forest",
1890
BAILE EN EL MOULIN ROUGE 1890
BOCETO PARA
CARTEL
OTRO BOCETO
PARA CARTEL
DISEÑO PARA
PROGRAMA DE
TEATRO DE
“FEDRA”
INTERPRETADA
POR SARAH
BERNHARDT
PORTADA DE LA
REVISTA
LA REVUE
BLANCHE
MOULIN ROUGE
LA GOULUE
1891
LA GOULUE ENTRA
CON DOS MUJERES
AL MOULIN ROUGE
1892
1892
AMBASSADEURS
ARISTIDE BRUANT
JARDIN DE PARIS
JANE AVRIL
1893
Jane Avril entrando
en el Moulin Rouge - (1892)
Fotografía de Jane Avril
CARTEL PARA EL ESTUDIO
FOTOGRAFICO DE P.SESCAU 1894
YVETTE GUILBERT
1894
EL SALON DE LA RUE DE MOULINS 1894
TOULOUSE LAUTREC Y UNA DE SUS MODELOS
TOULOUSE LAUTREC EN SU ESTUDIO
Baile en el Moulin Rouge – 1889 - 1890
MUJER PONIENDOSE
LAS MEDIAS
1894
Afiche ART
NOUVEAU
1920
(Influencia de
Toulouse –
Lautrec)
CÉZANNE
PAUL CÉZANNE
• Comienza en el grupo
Impresionista
• A finales de los 70 inicia
una nueva andadura:
– El Impresionismo sólo...
Cebollas y botella, 1895-1900
Grandes bañistas, 1900-1905
Los postimpresionistas
Los postimpresionistas
Los postimpresionistas
Los postimpresionistas
Los postimpresionistas
Los postimpresionistas
Los postimpresionistas
Los postimpresionistas
Los postimpresionistas
Los postimpresionistas
Los postimpresionistas
Los postimpresionistas
Los postimpresionistas
Los postimpresionistas
Los postimpresionistas
Los postimpresionistas
Los postimpresionistas
Los postimpresionistas
Los postimpresionistas
Los postimpresionistas
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Los postimpresionistas

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Información e imágenes sobre el posimpresionismo. Van Gogh, Tolouse-Lautrec, Paul Gauguin, Paul Cézanne.

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Los postimpresionistas

  1. 1. LOS POSIMPRESIONISTAS
  2. 2. CARACTERÍSTICAS GENERALES DEL POSIMPRESIONISMO Interés por la construcción de la forma, el dibujo y la expresividad de los objetos y figuras humanas. Concepción del cuadro a base de cuerpos rigurosamente geométricos Empleo de colores contrastantes para separar y definir los planos y formas. Utilización de colores puros con gran carga emotiva Creación de composiciones simplificadas y estáticas Conciliación entre efecto volumétrico y el gusto puramente estético.
  3. 3. VAN GOGH
  4. 4. VINCENT VAN GOGH • Van Gogh un hombre atormentado • Incomprendido y repudiado • Su arte reflejo de su mundo interior • La realidad se deforma: – en trazos retorcidos – y colores estridentes • El cuadro cobra vidas por sí mismo • La pintura no refleja, es • Influirá en todo el arte posterior, especialmente en el Expresionismo • No vendió un cuadro en vida, hoy bate récord de cotización
  5. 5. LOS COMEDORES DE PATATAS 1885
  6. 6. RETRATO DE PÉRE TANGUY 1887
  7. 7. EL PUENTE DE LANGLOIS 1888
  8. 8. LA CASA AMARILLA 1888
  9. 9. DOCE GIRASOLES EN UN JARRON 1888
  10. 10. LA HABITACIÓN DE VINCENT EN ARLES 1888
  11. 11. CAFÉ DE NOCHE INTERIOR 1888
  12. 12. Café de noche. Interior - (1888) “En mi cuadro Café de noche he intentado expresar que el café es un lugar en el que uno puede arruinarse, volverse loco, cometer un crimen.” Vincent a Theo
  13. 13. CAFÉ DE NOCHE EXTERIOR 1888 “Aquí tienes un nocturno pintado sin una mota de negro, sólo hecho a base de un maravilloso azul, violeta y verde.” Vincent a Theo
  14. 14. NOCHE ESTRELLADA SOBRE EL RODANO 1888
  15. 15. LA NOCHE ESTRELLADA 1889
  16. 16. AUTORRETRATO 1889
  17. 17. CAMPO DE TRIGO CON CUERVOS 1890
  18. 18. CARRETERA EN AUVERS 1890
  19. 19. IGLESIA DE AUVERS 1890
  20. 20. RETRATO DEL DOCTOR GACHET 1890
  21. 21. LA RONDA DE PRESOS 1890 “Bueno, mi trabajo; arriesgo en él mi vida, y mi razón se ha hundido en él hasta la mitad.” Vincent a Theo en una carta que portaba el día que murió
  22. 22. GAUGUIN
  23. 23. PAUL GAUGUIN • Navegante y corredor de bolsa llegó tarde al mundo de la pintura. • Se aficionó con el grupo impresionista. • Convivió sin éxito con Van Gogh una temporada en Arlés. • Finalmente marchó a Tahití donde encontró la culminación de su vida y su obra. • Su pintura está, llena de vida y color: – Transforma la naturaleza a su antojo. – Y confirma que la pintura tiene valor por sí misma y no por lo que representa.
  24. 24. LA VISIÓN DESPUÉS DEL SERMÓN 1888
  25. 25. "La familia Schuffenecker" (1889).
  26. 26. EL CRISTO AMARILLO 1889
  27. 27. PAISAJE 1890
  28. 28. MUJERES TAHITIANAS 1891
  29. 29. PAISAJE TAHITIANO 1893
  30. 30. EL DIA DE DIOS 1894
  31. 31. MATERNIDAD 1896
  32. 32. ¿DE DÓNDE VENIMOS? ¿QUÉ SOMOS? ¿A DÓNDE VAMOS? 1897
  33. 33. TOULOUSE-LAUTREC
  34. 34. H. TOULOUSE-LAUTREC • Varía totalmente la visión impresionista. • Él es un hombre de la bohemia y la noche. • Y plasma esa realidad con un dibujo claro y potente. • Su pintura es simple de colores planos y realista. • Y su lógica evolución es la aparición de su mano del cartel publicitario.
  35. 35. Justine Dieuhl en el Jardín de "Père Forest", 1890
  36. 36. BAILE EN EL MOULIN ROUGE 1890
  37. 37. BOCETO PARA CARTEL
  38. 38. OTRO BOCETO PARA CARTEL
  39. 39. DISEÑO PARA PROGRAMA DE TEATRO DE “FEDRA” INTERPRETADA POR SARAH BERNHARDT
  40. 40. PORTADA DE LA REVISTA LA REVUE BLANCHE
  41. 41. MOULIN ROUGE LA GOULUE 1891
  42. 42. LA GOULUE ENTRA CON DOS MUJERES AL MOULIN ROUGE 1892
  43. 43. 1892 AMBASSADEURS ARISTIDE BRUANT
  44. 44. JARDIN DE PARIS JANE AVRIL 1893
  45. 45. Jane Avril entrando en el Moulin Rouge - (1892) Fotografía de Jane Avril
  46. 46. CARTEL PARA EL ESTUDIO FOTOGRAFICO DE P.SESCAU 1894
  47. 47. YVETTE GUILBERT 1894
  48. 48. EL SALON DE LA RUE DE MOULINS 1894
  49. 49. TOULOUSE LAUTREC Y UNA DE SUS MODELOS
  50. 50. TOULOUSE LAUTREC EN SU ESTUDIO
  51. 51. Baile en el Moulin Rouge – 1889 - 1890
  52. 52. MUJER PONIENDOSE LAS MEDIAS 1894
  53. 53. Afiche ART NOUVEAU 1920 (Influencia de Toulouse – Lautrec)
  54. 54. CÉZANNE
  55. 55. PAUL CÉZANNE • Comienza en el grupo Impresionista • A finales de los 70 inicia una nueva andadura: – El Impresionismo sólo depende de la vista – Es evanescente y poco sólido – Y el arte debe ser también intelectual • Protagonismo de las formas y el volumen • Pero es el color el que debe modelar las figuras • Figuras que deben reducirse a formas geométricas esenciales Autorretrato con paleta. 1885.
  56. 56. Cebollas y botella, 1895-1900
  57. 57. Grandes bañistas, 1900-1905

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