Art History 110 1st Edition Lecture 11Dr. GülruÇakmakLATE NINETEENTH-CENTURY ART AND THE BEGINNINGS OF MODERNISM Works discussed: 1.Figure 30-31 EDGAR DEGAS, The Rehearsal on Stage, c. 1874 2.Figure 30-39 JAMES ABBOTT MCNEILL WHISTLER, Nocturne in Black and Gold, The Falling Rocket, 1875 3.Figure 30-34 GEORGES SEURAT, A Sunday on the Island of La Grande Jatte, 1884–1886 4.Figure 30-49 PAUL CÉZANNE, Mont Sainte-Victoire, 1885-1887 5.VINCENT VAN GOGH, Japonaiserie: Flowering Plum Tree, 1887 (Stokstad, p. 995) 6.Figure 30-35 VINCENT VAN GOGH, The Starry Night, 1889 7.Figure 30-36 PAUL GAUGUIN, ManaoTupapau (Spirit of the Dead Watching), 1892 Terms and events: • The Aesthetic Movement in England (Aestheticism): late 19th-century art movement which argued that art existed for the sake of its beauty alone, and that it did not need to serve any political, didactic, or other purpose. • Nocturne: A musical term meaning ‘night scene.’ • Post-Impressionism: A term coined by British art historian Roger Fry in 1910 to describe the stylistically heterogeneous work of the group of late 19th-century painters in France, including Van Gogh, Gauguin, Seurat and Cézanne, who examined the properties and expressive qualities of line, pattern, form, and color more systematically than the Impressionists did. • Neo-Impressionism: A post-Impressionist artistic style led by Georges Seurat that renounced the impulsive and intuitive aesthetics of Impressionism in favor of a sense of organization and permanence in art. Seurat developed a measured painting These notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.technique grounded in science and the study of optics. • Divisionism: The separation of individual strokes of pure colors of the solar spectrum (red, orange, yellow, green, blue violet). The viewer’s perception blends the hues andattains powerful color effects. • Pointillism: The application of pigment in dots (points). • Symbolism: A late 19th-century art movement based on the idea that the artist was not an imitator of nature but a creator who transformed the facts of nature into symbols of the inner