Modern Art Reading NotesChapter 2: Seurat, Cézanne, and the Language of StructureRejection of the spontaneity of Impressionist painting; extended its valuesNew tradition of observation + direct painting methods; universal application of old principles Tried to deepen meaning through a conceptual approachHenri Bergson: dualistic world- two opposing tendencies of a life form and the resistance of the material world to that force (mind vs. spirit)Post-Impressionists: acknowledged, counterbalanced dualities of mind/spirit, commensurate/incommensurate, real/romantic, intellect/intuitionGeorge Seurat:More abstract/impersonal style- new language of color form“scientific” objectivity, formalist with emotional qualityBathersPresented a speckled, multicolored surfaceTiny dots of color, more systematic, texture and relief, solid definition to form Defined dark/light contrasts- forms in space with tensionClothed/half-clothed male laborers relaxing on Seine; broad view of river- sails, bridge, smokestacksarchitecturally organized composition, variedeach figure is a type of personality: dress, gesture, expressive detailabstraction of a common activity- power of mythplanned compositions and care for details (drawings and color studies)stillness of coastal regions and feelings of suspension in space‘broomswept’ strokes, built up flat color masses- definition of formsmoralizing, subjects of working clasharmony in painting: optical theory, produce moods and feelingsA Sunday Afternoon on the Island of La Grande Jatte, 1884-86Massive canvas; 20+ drawings and 200+ oil sketches of the compositionLast Impressionist exhibition & Independent’s Salon of 1886Mixed crowd; relaxing, fishing, etc. in park framed by trees and water- calmness Patterning, geometry of figures- formality of stately ritualCouple in foreground, right: mechanical, solemn, wealthy, bred dog/monkeyChild skipping, sails, man leaning on elbow with his dog- artificial and natural competitionPerspective, off-centered- figures varied with the space they inhabitPoints of color3 isolated actions: skipping girl, charging terrier, sails- juxtapositionsCommentary on modern life and manners: ritualistic positions and control of formsThe Circus, 1890-91Horse rider and ringmaster in mid-performanceForceful/flatter rhythms; emphasizing decorative elements in curvilinear mannerPopular entertainment- essential condition of artistic productionBurlesqued action portrayedBlond palette: lightness, happinessPaul Cézanne“father of modern art”worked beside PissarroLuncheon on the Grass, 1870Sexual; brutality of stroked landscape promotes lustPortrayed himself at center-frustrated with desire for L girlPhallic symbols of tree and wine bottleDistortions: reputation as talentless, psychopathThe House of the Hanged Man, 1872-73Part of Impressionist period while working with PissarroDivided tones, less gloomy color, thinner mediumImpasto: thickly applied paint- gives solid definition to formsSuggestion of conflict and horrorThe Bay From L’Estaque, 1886Motif- portion of real world with no human activityPainted in language of paintingLarge fields of bold, contrasting, complementaries; affirm 2D realitySide of each building, as if seen from same plane to flatten imageBrushwork gives uniform materiality of paintStill Life with Basket of Apples, 1890-94Altered perspective- tilted plane upwards, bringing background close to foreground; widened bowl’s mouth‘flat depth’- multiple viewpoints in tensionPortrait of Ambriose Vollard, 1899Statue-like, still-life portraitSimplified, geometry3 depths in single plane: vertical line from top of head, through shirt and legMont Sainte-Victoire, 1904-06MotifStrong colorsSurface and depthThe Great Bathers, 1898-1906Largest canvas—important themeNude females: drained human body of erotic contentBalanced romantic/classical,