How is the subject of each painting representative of Impressionism or Post-Impressionism? How are the style and visual characteristics of each painting representative of Impressionism or Post- Impressionism? Be sure to discuss specific elements such as brushwork/application of paint, use of color and light, and composition, in your response. Describe the specific ways that each painting shows tension between its inherent two-dimensionality and any illusion of three-dimensionality created by the artist.

Questions:

How is the subject of each painting representative of Impressionism and Post-Impressionism?

How are the style and visual characteristics of each painting representative of Impressionism and Post-Impressionism?

Describe the specific ways that each painting shows tension between its inherent two-dimensionality and any illusion of three-dimensionality created by the artist.

Monet, Rouen Cathedral: The Portal (in sun), 1894 

• This painting is a representation of Impressionism movement. Rouen Cathedral: The Portal is a representation of Impressionism movement because its main priorities included: the immediate and optically accurate depiction of a momentary scene; the execution of the whole work in the open air (no more preparatory sketches and careful completion in the studio); the use of pure colour on the canvas, rather than being first mixed on the palette; the use of small strokes and dabs of brightly-coloured paint; and the use of light and colour to unify a picture, instead of the traditional method of gradually building up a painting by outline and modelling with light and shade. Each details of Rouen Cathedral: The Portal captures the facade of the Cathedral at different times of the day and year, thus reflecting the changes in its appearance under different conditions of light and colour.  The subject under different lighting conditions, was his attempt to illustrate the contribution of light to our optical perception of an object at a given time and place He painted the facade of his painting with highly textured brushstrokes that convey the aspect of sculpted stone and make the atmosphere and light palpable. Impressionism, as advocated by Monet in his painting: Rouen Cathedral: The Portal, was outdoor plein-air painting, characterized by rapid, spontaneous and loose brushstrokes.

Manet, Bar At The Folies-Bergère, 1881-82

• Manet, Bar At The Folies-Bergère painting is also a representation of Impressionism movement. The painting also depicts and shows immediate and optically accurate depiction of a momentary scene; execution of the whole work in the open air; use of pure colour on the canvas, rather than being first mixed on the palette; use of small strokes and dabs of brightly-coloured paint; and the f light and colour to unify a picture, instead of the traditional method of gradually building up a painting by outline and modelling with light and shade. Manet's art represents the bustling interior of one of the most prominent music halls and cabarets of Paris, the Folies-Bergère.  Bar At The Folies-Bergère features a modern setting in the most famous and modern of Paris's cafe-concert halls. In addition, its brushwork is Impressionistic and its framing has been influenced by the new art of photography.

Seurat, A Sunday Afternoon On The Island Of La Grande Jatte, c. 1884-86

• Seurat, A Sunday Afternoon On The Island Of La Grande Jatte is a painting that represents the Post-impressionism painting. Post-Impressionism is against the naturalism of the impressionists to explore color, line, and form, and the emotional response of the artist, a concern which led to the development of expressionism and it denotes the phase of modern art during which artists sought to progress beyond the narrow imitative style of Impressionism The painting was painstakingly planned from start to finish in the manner of a Greek frieze, and its (often) symbolic content positively invites careful scrutiny and it also has plenty of cool shade in which to escape the sun. The canvas is crowded with some forty stereotypical Parisian figures, shown full-face or in profile. Carefully arranged in static groups across the picture, they appear uncommunicative and frozen in time, adding to the dreamlike quality of the painting. The Contrasting pigments are woven together with small, patchy brushstrokes and  used tighter, dot-like dabs of paint (known as Pointillism from the French word point, or dot). 

Step-by-step explanation

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