Europe: 19th century

Post-Impressionism

Cézanne, Seurat, Van Gogh, and Gauguin are all Post-Impressionists, though their styles vary widely.

c. 1880 - 1900

videos + essays

Baskets of apples, Tahitian landscapes, sunflowers, and Sunday in the park.

Gauguin, <em>Self-Portrait with Portrait of Émile Bernard (Les misérables)</em>
Gauguin, Self-Portrait with Portrait of Émile Bernard (Les misérables)

These self-portraits were swapped like friendship bracelets among Gauguin, Bernard, and their buddy Van Gogh.

Paul Cézanne, <em>Bathers (Les Grandes Baigneuses)</em>
Paul Cézanne, Bathers (Les Grandes Baigneuses)

The subject matter of this painting couldn’t be more traditional, but its formal characteristics make it modern.

Paul Gauguin, <em>Vision after the Sermon</em> (or <em>Jacob Wrestling with the Angel</em>)
Paul Gauguin, Vision after the Sermon (or Jacob Wrestling with the Angel)

Gauguin contemplates modern culture’s distance from spirituality in this vivid, evocative canvas.

Georges Seurat, <em>A Sunday on La Grande Jatte – 1884</em>
Georges Seurat, A Sunday on La Grande Jatte – 1884

Seurat sought to bring science to the methods of Impressionism with new, methodical approaches to color.

Paul Cézanne, <em>The Red Rock</em>
Paul Cézanne, The Red Rock

Cezanne gets freaky with the conventions of landscape painting in this fuzzy image of a hot day.

Henri de Toulouse-Lautrec, <em>At the Moulin Rouge</em>
Henri de Toulouse-Lautrec, At the Moulin Rouge

Toulouse-Lautrec invites us into the nocturnal world of the nightclub, where classes mix under the electric lights.

Vincent van Gogh, <em>The Bedroom</em>
Vincent van Gogh, The Bedroom

Van Gogh’s refuge for artists in the south of France is depicted with expressive color and sophisticated innocence.

Paul Cézanne, <em>The Large Bathers</em>
Paul Cézanne, The Large Bathers

Cézanne takes classical forms and makes them subservient to the canvas—paving the way for Matisse and Picasso.

Georges Seurat, <em>Bathers at Asnières</em>
Georges Seurat, Bathers at Asnières

Seurat’s informal bathers are members of the working class—not the timeless bathers of history paintings.

Paul Gauguin, <em>The Red Cow</em>
Paul Gauguin, The Red Cow

Cropped figures, vivid hues, and unnatural light turn a humdrum pastoral scene into an act of aesthetic rebellion.

Paul Cézanne, <em>The Card Players</em>
Paul Cézanne, The Card Players

Reinterpreting a subject beloved by past artists like Caravaggio, Cézanne “adds a link” to the history of art.

Paul Gauguin, <em>Nevermore</em>
Paul Gauguin, Nevermore

Gauguin’s nude is suspended between dreams and reality— just like his imperialistic vision of Tahiti.

Selected Contributors | Post-Impressionism