Chapter 17
Out of the Studio and into the Light: Impressionism and Postimpressionism
Instructor’s Manual
Overview
In this chapter introduce Impressionism and Postimpressionism. Speak to the large
metropolises that developed in Europe and America and how this new cultural climate
impacted artists and the way they made and sold their art.
Sub Headers
• The Salons and Academic Art
• Impressionism
o The Salon Des Refuses and Manet
o Out of the Studio and into the Light
o Monet, the Pure Impressionist
o Monet in Giverny
o Renoir
o Morisot
o Degas and Cassatt
o Rodin’s Touch
• The Postimpressionists
o Toulouse-Lautrect
o Seurat and Pointillism
o Gauguin and the Search for Paradise
o Van Gogh: Father of Expressionism
o Cézanne’s Revolution
Terms:
Impressionists
Japonisme
Pointillism
Postimpressionists
Salon
Ukiyo-e
Lecture #1
Discussion:
Begin Lecture #1 by discussing the opening section, “Timeless Links: The Inspiration of
Nature.” Explore the many ways that nature has provided artists with subject matter over the
centuries, from peaceful landscapes to furious storms. Continue the lecture by delving into
Impressionism and the many artists who worked in this movement. Highlight the visual
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characteristics of Impressionism and how it came to be known by that name. Discuss the political
and academic climate of the times and the reasons for Impressionism’s development.
Class Questions/Prompts:
Japonisme Once the ports of Japan were forced open in 1853, Japanese art flooded European
galleries, inspiring art and artists. How did Japanese art affect the direction of art in the late
nineteenth century? Compare the compositions of works such as Hiroshige’s Maple Leaves at
the Tekona Shrine (figure 3-22), Degas’ The Orchestra at the Paris Opera (figure 17-13),
Cassatt’s The Letter (figure 6-11), and Hokusai’s The Great Wave (figure 17-26). If possible,
also compare works by van Gogh with the Hiroshige works that were his inspiration, such as van
Gogh’s Bridge in the Rain (After Hiroshige) and Plum Tree in Bloom After Hiroshige.
Love, Romance, and Nature Nature, like love and romance, has been a popular theme for
artists for centuries. Ask students to discuss and compare artists’ fascination with these topics. Is
there one or the other that artists seemed more fond of, or did certain eras/movements seem to
favor one over the other?
Exercise #1
1. Analysis
a. Have students make observations on materials, methods, cultural and
historical context.
Figure 17-4 Édouard Manet, Le Déjeuner sur l’herbe, 1863. Paris, France.
2. Compare and Contrast
Figure 17-11 Pierre-Auguste Renoir, Le Moulin de la Galette, 1876. Paris, France.
Figure 17-13 Berthe Morisot, Woman at her Toilette, c. 1879. Paris, France.
Lecture #2
Discussion:
In Lecture #2 introduce Postimpressionism. Highlight the visual styles that Postimpressionists
each developed and discuss the most essential artists: Toulouse-Lautrec, Georges Seurat, Paul
Gauguin, Vincent van Gogh, and Paul Cézanne.
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Class Questions/Prompts:
Postimpressionism Of all the groups in chapter 17, the Postimpressionists seem the most varied.
What did they all have in common? Consider the work of Vincent van Gogh, Paul Gauguin, Paul
Cézanne, and George Seurat. How did Impressionism pave the way for these artists? And how
did the Postimpressionists help pave the way for early twentieth-century artists?
Van Gogh Using the Complete Letters of Vincent van Gogh, select passages relating to drawings
or paintings van Gogh created during his lifetime. Van Gogh often wrote to his brother Theo
about his current projects and thoughts on life and painting. Use portions of his letters to
supplement a class discussion concerning the work of van Gogh. What is unique about the
letters? What insights do they give us into the artist? What insights do they give us into the
work?
Paul Cézanne During his lifetime, Paul Cézanne created over 170 still life paintings, such as
Still Life with Apples (figure 17-31). Using examples of his other still life work, discuss
Cézanne’s use of simple forms and ordinary objects, distorted perspective, brushstrokes, and
complementary colors.
Exercise #1
1. Analysis
a. Have students make observations on materials, methods, cultural and
historical context.
Figure 17-23 Paul Gauguin, Spirit of the Dead Watching, 1892. Buffalo, New
York.
2. Compare and Contrast
Figure 17-21 Georges Seurat, A Sunday on La Grande Jatte, 1884–1886.
Chicago, Illinois.
Figure 17-24 Vincent van Gogh, The Potato Eaters, 1885. Amsterdam,
Netherlands.