#post impressionism

[valentineua]

Female Model - Elsa Backlund-Celsing (1880-1974)

[impressionim-paintings]

The Top Hat, Interior of the Visit

Artist: Félix Vallotton (Swiss-French, 1865-1925)

Date: 1887

Medium: Oil on canvas

Collection: Museum of Modern Art André Malraux, Le Havre, France

About the Artist

Félix Vallotton was a Post-Impressionist painter and printmaker. He is best known as a key member of Les Nabis, an influential group of Post-Impressionist avant-garde artists in Paris who bridged the gap between Impressionism and modern art by emphasizing emotional and symbolic expression.

[thesefevereddays]

MAURICE DENIS

Les Muses, 1893.

[my-sacred-art]

Actor Anya Taylor Joy (English-American, born Apr. 16, 1996).

Nafea Faa Ipoipo? (Will You Marry Me?), 1891. Paul Gaugin (French, Jun. 7, 1848 - May 8, 1903).

[realhenryavasquez]

Beer and Apple. Henry Alex Vasquez. Acrylic ,canvas. July 2026.

[themuseumwithoutwalls]

MWW Artwork of the Day (7/13/26) Georges-Pierre Seurat (French, 1859-1891) Sunday Afternoon on the Island of La Grande Jatte (1884-86) Oil on canvas, 207.6 x 308 cm. The Art Institute of Chicago (Helen Birch Bartlett Memorial Collection)

With this picture Georges Seurat recast Impressionism, using as his guides both optical theory and idealist aesthetics. The hieratic figures, shown mostly in profile or straight-on, recall ancient Egyptian reliefs, and the deliberate compositional rhythms amount to a pointed critique of Impressionist ephemerality. As if to dispel any lingering doubts on this point, Seurat also rejected free, sketchy handling, choosing instead to render the entire scene with meticulous, dotlike touches of paint, which, viewed from a certain distance, resemble nothing so much as tapestry stitching.

[valentineua]

The Card Players (c.1890-92) - Paul Cézanne (1839–1906)

[themuseumwithoutwalls]

MWW Artwork of the Day (7/7/26) Vincent van Gogh (Dutch, 1853-1890) The Siesta (after Millet)(Dec. 1889-Jan. 1890) Oil on canvas, 73 x 91 cm. Musée d'Orsay, Paris

Van Gogh often copied the works of Millet, whom he considered to be "a more modern painter than Manet". Remaining faithful to the original composition, even down to the still life details in the foreground, Van Gogh nevertheless imposes his own style upon this restful scene which, for Millet, symbolized rural France of the 1860's. This highly personal re-transcription is achieved primarily by means of a chromatic construction based on contrasting complementary colors: blue-violet, yellow-orange. Despite the peaceful nature of the subject, the picture radiates Van Gogh's unique artistic intensity.