Post-Impressionism: Beyond Appearances

When your favourite artists from the Musée d'Orsay are displayed in the Louvre Abu Dhabi

Happy Sunday and welcome back to Giselle daydreams! Today, I decided to feature the latest exhibition I visited a few weeks ago at the Louvre Abu Dhabi, Post-Impressionism: Beyond Appearances. Most of the artworks on display are loans from the Musée d’Orsay, and while admiring each artwork one after another, I felt transported back in time. For those visiting Abu Dhabi in the near future, the exhibition is on view until February 9, 2025.

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Herni-Edmond Cross, The Evening Air, circa 1893.

The Post-Impressionism movement emerged in the late 19th century, building on the innovations of Impressionism but pushing artistic boundaries toward more personal and symbolic expression. Post-Impressionists sought to address what they perceived as the limitations of Impressionism, such as its focus on fleeting effects of light and color, by incorporating greater emotional depth, structural composition, and symbolic meaning in their work.

The Post-Impressionists rejected the realism of previous movements in favour of emotional, symbolic, and experimental approaches. They drew inspiration from folk art, non-Western art, and their inner psychological landscapes. The movement laid the groundwork for early 20th-century art movements like Fauvism, Cubism, and Expressionism. Post-Impressionists emphasised individual perspectives and emotions, often moving beyond naturalistic depictions. Their works were imbued with deeper symbolic or spiritual content. They experimented with vivid, unnatural, or symbolic colours, and with flattening the picture plane or unconventional perspectives.

Henri de Toulouse-Lautrec, Divan Japonais, 1892-93.

Unlike Impressionism, which was a more cohesive group effort, Post-Impressionism was not a formalised movement. Instead, it was a loose grouping of artists who shared certain traits but had widely divergent styles and philosophies. Each artist had their own unique approach, making the movement diverse.

The term Post-Impressionism was coined by the English art critic Roger Fry in 1910, long after the artists had already begun working. The artists themselves did not consider themselves part of a singular movement, and many would not have identified as Post-Impressionists. They were primarily reacting against Impressionism but were not always united in their views or methods.

Post-Impressionism: Beyond Appearances brings together around 100 iconic masterpieces from the Post-Impressionist era, showcasing the brilliance of artists such as Vincent van Gogh, Paul Cézanne, Georges Seurat, Henri-Edmond Cross, Emile Bernard, Paul Sérusier, Maurice Denis, and Odilon Redon.

Paul Sérusier, Le Talisman, l'Aven au Bois d'Amour, 1888.

The exhibition is thoughtfully arranged into nine sections, each highlighting the unique styles of these groundbreaking artists while exploring the shared themes that define this pivotal period in art history. One can journey through Neo-Impressionism, Cézanne, Gauguin and Pont-Aven, Van Gogh, the Nabis, Toulouse-Lautrec, Odilon Redon, Prints, and the emergence of new movements. Each section provides a closer look at the ideas and innovations that shaped the Post-Impressionist movement.

Paul Cézanne, Mont Sainte-Victoire, circa 1890.

Paul Cézanne was one of the first to challenge the traditional perspective in art. He deliberately flattened forms and used geometric shapes to break down and reconstruct the space in his landscapes and still lifes. His approach to volume and structure was revolutionary and paved the way for the development of Cubism, particularly influencing Pablo Picasso and Georges Braque. He is often referred to as the father of modern art for his structural, geometric approach to landscapes such as the Mont Sainte-Victoire (ca. 1902-06) and still life such as The Basket of Apples (1895). Cézanne’s obsession with certain motifs, like the Mont Sainte-Victoire mountain and still-life arrangements, was not just artistic but also philosophical. He believed that returning to the same subjects allowed him to uncover deeper truths about the nature of perception and how we experience the world.

Paul Cézanne, Nature morte aux oignons, 1896-98.

Seurat’s Pointillism wasn’t just an aesthetic choice; it was based on colour theory and the scientific understanding of how colours mix. He studied the effects of light and colour through detailed observation, creating images using tiny dots of complementary colours. One of his most famous paintings is A Sunday Afternoon on the Island of La Grande Jatte (1884-86). This method was influenced by both scientific research and the optical effects of colour.

Henri Rousseau, often labelled a primitive painter, was actually well-educated and well-read. He was largely self-taught and deliberately adopted a naïve style, intentionally avoiding the conventions of academic painting. His dreamlike, imaginative landscapes, like The Sleeping Gypsy (1897), were influenced by his fascination with exoticism, folklore, and his desire to express the unconscious.

Paul Gauguin, Arearea, 1892.

Gauguin's fascination with primitive or naive art was influenced not only by his quest for new sources of inspiration but also by his disillusionment with Western society. He used either simplified or distorted forms, whose shapes were stylised or exaggerated for emotional effect. His work in Tahiti was a search for a purer, more authentic existence. He sought to escape modern industrial life and reconnect with what he saw as the spirituality and simplicity of indigenous cultures. He focused on exotic themes, bold colours, and spiritual symbolism, especially in his works from his time in Tahiti such as Where Do We Come From? What Are We? Where Are We Going? (1897-98) or Arearea (1892).

Vincent van Gogh, The Bedroom at Arles, 1889.

Vincent van Gogh was deeply interested in colour as a tool for emotional expression. He believed that colours could evoke feelings and used them intentionally to communicate his inner state. He was known for his thick emotive and swirling brushwork. For example, the intense yellows in Sunflowers were meant to convey warmth and joy, while the turbulent blues and greens in Starry Night reflect his feelings of isolation.

Vincent Van Gogh, La Méridienne, 1889-90.

The Post-Impressionists, particularly Vincent van Gogh and Paul Gauguin, were heavily influenced by Japanese ukiyo-e prints. The bold colours, unusual perspectives, and flat compositions of Japanese woodblock prints are evident in their work. Van Gogh even famously collected Japanese prints, incorporating their style into his paintings.

Lucie Cousturier, Woman Crocheting, circa 1908.

Women artists such as Berthe Morisot (an Impressionist who continued to influence Post-Impressionism), Marie Laurencin, and Lucie Cousturier were often overshadowed by their male counterparts. Yet, they played important roles in pushing the boundaries of colour, brushwork, and subject matter during the period.

The final section extends beyond Europe, featuring works by Egyptian artist Georges Hanna Sabbagh, illustrating the global impact of Post-Impressionism. This inclusion reflects the museum's commitment to broadening the art historical narrative and recognising the movement's far-reaching influence.

Georges Hanna Sabbagh, The Family: The Sabbaghs in Paris, 1921.

Post-Impressionism: Beyond Appearances goes beyond the surface of visual beauty, exploring the Post-Impressionists’ desire to move past naturalistic representation and delve into emotion, symbolism, and abstraction. The thematic organisation is intuitive and enhances the viewer's understanding of Post-Impressionism's many facets.

Each section dives into the radical ways these artists pushed boundaries in technique, colour, and form; and provides an in-depth exploration of the artists' techniques and the themes that unified this transformative era in art history. Furthermore, by including works from non-European artists it highlights the global impact of Post-Impressionist ideas. The exhibition also balances scholarly depth with accessibility, appealing to both art historians and casual visitors.

Pierre Bonnard, Under the Lamp, 1899.

This exhibition not only celebrates the genius of Post-Impressionist pioneers but also provides fresh perspectives through digital storytelling and interactive installations. It invites us to ponder the movement’s relevance today, as we continue to seek meaning in a complex, ever-changing world.

Post-Impressionism: Beyond Appearances is a masterfully curated exhibition that offers both visual delight and intellectual rigour. It is a must-visit for art lovers, historians, and anyone interested in the enduring legacy of this revolutionary movement.

As always, thank you for reading. Giselle xx

Odilon Redon, The Spider, 1887.