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Black: style
Blue: connection/reaction/counter-reaction
Green: substyles
Red: encompassing style/movement
Orange: difference in encompassing style/movement

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Macke, August Robert Ludwig (1887-1914) Mädchen im Grünen, 1914, oil on canvas, 119 x 159 cm, Pinakothek der Moderne, Munchen.

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1911-1914
Spiritual forms
Composing with shapes

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Wiegers, Jan, (1893-1959), Interieur Bohémien, 1925, oil on canvas, 70 x 80 cm, Groninger museum.

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1918-
against art scene of Amsterdam and the Hague
Portraits of group members
Groninger landscape
High horizon

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Kirchner, Ernst Ludwig (1880-1938) Portret van een vrouw, 1907

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1905-1913
Spiritual interest in Romanticism and Symbolism​

Expression of profound emotional experience ​

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Derain, Andre (1880-1945), 'woman in a chemise', 1906, oil on canvas, 100 x 81 cm, Statens museum for kunst, Copenhagen.

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1900-1910
bright colors
wild brushworks

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impressionism more shape-fading, Art nouveau clear shapes

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symbolism focused on spiritual reality, Art nouveau sought to bring modernity and elegance to composition and design.

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1890-1910
inspired by natural forms
movement
art applied in other things like:
decoration, posters, household objects
sometimes symbolism in works

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cutting off also in paintings

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de Groux, Charles (1825-1870), Blessing before supper, 1861, oil on canvas, 41 x 78 cm, Museum of Fine Arts Ghent (MSK), Belgium.

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1850-

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Sadee, philip (1837-1904), 'terugkeer van het strand', ca. 1878, oil on canvas, 50 x 40 cm, private collection.

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1860-1890

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Corot, Jean Baptiste Camille(1796-1875), Forest of Fontainebleau, 1834, oil on canvas, 175 x 242 cm, Chester dale collection

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1830-1870

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tried to create works that were more fulfilling and more closely-tied to the artist’s own inner feelings and mindset.

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from focus on the real world to focus on the emotional response of the artist

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Kandinsky, Wassily (1866–1944), Cosaques, 1910, oil on canvas, 94 x 130 cm, Tate.

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1905-1940
feelings, experiences and perceptions from the artist
relation with reality fades
scientific approach of color

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a reaction in favour of spirituality, the imagination and dreams.

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Böcklin, Arnold (1827–1901), Die Toteninsel, 1883, oil on canvas, 80 x 150 cm, Alte Nationalgalerie, Berlijn

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1880-1890
more focus on the internal eye
nature as a starting point, imagination the final word
evoke a deeper content behind visible reality
object representing more than its appearance

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van Rysselberghe, Theo, (1862-1926), 'En juillet - avant midi of Le verger', 1890, oil on canvas, 115,5 x 163,5 cm, krollermuller museum.

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Dots of color to create effects of light
colors blend together in your eye
effect of mixing paint on pallet or not

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de Toulouse-Lautrec, Henri (1864-1901), De Salon in de rue des Moulins, 1894, oil on canvas, 111,5 × 132,5 cm, Musée Toulouse-Lautrec.

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try to convey emotion with structure, composition and symbolism

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trying different techniques

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depict subjects truthfully, normal people

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looser brushstrokes

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steering away from/against academic art

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focus less on the object, instead focus on the light

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Degas, Edgar (1834 – 1917), The Dance Class, 1874, oil on canvas, 83 x 77 cm, The Metropolitan Museum of Art, New York, United States.

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1860-1890
pictorial ambiguity
spontaneous brushstrokes
unidealized people
narrative not needed
cutting of in composition

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academic art

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interest went from middle eastern countries to further east

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Klimt, Gustav (1862–1918), Woman with fan, 1918, oil on canvas, 100 x 100 cm, leopold museum. Vienna.

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1853-
Based on Japanese art and objects

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Delacroix, Eugène(1798-1863), Women of Algiers in their Apartment, 1834, Oil on canvas, 180 × 229cm, Louvre.

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imitation or depiction of the eastern world
Risqué nudity in Victorian times: oriental woman’s otherness

and anonymity

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Long ago is now far away

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reaction against artificial and restricting rules

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a period we are not part of is hard to represent

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reaction against romantic and classical idealization and a rejection of classical academic subjects

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Bastien-Lepage, Jules (1848-1884), 'Óctober', 1878, oil on canvas, 180 x 196 cm, National Gallery of Victoria Melbourne.

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1850-1870
journalist of own time
normal people
no exotic elements
everyday topics

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Bouguereau, William-Adolphe (1825-1905), 'Dante and Virgil in hell', 1850, oil on canvas, 281 cm × 225 cm, 	Musée d'Orsay, Paris.

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1800-1850
heavy emotions
the individual
focus on the sublime
cultural reaction on industrial revolution

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Ingres, Jean-Auguste-Dominique (1780-1867), 'The Illness of Antiochus' 1840, oil on canvas,  77 x 61 cm, Conde museum.

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1760-1850
Harmonious
idealized
universal and timeless beauty
serene and calm
unpersonal
horizontal and vertical lines