After Impressionism: Inventing Modern Art - FAD Magazine

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After Impressionism: Inventing Modern Art

After Impressionism: Inventing Modern Art opens at the National Gallery this week featuring 97 works – 32% of which are from private collections so are rarely seen, this and the fact that the exhibition features some of the most important works of art created between 1886 and around 1914 make this a must-see exhibition.

After Impressionism: Inventing Modern Art
Henri Edmond Cross By the Mediterranean / Bords méditerranéens 1895 Oil on canvas 64.1 × 91.4 cm The Lenora and Walter F. Brown Collection © Photo courtesy of the owner

Paintings and sculptures by artists such as Cezanne, Van Gogh, Rodin, Picasso, Matisse, Klimt, Käthe Kollwitz, Sonia Delaunay, Kandinsky and Mondrian.

While celebrating Paris as the international artistic capital, After Impressionism: Inventing Modern Art also focuses on the exciting and often revolutionary artistic developments across other European cities during this period.   

Starting with the towering achievements of Cezanne, Van Gogh, Gauguin and Rodin, visitors are able to journey through the art of the late 19th and early 20th centuries created in cities such as Paris, Barcelona, Berlin, Brussels and Vienna. The exhibition closes with some of the most significant modernist works, ranging from Expressionism to Cubism and Abstraction.

In this exhibition we seek to explore the complexities of a period in art, and in wider cultural manifestations, that can assert the claim to have broken links with tradition and laid the foundations for the art of the 20th and 21st centuries.

MaryAnne Stevens, co-curator of After Impressionism: Inventing Modern Art,

After Impressionism: Inventing Modern Art explores the main themes in the development of the visual arts in Europe at this time: the break with conventional representation of the external world, and the forging of non-naturalist visual languages with an emphasis on the materiality of the art object expressed through line, colour, surface, texture and pattern.

After Impressionism: Inventing Modern Art
Paul Gauguin Vision of the Sermon (Jacob Wrestling with the Angel) / Vision du sermon : la lutte de Jacob avec l’ange 1888 Oil on canvas Photo: Mark Westall

Highlights of this wide-ranging international survey include André Derain’s La Danse (Private Collection), Edgar Degas’s Dancers in the Foyer (Ny Carlsberg Glyptotek, Copenhagen); Paul Cézanne’s Grandes Baigneuses (National Gallery, London); Edvard Munch’s The Death Bed (KODE Art Museums, Bergen); Paul Gauguin’s Vision of the Sermon (Jacob Wrestling with the Angel) (National Galleries of Scotland, Edinburgh); Camille Claudel’s  L’Implorante  (Nogent-sur-Seine, Musée Camille Claudel); and Lovis Corinth’s Nana, Female Nude (Saint Louis Art Museum, St Louis.). 


Paul Cézanne Bathers / Les Grandes Baigneuses about 1894-1905 Oil on canvas Photo Mark Westall

The exhibition consists of 97 works, mostly paintings but also includes a careful selection of innovative sculpture. The first-room Introduction to the exhibition features two seminal works by Pierre Puvis de Chavannes and Paul Cezanne, framed by two radical sculptures by Auguste Rodin (Auguste Rodin Monument to Balzac, 1898, plaster; and The Walking Man (L’Homme qui marche, 1905-7, bronze; Musée Rodin, Paris). 

Auguste Rodin, Monument to Balzac / Monument à Balzac 1898 Plaster 275 × 121 × 129 cm Photo Mark Westall

Pivotal Figures  

Vincent van Gogh Houses in Saintes-Maries-de-la-Mer / Mas à Saintes Maries de la Mer 1888 Oil on canvas Photo Mark Westall
Vincent van Gogh Woman from Arles / L’Arlésienne February 1890 Oil on canvas 65 × 54 cm Private Collection © Photo courtesy of the owner Photo Mark Westall

Pivotal Figures presents the three masters, Cézanne, Van Gogh, Gauguin. Highlights include Cezanne’s Mont Sainte-Victoire (1902-6, oil on canvas, Philadelphia Museum of Art) and Van Gogh’s Snow-Covered Field with a Harrow (after Millet) (1890, oil on canvas, Van Gogh Museum, Amsterdam, Vincent van Gogh Foundation). Prior to demonstrating the powerful impact that these artists had both in Paris and elsewhere in Europe, this section also illustrates the reconsideration of form, surface and space in the later work of Edgar Degas, and, in Neo-Impressionism, the drive away from representation towards simplification of form, patterned surfaces and an increasingly fractured, mosaic-like application of colour.

Paul Gauguin The Wave / La Vague 1888 Oil on canvas Photo Mark Westall

Different Paths & The Nabis

Henri de Toulouse-Lautrec Tristan Bernard au Vélodrome Buffalo 1895 Oil on canvas Photo Mark Westall

The exhibition highlights the elaboration of Pictorial Symbolism as formulated by Gauguin, with its demand on the artist to adopt non-naturalism as the means to alert the spectator to the new subject matter of art, the Idea and profound emotion. This is reflected in Gauguin’s radically experimental paintings and works in terracotta, and in the austere, uncompromising works of Louis Anquetin (Avenue de Clichy (Street- Five O’clock in the Evening), 1887, oil on paper mounted on canvas, Wadsworth Atheneum Museum of Art, Hartford, Connecticut) and Emile Bernard in the section Different Paths. 

Paul Serusier The Talisman, landscape in the bois d’Amour / Le Talisman, paysage au bois d’Amour 1888 Oil on canvas Photo Mark Westall

Pictorial symbolism is also a characteristic of the intimiste, patterned compositions made during the 1890s, in the section devoted to the group of young French artists that formed The Nabis (or ‘Prophets’). These are complemented by a simplified sculptural piece of the same decade by Aristide Maillol. A highlight of this section is Paul Sérusier’s hugely influential work Le Talisman, paysage au bois d’Amour (1888, oil on panel, Musée d’Orsay, Paris), made under the direct instruction of Gauguin. 

Edouard Vuillard Lady of Fashion / L’Elégante 1891-2 Oil on canvas 28.4 × 15.3 cm Photo Mark Westall
Edouard Vuillard Lugné Poë 1891 Oil on paper mounted on panel Photo Mark Westall

New Voices: Barcelona and Brussels

Isidre Nonell i Monturiol Hardship / Misèria 1904 Oil on canvas 75 × 100 cm Photo Mark Westall
Santiago Rusiñol i Prats Modesto Sánchez Ortiz 1897 Oil on canvas 50 × 52.7 cm

These artists found important recognition in the avant-garde exhibiting circles of Brussels and the exhibition’s section on New Voices: Barcelona and Brussels illustrates the potent drive towards a new visual language in the work of such artists as Jan Toorop and James Ensor, and the sculpture of Georges Minne (Kneeling Youth of the Fountain, 1898, bronze; Museum voor Schone Kunsten, Gent, Belgium). Barcelona is represented by works by Hermenglido Anglada-Camaras, Ramon Casas i Carbo, Santiago Rusiñol I Prats, Isidro Nonell i Monturio and Pablo Picasso (Gustave Coquiot, 1901, oil on canvas; Centre Pompidou, Paris, Musée national d’art moderne/Centre de création industrielle). For these artists, Paris played a significant role in the evolution of innovative artistic voices.

New Voices: Vienna and Berlin

Gustav Klimt Portrait of Adele Bloch-Bauer II 1912 Oil on canvas 190 × 120 cm Photo Mark Westall

In common with Barcelona and Brussels, the exhibition shows the journeys away from naturalism in New Voices: Vienna and Berlin which will highlight works by Gustav Klimt and Käthe Kollwitz (Pair of Lovers, 1913-15, bronze; Käthe Kollwitz Museum Köln) and Lovis Corinth, respectively. Berlin also presents the work of the Norwegian Edvard Munch, who used the city as a platform for the establishment of his international reputation.

Lovis Corinth Nana, Female Nude / Nana, weiblicher Akt 1911 Oil on canvas 121.3 × 90.8 cm Photo Mark Westall
Edvard Munch The Death Bed / Ved dødssengen 1895 Oil on canvas 90 × 120.5 cm Photo Mark Westall
Broncia Koller-Pinell The Artist’s Mother / Die Mutter der Künstlerin 1907 Oil on canvas 91 × 77.5 cm Photo Mark Westall

New Terrains

Pablo Picasso Woman with Pears / Femme aux poires 1909 Oil on canvas 92.1 × 70.8 cm Photo Mark Westall

New Terrains outlines the various routes into the modernist manifestations of the early 20th century which were shaped by the ferment of the previous two decades. This section will recognise the continued dominance of Paris as the art capital of the world by highlighting the emergence of the Fauves, (French for ‘the wild beasts’), the group of early 20th-century modern artists whose works emphasized painterly qualities and strong colour over the representational or realistic values retained by Impressionism. This section shows the fractured realities of the Cubism of Picasso (Portrait of Wilhelm Uhde, 1910; oil on canvas, Private Collection), prefigured in his Woman with Pears, 1909, (oil on canvas, The Museum of Modern Art, New York) and by Georges Braque in La Roche-Guyon: le château, 1909, (oil on canvas; Moderna Museet, Stockholm). 

Sonia Delaunay Young Finnish Woman / La Jeune finlandaise 1907 Oil on canvas 44 × 36 cm Private Collection © reserved / photo Christie’s / Bridgeman Images

New Terrains also addresses the explosion of colour and rhythm in German Expressionism with works by Erich Heckel and Karl Schmitt-Rottluf (Deichdurchbruch, 1910, oil on canvas; Brücke Museum, Berlin.) Other highlights include Sonia Delaunay’s Jeune Finlandaise, (1907, oil on canvas, private collection) and Paula Modersohn-Becker’s Sitzendes Mädchen in weissem Hemde und stehender Mädchenakt, 1906, oil tempera on cardboard on parquet-covered wood; Paula Modersohn-Becker Museum, Bremen). 

Vassily Kandinsky Bavarian Village with Field / Bayerisches Dorf mit Feld 1908 Oil on card Photo Mark Westall

And finally, the exhibition closes with the journey towards abstraction in the work of Wassily Kandinsky (Bavarian Village with Field, 1908; oil on card, Private Collection; and Picture with White Lines, 1913; oil on canvas, Private Collection) and Piet Mondriaan (Tree, 1908, oil on canvas, Kuntsmuseum Den Haag; and Composition No. XVI (Compositie I, Arbres), 1912-13, oil on canvas, Fondation Beyeler, Riehen/Basel, Beyeler Collection).

After Impressionism: Inventing Modern Art is curated by the art historian and curator MaryAnne Stevens and Christopher Riopelle, the National Gallery’s Neil Westreich Curator of Post 1800 Paintings, with guest associate curator, art historian Julien Domercq.

Dr Gabriele Finaldi, Director of the National Gallery, London, says:

‘In the wake of the innovations of Impressionism came a host of artists with a more radical outlook who reshaped the aesthetic landscape in Europe around 1900. The exhibition looks broadly at this remarkable generation through a superb selection of works of art lent from public and private collections across the world, many visiting the UK for the first time.’  

After Impressionism: Inventing Modern Art, 25th March – 13th August 2023, The National Gallery, Rooms 1-8, Admission charge buy tickets HERE



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