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@dave.feediverse.org Sep 26, 2026, 5:20 PM

Quai de Montebello #postimpressionism #cortes.

@art.feediverse.org Sep 26, 2026, 5:00 PM

Quai de Montebello #postimpressionism #cortes

@dave.feediverse.org Sep 26, 2026, 3:18 PM

Part of the studio, 1887 #georgesseurat #postimpressionism.

@art.feediverse.org Sep 26, 2026, 3:00 PM

Part of the studio, 1887 #georgesseurat #postimpressionism

@dave.feediverse.org Sep 26, 2026, 6:26 AM

Two Cypresses, 1889 #postimpressionism #vangogh.

@art.feediverse.org Sep 26, 2026, 6:00 AM

Two Cypresses, 1889 #postimpressionism #vangogh

@dave.feediverse.org Sep 25, 2026, 5:03 PM

Landscape in the Ile-de-France, 1882 #seurat #postimpressionism.

@art.feediverse.org Sep 25, 2026, 5:00 PM

Landscape in the Ile-de-France, 1882 #seurat #postimpressionism

@dave.feediverse.org Sep 25, 2026, 12:27 PM

Chestnut Trees at the Jas de Bouffan, 1887 #cezanne #postimpressionism.

@art.feediverse.org Sep 25, 2026, 12:00 PM

Chestnut Trees at the Jas de Bouffan, 1887 #cezanne #postimpressionism

@meisterdrucke.com Sep 25, 2026, 7:02 AM

Henri Lebasque was born September 25, 1865. Here's his garden: two small backs turned, red hollyhocks taller than childhood, light that forgives everything. "Marthe, Nono and Pierre in the Garden" - oil on paper, fine art print available. #art #Lebasque #PostImpressionism #ImpressionismArt #mei...

Two young children seen from behind stand among tall red hollyhocks in a lush, sun-dappled garden. One child wears a red dress and white bonnet, the other a light-colored outfit with a dark cap. Around them bloom masses of colorful flowers - yellow, orange, red, pink and white - in loose, painterly strokes. Behind the flowerbeds, pink-roofed cottages nestle among dense green trees, with soft lavender-grey sky visible at the upper left. The overall palette is warm and pastel, typical of Henri Lebasque's post

@firstamendmentgirl.bsky.social Sep 24, 2026, 3:00 PM

Fishing in Spring, the Pont de Clichy (Asnières) by Vincent van Gogh, 1887, The Art Institute of Chicago (IL)

#ArtHistory #ModernArt ##PostImpressionism

The setting of this work is the river Seine at the Clichy Bridge near Asnières, a suburb north of Paris where van Gogh painted on several occasions with his friend and fellow artist Paul Signac. Van Gogh was inspired by Signac and Georges Seurat, both of whose work is on view nearby. Their technique, called divisionism, used science-based theories of color, which they applied in individual strokes to maximize luminosity. Although Van Gogh was only in Paris working among these artists for about two years, their influence can be seen here in his use of small brushstrokes of pure, brilliant color that combine to create the effect of light reflecting off the various surfaces represented in the composition.

@dave.feediverse.org Sep 24, 2026, 9:16 AM

Place Pigalle #edouardcortes #postimpressionism.

@art.feediverse.org Sep 24, 2026, 9:00 AM

Place Pigalle #edouardcortes #postimpressionism

@dave.feediverse.org Sep 24, 2026, 7:14 AM

Place Saint Michel, Notre Dame #cortes #postimpressionism.

@art.feediverse.org Sep 24, 2026, 7:00 AM

Place Saint Michel, Notre Dame #cortes #postimpressionism

@dave.feediverse.org Sep 24, 2026, 5:25 AM

St.Denis, Winter #edouardcortes #postimpressionism.

@art.feediverse.org Sep 24, 2026, 5:00 AM

St.Denis, Winter #edouardcortes #postimpressionism

@meisterdrucke.com Sep 23, 2026, 5:03 PM

Suzanne Valadon was born September 23, 1865. This 1930 painting, made when she was 65, still shows her sharp eye for color - that red rose against her sitter's pale blue dress, painted from a life spent looking rather than being looked at. #art #SuzanneValadon #ArtHistory #PostImpressionism #mei...

Gemälde einer jungen Frau im Profil an einem runden Tisch mit Rosenstrauß, im Hintergrund ein Fenster mit Laub, von Suzanne Valadon, 1930.

@firstamendmentgirl.bsky.social Sep 23, 2026, 2:15 PM

Haida Totems, Cha- atl, Queen Charlotte Island by Emily Carr, 1912, Royal BC Museum (Victoria, BC, Canada)

#ArtHistory #ModernArt #PostImpressionism

This 1912 watercolor is a luminous and historically significant documentation of the Haida village of Cha-atl (Tsaahl) on Haida Gwaii. Painted during the period when Carr was applying her newfound Post-Impressionist techniques to West Coast subjects, the work is characterized by its bright, airy atmosphere and clear coastal light. Rather than the dark forest interiors she would later become famous for, this scene features a row of weathered totem poles standing along an open, grassy shoreline.

The composition emphasizes the relationship between the monumental cedar carvings and the vast, pale sky. Carr uses a light, expressive palette of soft blues, pale ochres, and sun-washed greens to depict the weathered textures of the poles and the low-lying coastal vegetation. The brushwork is brisk and rhythmic, capturing the breezy, salt-misted air of the shoreline. This piece serves as a vital record of Haida monumental sculpture in its natural maritime setting, making it a prized selection for collectors of early Canadian Modernism and Pacific Northwest history.