Seurat revolutionized the utilization of color with his work popularly known as the Bathers (Seurat.. n.p.). In the aforementioned work of his, he elucidated his societal observations not through style but through color innovation (Seurat.. n.p.). Explaining further, he “modified the actual color of his subjects by utilizing any of the following: atmospheric light, sunlight or by juxtaposed colors” (Pointillism.. n.p.). In fact, such a move is so successful that those who take a look at the Bathers are eventually amused (Seurat.. n.p.). Interestingly, Seurat even let go of what categorized him as truly exceptional painter when he “modernized” colors (Seurat.. n.p.). In addition to that, through his utilization of effervescent, sparkling, yet relaxing serene colors, he is able to articulate what he would like to and what he means exactly (Seurat.. n.p.). Also, his style, “regression in the use of colors or open-air light effects to give light to political occurrences” really revolutionized paintings (Seurat.. n.p.).
History has it that Gaugin revolutionized painting later in his life (Wikipedia n.p.). His travels contributed largely to this especially when he went over to visit the following: “Brittany, Panama, Martinique, Provence, Tahiti, and the Marquesas Islands” (Wikipedia n.p.). In his painting which he called, “Where Do We Come From? What Are We? Where Are We Going?”, it is extremely apparent that he revolutionized painting through “subject matter, color, light, and brushstroke” (Wikipedia n.p.). Furthermore, in Gaugin’s “Where Do We Come From? What Are We? Where Are We Going”, the prominence of stunning, flamboyant utilization of colors, as well as, the extremely strokes of paint brush are exceedingly noticeable (Wikipedia n.p.). With regards to subject matters, he revolutionized paintings in such a way that expressive and touching scenes are emphasized (Wikipedia n.p.). For instance, in this particular work of his, poignant and absolutely emotional scenes would go unnoticed as it articulated “the beginning of life, continuation & survival of young adulthood, and finally the coming of a reconciled death” (Wikipedia n.p.).
Cezanne revolutionized painting by providing “equal emphasis to all the elements in a composition” (Wikipedia n.p.). In his work entitled, “Les Grandes Baigneuses” equal emphasis may be recognized especially when looking closely at “the stability and geometric balance that it conveys” (Wikipedia n.p.). Furthermore, the colors, as well as, the rhythmic, recurring, and probing small strokes of brush also show how extensively he studies his subjects before painting them (Wikipedia n.p.). Moreover, he revolutionized painting also through his ability to “simplify naturally occurring forms to their geometric essential” as briefly mentioned awhile back (Wikipedia n.p.). Going back to the painting in question, his desire to “treat nature by the cylinder or cone” is greatly emphasized at the center of the painting (Wikipedia n.p.).
Van Gogh, on the other hand, revolutionized painting through his visual style and technique (Wikipedia n.p.). 1889’s Starry Night by Vincent Van Gogh is a work where the visual style and technique aforementioned may be seen (Wikipedia n.p.). The graphic style that he utilized to attain or realize a “nocturnal effect in which surfaces and silhouettes play a greater role than lines” makes it appear rather simulated, synthetic, and unnatural yet it makes the scene appearing to be real (Wikipedia n.p.). Such particular style also articulated and made viewers feel that the artist’s utilization of such color and design to represent nature brings in consolation and ultimately, comfort (Wikipedia n.p.). This is precisely how Van Gogh revolutionized painting.
Pointillism: Seurat’s Bathers at Asnieres. n.d. n.a. 08 July 2007
Seurat: Color and Politics. n.d. n.a. 08 July 2007
Wikipedia. Paul Cezanne. 29 June 2007. Wikimedia Foundation, Inc. 08 July 2007