Around 1870 -1900 · structure, color and modern life

Achille Emperaire by Cézanne, Jane Avril by Toulouse-Lautrec, Jacob Meyer by Haan by Gauguin and Van Gogh's banded self-portrait show four exits from visual impression.

Post-impressionist portraitists share less a style than a refusal to let the luminous moment explain the model alone. Cézanne paints Achille Emperaire seated in a large armchair; the painter's small stature is confronted with monumental pose and rigorous construction. Toulouse-Lautrec captures Jane Avril by silhouette, costume and energy of the Parisian scene, without reducing the dancer to a physiognomy. Toulouse-Lautrec depicts Jane Avril by silhouette, costume and energy of the Parisian scene, without reducing the dancer to a physiognomy. Gauguin represents Jacob Meyer de Haan in Nirvana with dark stylization and objects that make the portrait an image of an intellectual group as much as an effigy. Gauguin represents Jacob Meyer de Haan in Nirvana with dark stylization and objects that make the portrait an image of an intellectual group as much as an effigy. Van Gogh, after the Arles crisis, painted himself with a bandaged ear: coat, hat, print japanese and controlled gaze construct a return to work rather than a simple medical document. The "Post-impressionist Portraits" selection notably compares Achille Emperaire and Jane Avril - Henri de Toulouse-Lautrec. His reading favors details.

After impressionism, the portrait became a choice of structure: enlarge a pose, cut out a silhouette, symbolize a friend or reconstruct one's own face.