|The Card Players, 1892-93, Paul Cezanne|
|Woman Holding Fruit, 1893, Paul Gauguin|
But Paul Gauguin, Vincent Van Gogh, Toulouse Lautrec, Paul Cezanne and all the others also recognized the weaknesses this art movement had encumbered within it. They rebelled against it's slavish devotion to the outdoors, to its wish-washy drawing, it's subservience to the visual world, to it's observed color theories, and most of all to the overwhelming dominance of the landscape as the lord god almighty of subject matter. In some cases it was rebellion for the sake of rebellion as in the painting of Paul Gauguin. It other cases, such as with van Gogh, it was a search for more emotional relevance as opposed to the intellectualism of Monet or Manet. Sometimes it was an attempt to legitimize Impressionism and stabilize it as in the case of Cezanne. In other cases, the emphasis seems to have been or producing a sort of "super" Impressionism as with Toulouse-Lautrec.
|The Roadworkers, 1889, Vincent van Gogh|
|The Clowness Cha-U-Kao |
at the Moulin Rouge, 1895,
Henri de Toulouse-Lautrec