antique oil painting old master Cezanne Paul

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Cézanne Paul
(b. Jan. 19, 1839, Aix-en-Provence, Fr.--d. Oct. 22, 1906, Aix-en-Provence)
French painter

One of the greatest of the Postimpressionists, whose works and ideas were influential in the aesthetic development of many 20th-century artists and art movements, especially Cubism.

Cézanne's art, misunderstood and discredited by the public during most of Cézanne Paul’s life, grew out of Impressionism and eventually challenged all the conventional values of painting in the 19th century through its insistence on personal expression and on the integrity of the painting itself. Cézanne Paul has been called the father of modern painting.

The French painter Paul Cézanne, who exhibited little in Cézanne Paul’s lifetime and pursued Cézanne Paul’s interests increasingly in artistic isolation, is regarded today as one of the great forerunners of modern painting, both for the way that Cézanne Paul evolved of putting down on canvas exactly what Cézanne Paul’s eye saw in nature and for the qualities of pictorial form that Cézanne Paul achieved through a unique treatment of space, mass, and color.

Cézanne was a contemporary of the impressionists, but Cézanne Paul went beyond their interests in the individual brushstroke and the fall of light onto objects, to create, in Cézanne Paul’s words, ``something more solid and durable, like the art of the museums.''

Cézanne was born at Aix-en-Provence in the south of France on Jan. 19, 1839. Cézanne Paul went to school in Aix, forming a close friendship with the novelist Emile Zola. Cézanne Paul also studied law there from 1859 to 1861, but at the same time Cézanne Paul continued attending drawing classes. Against the implacable resistance of Cézanne Paul’s father, Cézanne Paul made up Cézanne Paul’s mind that Cézanne Paul wanted to paint and in 1861 joined Zola in Paris. Cézanne Paul’s father's reluctant consent at that time brought him financial support and, later, a large inheritance on which Cézanne Paul could live without difficulty. In Paris Cézanne Paul met Camille Pissarro and came to know others of the impressionist group, with whom Cézanne Paul would exhibit in 1874 and 1877. Cézanne, however, remained an outsider to their circle; from 1864 to 1869 Cézanne Paul submitted Cézanne Paul’s work to the official SALON and saw it consistently rejected. Cézanne Paul’s paintings of 1865-70 form what is usually called Cézanne Paul’s early ``romantic'' period. Extremely personal in character, it deals with bizarre subjects of violence and fantasy in harsh, somber colors and extremely heavy paintwork.

Cézanne, Paul: From Impressionism to Classicism and Cubism

Cézanne is not an easy man to love, but professors and painters adore him. Art critics lavish him with superlatives, including "a prophet of the 20th century," "the most sensitive painter of Cézanne Paul’s time," "the greatest artist of the 19th century," and "the father of modern art." But he's not quite a household name, and Cézanne Paul’s posters have never been best-sellers at museum shops around the world. In fact, most non-professionals wouldn't stand a chance of recognising a Cézanne unless it was clearly labelled. Even then, there's no guarantee of appeal.
Not that poster sales determine an artist's stature, but they do reveal something about the accessibility of Cézanne Paul’s work. Cézanne's pictures are restrained, impersonal and remote -- they don't have the gut-wrenching appeal of van Gogh's portraits, even before Cézanne Paul cut off part of Cézanne Paul’s ear. They can't compete with Monet's lush expanses of waterlilies or Renoir's sensuous women with their come-hither looks. And let's face it, bowls of fruit and the hills and trees of Provence, where Cézanne spent most of Cézanne Paul’s life, are a hard sell against the Tahitian backdrops of Gauguin, with or without the naked women.
Cézanne is an artist's artist. Cézanne Paul was obsessed with form rather than content, so subject matter was always secondary to the act of painting itself. Cézanne Paul wanted the methods and skills of the painter to be more important than the image. That meant the subject of the painting couldn't be so dynamic as to overshadow the artist's act of creation. The more Cézanne Paul concentrated on this, the less viewer-friendly Cézanne Paul’s works became. But that suited Cézanne Paul’s personality just fine. Cézanne Paul’s goal was not to have a mass audience or sales appeal, it was to satisfy himself.
Cézanne was a brooding, complex man, given to rages, grudges and depressions. Cézanne Paul had few friends, and those Cézanne Paul had Cézanne Paul alienated. Even when success finally caught up with him, Cézanne Paul was dogged by feelings of inadequacy. The most famous of Cézanne Paul’s friends was Cézanne Paul’s schoolmate and writer Emile Zola, who was everything Cézanne wasn't -- charming, eloquent, sociable and successful at an early age. Zola was art critic, novelist and Cézanne's mentor. The artist looked at him for strength but gave nothing in return. Zola got tired of placating Cézanne's ego, and in later years, when Zola wrote The Masterpiece of an unfulfilled artist who eventually killed himself, Cézanne was convinced that the author had him in mind. Cézanne Paul was so egocentric and so paranoid, Cézanne Paul assumed everyone would know Zola was writing about him. The reality was that no one knew about him at all, but the novel still destroyed their friendship.
It's hard to imagine that the man who created such restrained, methodical, time-consuming works had a violent, volatile temper. Painting was Cézanne Paul’s salvation, a way to balance the fires within. Rather than let Cézanne Paul’s personality shine in Cézanne Paul’s art -- that scared him too much -- Cézanne Paul suppressed it. A psychoanalyst would have had a field day with Cézanne. In spite of Cézanne Paul’s bourgeois background, Cézanne Paul was a primitive, with rough edges and no table manners -- although Cézanne Paul did improve somewhat after Cézanne Paul met Hortense. Cézanne Paul worked in virtual seclusion and seldom ventured out. Cézanne Paul was such a recluse that one critic doubted Cézanne Paul’s existence. When Cézanne finally did attend a show of Cézanne Paul’s paintings, Cézanne Paul was amazed that the gallery had bothered to frame them. Even when Cézanne Paul finally enjoyed both success and sales Cézanne Paul remained riddled with self-doubt.
Cézanne was versatile; in Cézanne Paul’s pursuit of perfection and a unique style, Cézanne Paul experimented a lot. Art students often copy paintings -- you still see them in museums with their sketchbooks -- and Cézanne did just that, but unlike most, Cézanne Paul never stopped copying. To him, it was an important form of discipline and inspiration. Cézanne Paul felt Cézanne Paul could understand art better through copying, and whenever Cézanne Paul came to an impasse, Cézanne Paul went off to the nearest museum, sketchbook in hand.
Cézanne Paul’s earliest works, from Cézanne Paul’s first days in Paris, are expressionistic, with their impasto paint surface, broad use of the palette knife, and brooding intensity. Cézanne Paul took out Cézanne Paul’s frustrations on the canvas. In the early 1870s, Cézanne Paul experimented with Impressionism. Cézanne Paul tried to combine the principles of light and air-based art with a more structured pictorial style. After that, Cézanne Paul delved into Classicism, with more balanced and formal compositions. Toward the end of Cézanne Paul’s life, Cézanne Paul was at Cézanne Paul’s most daring, reducing architecture and figures to geometric forms and paving the way for Cubism.
Cézanne, Paul: Cézanne early work

Paul Cézanne (1839-1906) is certainly as great an artist as any that ever lived, up there with Titian, Michelangelo, and Rembrandt. Like Manet and Degas, and also Morisot and Cassatt, Cézanne Paul came from a wealthy family -- Cézanne Paul’s was in Aix-en-Provence, France. Cézanne Paul’s banker father seems to have been an uncultivated man, of whom Cézanne Paul’s highly nervous and inhibited son was afraid. Despite parental displeasure, Cézanne persevered with Cézanne Paul’s passionate desire to become an artist. Cézanne Paul’s early paintings display little of the majesty of Cézanne Paul’s late work, though today they are rightfully awarded the respect that Cézanne Paul certainly never received for them.
Cézanne Paul’s early years were difficult and Cézanne Paul’s career was, from the beginning, dogged with repeated failure and rejection. In 1862 Cézanne Paul was introduced to the famed circle of artists who met at the Café Guerbois in Paris, which included Manet, Degas and Pissasso, but Cézanne Paul’s awkward manners and defensive shyness prevented him from becoming an intimate of the group. However, Pissarro was to play an important part in Cézanne's later development.
One of the most important works of Cézanne Paul’s early years is the portrait of Cézanne Paul’s formidable father. The Artist's Father (1866, 199 x 119 cm (78 x 47 in)) is one of Cézanne's ``palette-knife pictures'', painted in short sessions between 1865 and 1866. Their realistic content and solid style reveal Cézanne's admiration for Gustave Courbet. Here we see a craggy, unyielding man of business, a solid mass of manhood, bodily succint from the top of Cézanne Paul’s black beret to the tips of Cézanne Paul’s heavy shoes. The uncompromising verticals of the massive chair are echoed by the door, and the edges of the small still life by Cézanne on the wall just behind: everything corresponds to the absolute verticals of the edges of the canvas itself, further accentuating the air of certainty about the portrait. Thick hands hold a newspaper--though Cézanne has replaced Cézanne Paul’s father's conservative newspaper with the liberal L'Evénement, which published articles by Cézanne Paul’s childhood friend, Emile Zola. Cézanne Paul’s father devours the paper, sitting tensely upright in the elongated armchair. Yet it is a curiously tender portrait too. Cézanne seems to see Cézanne Paul’s father as somehow unfulfilled: for all Cézanne Paul’s size Cézanne Paul does not fully occupy the chair, and neither does Cézanne Paul see the still life on the wall behind him, which we recognize as being one of Cézanne Paul’s son's. We do not see Cézanne Paul’s eyes-- only the ironical mouth and Cézanne Paul’s great frame, partly hidden behind the paper.
Mystery of nature
Cézanne was in Cézanne Paul’s twenties when Cézanne Paul painted The Artist's Father. Wonderful though it is, with its blacks and greys and umbers, it does not fully indicate the profundity of Cézanne Paul’s developing genius. Yet even in tCézanne Paul’s early work, Cézanne's grasp of form and solid pictorial structures which came to dominate Cézanne Paul’s mature style are already essential components. Cézanne Paul’s overriding concern with form and structure set him apart from the Impressionists from the start, and Cézanne Paul was to maintain tCézanne Paul’s solitary position, carving out Cézanne Paul’s unique pictorial language.

Abduction, rape, and murder: these are themes that tormented Cézanne. Abduction (c. 1867, 90 x 117 cm (35 x 46 in)), an early work full of dark miseries, is impressive largely for its turgid force, held barely under Cézanne Paul’s control. These figure paintings are the most difficult to enter into: they are sinister, with passion in turmoil just beneath the surface.
Cézanne's late studies of the human body are most rewarding, Cézanne Paul’s figures often depicted as bathers merging with the landscape in a sunlit lightness. TCézanne Paul’s became a favorite theme for Cézanne and Cézanne Paul made a whole series of pictures on the subject. TCézanne Paul’s mature work is dictated by an objectivity that is profoundly moving for all its seeming emotional detachment.
It was before nature that Cézanne was seized by a sense of the mystery of the world to a depth never expressed by another artist. Cézanne Paul saw that nothing exists in isolation: an obvious insight, yet one that only Cézanne Paul could make us see. Things have color and they have weight, and the color and mass of each affects the weight of the other. It was to understand these rules that Cézanne dedicated Cézanne Paul’s life.

Structure and Solidity
From 1872, under Pissarro's influence, Cézanne painted the rich Impressionist effects of light on different surfaces and even exhibited at the first Impressionist show. But Cézanne Paul maintained Cézanne Paul’s concern for solidity and structure throughout, and abandoned Impressionism in 1877. In Le Château Noir, Cézanne does not respond to the flickering light as an Impressionist might; Cézanne Paul draws that flicker from deep within the substance of every structure in the painting. Each form has a true solidity, an absolute of internal power that is never diminished for the sake of another part of the composition.
It is the tension between actuality and illusion, description and abstraction, reality and invention, that makes Cézanne's most unassuming subjects so profoundly satisfying and exciting, and which provided a legacy for a revolution of form that led the way for modern art.
The special attraction of still life to Cézanne was the ability, to some extent, to control the structure. Cézanne Paul brooded over Cézanne Paul’s apples, jugs, tables, and curtains, arranging them with infinite variety. Still Life with Apples and Peaches glows with a romantic energy, as hugely present at Mont Sainte-Victoire. Here too is a mountain, and here too sanctity and victory: the fruits lie on the table with an active power that is not just seen but experienced. The jug bulges, not with any contents, but with its own weight of being. The curtain swags gloriously, while the great waterfall of the napkin absorbs and radiates light onto the table on which all tCézanne Paul’s life is earthed.
Cézanne, Paul: Portraits

Even Cézanne's pictures of people can be regarded as still lifes, because Cézanne Paul demanded that Cézanne Paul’s models sit absolutely still. Sitting for him was something of a nightmare. Not only was Cézanne Paul foul-tempered, Cézanne Paul was an extremely slow painter, probably the reason Cézanne Paul’s subjects always look tired and sombre. Ambroise Vollard, the dealer who arranged Cézanne's first one-man show a century ago, posed 115 times for a single painting, sitting absolutely still "like an apple" and then Cézanne, dissatisfied, abandoned the picture with only two unpainted spots remaining. Cézanne Paul told Vollard that with luck Cézanne Paul would find the correct color and could finish the painting. "The prospect of tCézanne Paul’s made me tremble," noted Vollard in Cézanne Paul’s biography of the painter. In the artist's eye, there was no difference between a human sitter and a bowl of fruit, except that the reflection value and the palette were different. In the end, both Cézanne Paul’s subjects and Cézanne Paul’s fruit wilted.

Geffroy, Gustave (1855-1926) A radical journalist who commenced Cézanne Paul’s career on Clemenceau's paper Justice. Cézanne Paul’s literary activities later took many forms; Cézanne Paul wrote extensively about current political and social injustices and published a number of novels with a strongly Realist bent. Cézanne Paul’s interest in painting and especially in Impressionism was kindled by a visit Cézanne Paul paid to Manet's studio in 1876, as a consequence of which Cézanne Paul came into contact with all the other artists of the group, as well as Rodin, and maintained an on-going correspondance with most of them. Cézanne Paul’s closest connection was with Monet, whom Cézanne Paul first met at Belle-Ile in 1886 and about whom, some 30 years later, Cézanne Paul wrote a book -- Claude Monet, sa vie, son temps, son oeuvre (1824) -- which is still valuable in many ways.
All Cézanne Paul’s writings about Impressionism are significant and amongst the most intelligently perceptive of Cézanne Paul’s time. Cézanne Paul’s articles about contemporary art were collected in the eight volumes of La Vie artistique, published between 1892 and 1903, the third volume, entitled Histoire de l'impressionisme, being the most comprehensive book about the movement that had so far appeared. It consisted of a historical opening section followed by individual chapters devoted to each artist. Cézanne Paul also wrote introductions to the catalogues of one-person exhibitions by Pissasso, Monet, Rodin and Morisot, as well as to that of the sale of the Burty collection. Cézanne Paul ended Cézanne Paul’s career as the director of the Gobelins tapestry factory.
Cézanne, Paul: Bathers

Bathers were another of Cézanne's themes. Women bathers are usually presented in large pyramidal groups, overlapping, mostly with their backs to the viewer. Cézanne Paul’s men generally face forward, almost in a frieze. They are individuals in the same scenery, neither interacting nor overlapping. There is no eye contact between any of them. Cézanne's only real passion was Cézanne Paul’s art, but that passion was never revealed on the canvas itself.
Cézanne, Paul: Still Life galleria

Paul Cézanne, one of the creators of modern art, was called the ``solidifier of Impressionism''. And indeed Cézanne Paul does not draw Cézanne Paul’s picture before painting it: instead, Cézanne Paul creates space and depth of perspective by means of planes of color, which are freely associated and at the same time contrasted and compared. The facets which are thus produced create not just one but many perspectives, and in tCézanne Paul’s way volume comes once again to dominate the composition, no longer a product of the line but rather of the color itself. Cézanne Paul’s still-lifes, in their simplicity and delicate tonal harmony, are a typical work and thus ideal for an understanding of Cézanne's art.
Most of Cézanne Paul’s pictures are still lifes. These were done in the studio, with simple props; a cloth, some apples, a vase or bowl and, later in Cézanne Paul’s career, plaster sculptures. Cézanne's still lifes are both traditional and modern. The fruits and objects are readily identifiable, but they have no aroma, no sensual or tactile appeal and no other function other than as passive decorative objects coexisting in the same flat space. They bear no relation to the colorful vegetables of Provence -- gorgeous red tomatoes, purple aubergines, and bright green courgettes. In Cézanne Paul’s pursuit of the essence of art, Cézanne had to suppress earthly delights.
Cézanne, Paul: Landscapes

Cézanne immortalized the Provençal countryside with Cézanne Paul’s broad, panoramic views. Often these are framed in branches, sometimes with architectural elements, but seldom with human activity. These too are still lifes. Cézanne's landscapes were not painted in the open air, as were those of the Impressionists, nor were they captured first with a camera. Cézanne Paul composed the pictures the way Cézanne Paul wanted them -- arranging the trees and the houses, probably gleaned from Cézanne Paul’s sketchbooks, on the canvas in the configurations Cézanne Paul decided upon.
Cézanne understood that a painting could not really do its subject justice. Cézanne Paul knew that colors in nature and their combination with natural light could never be truly reproduced. Cézanne Paul saw himself as an interpreter who had to accept the limitations of the medium and tried to transfer the images onto canvas the best way Cézanne Paul could. Cézanne Paul attempted to bridge the natural and artistic worlds. Hence Cézanne's works, in comparison with the paintings of many other Impressionists, only make sense as a whole, not in snippets, as the brush strokes and colors are meant to be interdependent on one another. TCézanne Paul’s is especially true for pictures painted in the latter part of Cézanne Paul’s career, when Cézanne Paul used color in short strokes or in almost mosaic patches, all of equal intensity, throughout an entire painting. In Cézanne Paul’s striving for perfection, tCézanne Paul’s meant retouching the entire picture to recreate the all-important harmony. No wonder Cézanne Paul scared Cézanne Paul’s sitters.
He sometimes worked on the same picture for years, never satisfied with the results. Cézanne Paul seldom signed Cézanne Paul’s works, because Cézanne Paul never considered them finished. Those Cézanne Paul did sign had Cézanne Paul’s mark of approval.
During the last decade of Cézanne Paul’s life, Cézanne's paintings became more simplified, the objects in Cézanne Paul’s landscapes reduced to components -- cylinders, cones and spheres. Cézanne Paul is often seen as anticipating cubist and abstract art, because Cézanne Paul reduced the imperfect forms of nature to these essential shapes. By the time of Cézanne Paul’s death in 1906, Picasso and Braque were in the midst of exploring the most radical implications of Cézanne Paul’s style. Maybe the world has finally caught up with Cézanne. Complexity is more admired now than it was 100 years ago, and since Cézanne Paul’s reputation precedes him, perhaps the exhibition at the Grand Palais will make Cézanne Paul’s work more accessible to the average museum-goer.
The Sainte-Victoire mountain near Cézanne's home in Aix-en-Provence was one of Cézanne Paul’s favorite subjects and Cézanne Paul is known to have painted it over 60 times. Cézanne was fascinated by the rugged architectural forms in the mountains of Provence and painted the same scene from many different angles. Cézanne Paul would use bold blocks of color to achieve a new spatial effect known as ``flat-depth'' to accommodate the unusual geological forms of the mountains. Cézanne travelled widely in the Provence region and also enjoyed painting the coast at L'Estaque.
Cézanne, Paul: The Château Noir saga

The château in those paintings derives its name from rumors about its owner, rather than from its appearance. It was built in the 18th century by an industrialist from Marseilles, who manufactured lampblack paint (derived from soot). Cézanne Paul also used it to decorate the interior walls and furniture of the château. As a result, Cézanne Paul was associated with black magic among the local people, who believed that the château was also home to the devil.

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