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Paul Cézanne

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Paul Cézanne
(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 his 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. Paul Cézanne has been called the father of modern painting.

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

Cézanne was a contemporary of the impressionists, but Paul Cézanne went beyond their interests in the individual brushstroke and the fall of light onto objects, to create, in his words, ``something more solid and durable, like the art of the museums.'' - Paul Cézanne paintings wholesale - Paul Cézanne oil painting wholesale – oil paintings Paul Cézanne Biography by wholesale of France masterpieces Rideau, Cruchon et Compotier, Forest, Paul Cezanne still life paintings.

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

Paul Cezanne: From Impressionism to Classicism and Cubism

Paul 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 his time," "the greatest artist of the 19th century," and "the father of modern art." But he's not quite a household name, and his posters have never been best-sellers at museum shops around the world. In fact, most non-professionals wouldn't stand a chance of recognizing a Cézanne unless it was clearly labeled. 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 his work. Cézanne's pictures are restrained, impersonal and remote -- they don't have the gut-wrenching appeal of van Gogh's portraits, even before Paul Cézanne cut off part of his 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 Paul Cézanne spent most of his 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. Paul Cézanne 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 Paul Cézanne concentrated on this, the less viewer-friendly his works became. But that suited his personality just fine. his goal was not to have a mass audience or sales appeal, it was to satisfy himself. The best-known works are Rideau, Cruchon et Compotier, Forest, Paul Cezanne still life paintings.

It's hard to imagine that the man who created such restrained, methodical, time-consuming works had a violent, volatile temper. Painting was his salvation, a way to balance the fires within. Rather than let his personality shine in his art -- that scared him too much -- Paul Cézanne suppressed it. A psychoanalyst would have had a field day with Cézanne. In spite of his bourgeois background, Paul Cézanne was a primitive, with rough edges and no table manners -- although Paul Cézanne did improve somewhat after he met Hortense. Paul Cézanne worked in virtual seclusion and seldom ventured out. He was such a recluse that one critic doubted his existence. When Cézanne finally did attend a show of his paintings, he was amazed that the gallery had bothered to frame them. Even when Paul Cézanne finally enjoyed both success and sales he remained riddled with self-doubt.
Cézanne was versatile; in his pursuit of perfection and a unique style, he 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, Paul Cézanne never stopped copying. To him, it was an important form of discipline and inspiration. Paul Cézanne felt he could understand art better through copying, and whenever he came to an impasse, he went off to the nearest museum, sketchbook in hand. - Paul Cézanne oil painting France Cezanne Paul wholesale - Paul Cézanne oil painting wholesale –oil paintings Paul Cézanne Bio by Paul Cézanne oil paintings wholesale of France oil painting Cezanne, France oil paintings Paul Cézanne.
his earliest works, from his first days in Paris, are expressionistic, with their impasto paint surface, broad use of the palette knife, and brooding intensity. he took out his frustrations on the canvas. In the early 1870s, Paul Cézanne experimented with Impressionism. Paul Cézanne tried to combine the principles of light and air-based art with a more structured pictorial style. After that, he delved into Classicism, with more balanced and formal compositions. Toward the end of his life, Paul Cézanne was at his most daring, reducing architecture and figures to geometric forms and paving the way for Cubism.
Paul Cezanne: 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, Paul Cézanne came from a wealthy family -- his was in Aix-en-Provence, France. his banker father seems to have been an uncultivated man, of whom his highly nervous and inhibited son was afraid. Despite parental displeasure, Cézanne persevered with his passionate desire to become an artist. his early paintings display little of the majesty of his late work, though today they are rightfully awarded the respect that Paul Cézanne certainly never received for them. His most famous artworks are Rideau, Cruchon et Compotier, Forest, Paul Cezanne still life paintings.
his early years were difficult and his career was, from the beginning, dogged with repeated failure and rejection. In 1862 Paul Cézanne was introduced to the famed circle of artists who met at the Café Guerbois in Paris, which included Manet, Degas and Pissarro, but his 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 Paul Cézanne paintings of his early years is the portrait of his 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 his black beret to the tips of his heavy shoes. The uncompromising verticals of the massive chair are echoed by the door, and the edges of the small still life by Paul 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 Paul Cézanne has replaced his father's conservative newspaper with the liberal L'Evénement, which published articles by his childhood friend, Emile Zola. his father devours the paper, sitting tensely upright in the elongated armchair. Yet it is a curiously tender portrait too. Paul Cézanne seems to see his father as somehow unfulfilled: for all his size Paul Cézanne 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 his son's. We do not see his eyes-- only the ironical mouth and his great frame, partly hidden behind the paper.
Mystery of nature
Cézanne was in his twenties when Paul Cézanne painted The Artist's Father. Wonderful though it is, with its blacks and greys and umbers, it does not fully indicate the profundity of his developing genius. Yet even in this early work, Cézanne's grasp of form and solid pictorial structures which came to dominate his mature style are already essential components. his overriding concern with form and structure set him apart from the Impressionists from the start, and Paul Cézanne was to maintain this solitary position, carving out his unique pictorial language. - Paul Cézanne oil painting France Cezanne Paul wholesale - Paul Cézanne oil painting wholesale – oil paintings Paul Cézanne Biography by impressionism paintings wholesaler of Rideau, Cruchon et Compotier, Forest, Paul Cezanne still life paintings.

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 his 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, his figures often depicted as bathers merging with the landscape in a sunlit lightness. This became a favorite theme for Cézanne and Paul Cézanne made a whole series of pictures on the subject. This 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. Paul Cézanne 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 Paul Cézanne dedicated his life.
Paul Cézanne oil painting wholesale – Paul Cézanne paintings wholesale, France Paul Cézanne biography.
The special attraction of still life to Cézanne was the ability, to some extent, to control the structure. Paul Cézanne brooded over his 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 this life is earthed. Why not come here to purchase Rideau, Cruchon et Compotier, Forest, Paul Cezanne still life paintings.
Paul Cezanne: Portraits

Even Cézanne's pictures of people can be regarded as still lifes, because Cézanne Paul demanded that his models sit absolutely still. Sitting for him was something of a nightmare. Not only was Paul Cézanne foul-tempered, he was an extremely slow painter, probably the reason his 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. He told Vollard that with luck Paul Cézanne would find the correct color and could finish the painting. "The prospect of this made me tremble," noted Vollard in his 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 his subjects and his fruit wilted.

Geffroy, Gustave (1855-1926) A radical journalist who commenced his career on Clemenceau's paper Justice. his literary activities later took many forms; Paul Cézanne wrote extensively about current political and social injustices and published a number of novels with a strongly Realist bent. his interest in painting and especially in Impressionism was kindled by a visit Paul Cézanne paid to Manet's studio in 1876, as a consequence of which Paul Cézanne came into contact with all the other artists of the group, as well as Rodin, and maintained an on-going correspondence with most of them. his closest connection was with Monet, whom Paul Cézanne first met at Belle-Ile in 1886 and about whom, some 30 years later, he wrote a book -- Claude Monet, sa vie, son temps, son oeuvre (1824) -- which is still valuable in many ways.
All his writings about Impressionism are significant and amongst the most intelligently perceptive of his time. his 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. Paul Cézanne 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. Paul Cézanne ended his career as the director of the Gobelins tapestry factory.
Paul Cezanne: 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. his 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 his art, but that passion was never revealed on the canvas itself.

Cézanne understood that a painting could not really do its subject justice. Paul Cézanne knew that colors in nature and their combination with natural light could never be truly reproduced. Paul Cézanne 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 he could. Paul Cézanne 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. This is especially true for pictures painted in the latter part of his career, when Paul Cézanne used color in short strokes or in almost mosaic patches, all of equal intensity, throughout an entire painting. In his striving for perfection, this meant retouching the entire picture to recreate the all-important harmony. No wonder Paul Cézanne scared his sitters.
He sometimes worked on the same picture for years, never satisfied with the results. Paul Cézanne seldom signed his works, because he never considered them finished. Those Paul Cézanne did sign had his mark of approval.
During the last decade of his life, Cézanne paintings became more simplified, the objects in his landscapes reduced to components -- cylinders, cones and spheres. Paul Cézanne is often seen as anticipating cubist and abstract art, because he reduced the imperfect forms of nature to these essential shapes. By the time of his death in 1906, Picasso and Braque were in the midst of exploring the most radical implications of his style. Maybe the world has finally caught up with Cézanne. Complexity is more admired now than it was 100 years ago, and since his reputation precedes him, perhaps the exhibition at the Grand Palais will make his work more accessible to the average museum-goer.
Paul Cezanne: The Château Noir saga - Paul Cézanne oil painting Rideau, Cruchon et Compotier, Forest, Paul Cezanne still life paintings wholesale - Paul Cézanne biography.

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). Paul Cézanne also used it to decorate the interior walls and furniture of the château. As a result, Paul Cézanne was associated with black magic among the local people, who believed that the château was also home to the devil.

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