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Artworks of oil painting old
master Paul Cézanne France 1839-1906 |
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| Paul Cézanne |
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Paul Cézanne 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. |
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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. |
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| 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. |
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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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