Paul Cézanne ( say-ZAN, sə-ZAN, say-ZAHN ; [ 1 ] [ 2 ] french : [ pɔl sezan ] ; 19 January 1839 – 22 October 1906 ) was a french artist and postimpressionist painter whose work laid the foundations of the transition from the 19th-century concept of artistic endeavor to a newfangled and radically unlike populace of artwork in the twentieth hundred.
Reading: Paul Cézanne
Cézanne is said to have formed the bridge between late 19th-century impressionism and the early twentieth hundred ‘s new line of artistic inquiry, Cubism. Cézanne ‘s frequently insistent, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of discolor and small brushstrokes that build up to form complex fields. The paintings convey Cézanne ‘s acute learn of his subjects. Both Matisse and Picasso are said to have remarked that Cézanne “ is the father of us all ” .
Life and solve [edit ]
early years and class [edit ]
The Cézannes came from the commune of Saint-Sauveur ( Hautes-Alpes, Occitania ). Paul Cézanne was born on 19 January 1839 in Aix-en-Provence. [ 3 ] On 22 February, he was baptized in the Église de la Madeleine, with his grandma and uncle Louis as godparents, [ 3 ] [ 4 ] [ 5 ] [ 6 ] and became a devout Catholic late in life. [ 7 ] His father, Louis Auguste Cézanne ( 1798–1886 ), [ 8 ] a native of Saint-Zacharie ( Var ), [ 9 ] was the co-founder of a deposit firm ( Banque Cézanne et Cabassol ) that prospered throughout the artist ‘s biography, affording him fiscal security that was unavailable to most of his contemporaries and finally resulting in a large inheritance. [ 10 ]
Femme au Chapeau Vert (Woman in a Green Hat, Madame Cézanne) 1894–1895 ) 1894–1895 His mother, Anne Elisabeth Honorine Aubert ( 1814–1897 ), [ 11 ] was “ vibrant and romanticist, but quick to take offense ”. [ 12 ] It was from her that Cézanne got his concept and imagination of life. [ 12 ] He besides had two younger sisters, Marie and Rose, with whom he went to a primary coil school every day. [ 3 ] [ 13 ] At the age of ten Cézanne entered the Saint Joseph school in Aix. [ 14 ] In 1852 Cézanne entered the Collège Bourbon in Aix [ 15 ] ( now Collège Mignet ), where he became friends with Émile Zola, who was in a less advance class, [ 10 ] [ 13 ] ampere well as Baptistin Baille —three friends who came to be known as “ Les Trois Inséparables ” ( The Three Inseparables ). [ 16 ] He stayed there for six years, though in the last two years he was a day learner. [ 17 ] In 1857, he began attending the Free Municipal School of Drawing in Aix, where he studied drawing under Joseph Gibert, a spanish monk. [ 18 ] From 1858 to 1861, complying with his founder ‘s wishes, Cézanne attended the jurisprudence school of the University of Aix, while besides receiving drawing lessons. [ 19 ] Going against the objections of his banker forefather, he committed himself to pursue his artistic development and left Aix for Paris in 1861. He was strongly encouraged to make this decision by Zola, who was already living in the capital at the time. finally, his father reconciled with Cézanne and supported his choice of career. Cézanne by and by received an inheritance of 400,000 francs from his beget, which rid him of all fiscal worries. [ 20 ]
artistic expressive style [edit ]
In Paris, Cézanne met the Impressionist Camille Pissarro. Initially, the friendship formed in the mid-1860s between Pissarro and Cézanne was that of passkey and disciple, in which Pissarro exerted a formative influence on the younger artist. Over the course of the follow ten, their landscape painting excursions together, in Louveciennes and Pontoise, led to a collaborative working kinship between equals. Cézanne ‘s early work is often concerned with the trope in the landscape and includes many paintings of groups of large, grave figures in the landscape, imaginatively painted. Later in his career, he became more matter to in working from conduct observation and gradually developed a light, airy paint style. Nevertheless, in Cézanne ‘s fledged solve there is the development of a coagulated, about architectural style of paint. Throughout his life he struggled to develop an authentic observation of the seen earth by the most accurate method of representing it in paint that he could find. To this end, he structurally ordered whatever he perceived into elementary forms and discolor planes. His affirmation “ I want to make of impressionism something hearty and persistent like the art in the museums ”, [ 21 ] and his contention that he was recreating Poussin “ after nature ” underscored his desire to unify observation of nature with the permanence of classical composing .
ocular phenomenon [edit ]
Cézanne was interested in the simplification of naturally occurring forms to their geometric essentials : he wanted to “ treat nature in terms of the cylinder, the sphere and the cone ” [ 22 ] ( a tree trunk may be conceived of as a cylinder, an apple or orange a celestial sphere, for example ). additionally, Cézanne ‘s desire to capture the truth of percept led him to explore binocular sight graphically, rendering slenderly different, yet coincident ocular perceptions of the lapp phenomenon to provide the viewer with an aesthetic experience of astuteness different from those of earlier ideals of position, in especial single-point position. His matter to in raw ways of modelling quad and volume derived from the stereoscopic vision obsession of his earned run average and from reading Hippolyte Taine ’ mho Berkelean theory of spatial sensing. [ 23 ] [ 24 ] Cézanne ‘s innovations have prompted critics to suggest such vary explanations as sick retina, [ 25 ] pure vision, [ 26 ] and the influence of the steam railroad track. [ 27 ]
Exhibitions and subjects [edit ]
Cézanne ‘s paintings were shown in the first exhibition of the Salon des Refusés in 1863, which displayed works not accepted by the jury of the official Paris Salon. The Salon rejected Cézanne ‘s submissions every year from 1864 to 1869. He continued to submit works to the Salon until 1882. In that class, through the intervention of companion artist Antoine Guillemet, he exhibited Portrait de M. L. A., probably Portrait of Louis-Auguste Cézanne, The Artist’s Father, Reading “L’Événement”, 1866 ( National Gallery of Art, Washington, D.C. ), [ 28 ] his first base and last successful submission to the Salon. [ 29 ] [ 30 ]
Still Life with a Curtain (1895) illustrates Cézanne’s increasing trend towards terse compression of forms and dynamic tension between geometric figures. ( 1895 ) illustrates Cézanne ‘s increasing tendency towards crisp compression of forms and dynamic latent hostility between geometric figures. Before 1895 Cézanne exhibited twice with the Impressionists ( at the first Impressionist exhibition in 1874 and the one-third Impressionist exhibition in 1877 ). In late years a few individual paintings were shown at diverse venues, until 1895, when the Parisian principal, Ambroise Vollard, gave the artist his beginning solo exhibition. Despite the increasing public recognition and fiscal success, Cézanne chose to work in increasing aesthetic isolation, normally painting in the south of France, in his beloved Provence, far from Paris. He concentrated on a few subjects and was equally technical in each of these genres : silent lifes, portraits, landscapes and studies of bathers. For the stopping point, Cézanne was compelled to design from his resource, due to a miss of available nude models. Like the landscapes, his portraits were drawn from that which was familiar, so that not only his wife and son but local peasants, children and his art dealer served as subjects. His still lifes are at once cosmetic in design, painted with thick, flat surfaces, so far with a weight evocative of Gustave Courbet. The ‘props ‘ for his works are distillery to be found, as he left them, in his studio apartment ( artist’s workroom ), in the suburb of modern Aix .
Cézanne ‘s paintings were not well received among the junior-grade middle class of Aix. In 1903 Henri Rochefort visited the auction of paintings that had been in Zola ‘s possession and published on 9 March 1903 in L’Intransigeant a highly critical article entitled “ Love for the Ugly ”. [ 31 ] Rochefort describes how spectators had purportedly experienced laughing fits, when seeing the paintings of “ an ultra-impressionist named Cézanne ”. [ 31 ] The populace in Aix was outraged, and for many days, copies of L’Intransigeant appeared on Cézanne ‘s door-mat with messages asking him to leave the town “ he was dishonouring ”. [ 32 ]
death [edit ]
One day, Cézanne was caught in a storm while working in the field. [ 33 ] After working for two hours he decided to go home ; but on the means he collapsed. He was taken home by a casual driver. [ 33 ] His old housekeeper rubbed his arms and legs to restore the circulation ; as a result, he regained awareness. [ 33 ] On the watch day, he intended to continue working, but late on he fainted ; the exemplar with whom he was working called for avail ; he was put to bed, and he never left it. [ 33 ] He died a few days former, on 22 October 1906 [ 33 ] of pneumonia at the age of 67, and was buried at the Saint-Pierre Cemetery in his hometown of Aix-en-Provence. [ 34 ]
Main periods of Cézanne ‘s oeuvre [edit ]
respective periods in the employment and life of Cézanne have been defined. [ 35 ]
Dark period, Paris, 1861–1870 [edit ]
In 1863 Napoleon III created by decree the Salon des Refusés, at which paintings rejected for expose at the Salon of the Académie des Beaux-Arts were to be displayed. The artists of the deny works included the young Impressionists, who were considered rotatory. Cézanne was influenced by their style but his social relations with them were inept—he seemed natural, shy, angry, and given to natural depression. His study of this period [ 36 ] are characterized by iniquity colours and the heavy use of black. They differ sharply from his earlier watercolours and sketches at the École Spéciale de dessin at Aix-en-Provence in 1859, and their violence of expression is in contrast to his subsequent knead. [ 37 ] In 1866–67, inspired by the example of Courbet, Cézanne painted a serial of paintings with a palette knife. He later called these works, largely portraits, une couillarde ( “ a coarse password for ostentatious manfulness ” ). [ 38 ] Lawrence Gowing has written that Cézanne ‘s palette knife phase “ was not entirely the invention of modern expressionism, although it was by the way that ; the estimate of art as emotional ejaculation made its first base appearance at this moment ”. [ 38 ] Among the couillarde paintings are a series of portraits of his uncle Dominique in which Cézanne achieved a expressive style that “ was arsenic unified as Impressionism was fragmental ”. [ 39 ] Later works of the iniquity period include several erotic or fierce subjects, such as Women Dressing ( c. 1867 ), The Rape ( c. 1867 ), and The Murder ( c. 1867–68 ), which depicts a man stabbing a woman who is held down by his female accomplice. [ 40 ]
impressionist time period, Provence and Paris, 1870–1878 [edit ]
Jas de Bouffan, 1876, 1876 After the get down of the Franco-Prussian War in July 1870, Cézanne and his mistress, Marie-Hortense Fiquet, left Paris for L’Estaque, near Marseille, where he changed themes to predominantly landscapes. He was declared a draft dodger in January 1871, but the war ended the next month, in February, and the couple moved back to Paris, in the summer of 1871. After the birth of their son Paul in January 1872, in Paris, they moved to Auvers in Val-d’Oise near Paris. Cézanne ‘s mother was kept a party to kin events, but his beget was not informed of Hortense for fear of risking his wrath. The artist received from his church father a monthly allowance of 100 francs. [ 41 ]
Jas de Bouffan, 1885–1887, 1885–1887 Camille Pissarro lived in Pontoise. There and in Auvers he and Cézanne painted landscapes in concert. For a retentive fourth dimension afterwards, Cézanne described himself as Pissarro ‘s student, referring to him as “ God the Father ”, vitamin a well as saying : “ We all stem from Pissarro. ” [ 42 ] Under Pissarro ‘s influence Cézanne began to abandon dark colours and his canvases grew much bright. [ 43 ] Leaving Hortense in the Marseille region, Cézanne moved between Paris and Provence, exhibiting in the first ( 1874 ) and third base Impressionist shows ( 1877 ). In 1875, he attracted the attention of the collector Victor Chocquet, whose commissions provided some fiscal relief. But Cézanne ‘s expose paintings attracted hilarity, outrage, and sarcasm. Reviewer Louis Leroy said of Cézanne ‘s portrayal of Chocquet : “ This peculiar looking head, the color of an erstwhile boot might give [ a fraught woman ] a daze and causal agent yellow fever in the fruit of her uterus before its introduction into the world. ” [ 44 ] In March 1878, Cézanne ‘s beget found out about Hortense and threatened to cut Cézanne off financially, but, in September, he relented and decided to give him 400 francs for his family. Cézanne continued to migrate between the Paris region and Provence until Louis-Auguste had a studio built for him at his home plate, Bastide du Jas de Bouffan, in the early 1880s. This was on the upper floor, and an exaggerated window was provided, allowing in the northern light but interrupting the line of the eaves ; this feature remains. Cézanne stabilized his residence in L’Estaque. He painted with Renoir there in 1882 and visited Renoir and Monet in 1883. [ 45 ]
Mature period, Provence, 1878–1890 [edit ]
In the early 1880s the Cézanne family stabilized their residence in Provence where they remained, except for brief sojourns abroad, from then on. The move reflects a newfangled independence from the Paris-centered impressionists and a notice preference for the confederacy, Cézanne ‘s native territory. Hortense ‘s brother had a house within view of Montagne Sainte-Victoire at L’Estaque. A race of paintings of this batch from 1880 to 1883 and others of Gardanne from 1885 to 1888 are sometimes known as “ the constructive period ”. [ 46 ] The year 1886 was a plow point for the kin. Cézanne married Hortense. In that year besides, Cézanne ‘s father died, leaving him the estate purchased in 1859 ; he was 47. By 1888 the class was in the former manor, Jas de Bouffan, a solid house and grounds with outbuildings, which afforded a new-found ease. This house, with much-reduced grounds, is now owned by the city and is open to the public on a restricted basis. [ 47 ] For many years it was believed that Cézanne broke off his friendship with Émile Zola, after the latter used him, in large separate, as the basis for the abortive and ultimately tragic assumed artist Claude Lantier, in the fresh L’Œuvre. [ 48 ] recently letters have been discovered that refute this. A letter from 1887 demonstrates that their friendship did wear for at least some fourth dimension after. [ 49 ] [ 50 ]
Read more: โบรุสเซีย ดอร์ทมุนด์(Borussia Dortmund)
final examination menstruation, Provence, 1890–1906 [edit ]
Cézanne ‘s idyllic period at Jas de Bouffan was temp. From 1890 until his death he was beset by troubling events and he withdrew further into his painting, spending long periods as a virtual hermit. His paintings became long-familiar and sought after and he was the object of deference from a new coevals of painters. [ 47 ]
Pyramid of Skulls, c. 1901, The dramatic resignation to death informs several , The dramatic resignation to death informs several even life paintings Cézanne made in his final period between 1898 and 1905 which take the skulls as their subject. today the skulls themselves remain in Cézanne ‘s studio apartment in a suburb of Aix-en-Provence The problems began with the onset of diabetes in 1890, destabilizing his personality to the point where relationships with others were again strained. He travelled in Switzerland, with Hortense and his son, possibly hoping to restore their relationship. Cézanne, however, returned to Provence to live ; Hortense and Paul junior, to Paris. Financial necessitate prompted Hortense ‘s tax return to Provence but in divide live quarters. Cézanne moved in with his mother and baby. In 1891 he turned to Catholicism. [ 51 ] Cézanne alternated between painting at Jas de Bouffan and in the Paris region, as earlier. In 1895, he made a germinal chew the fat to Bibémus Quarries and climbed Montagne Sainte-Victoire. The labyrinthine landscape of the quarries must have struck a note, as he rented a cabin there in 1897 and painted extensively from it. The shapes are believed to have inspired the embryonic “ cubist ” vogue. besides in that year, his mother died, an upset consequence but one which made reconciliation with his wife possible. He sold the vacate nest at Jas de Bouffan and rented a place on Rue Boulegon, where he built a studio. [ 47 ] The kinship, however, continued to be stormy. He needed a locate to be by himself. In 1901 he bought some country along the Chemin des Lauves, an isolate road on some high grind at Aix, and commissioned a studio apartment to be built there ( Atelier de Cézanne, now open to the public ). He moved there in 1903. interim, in 1902, he had drafted a will excluding his wife from his estate and leaving everything to his son. The kinship was obviously off again ; she is said to have burned the memento of his mother. [ 52 ]
From 1903 to the end of his life he painted in his studio apartment, working for a calendar month in 1904 with Émile Bernard, who stayed as a house node. After his death it became a monument, Atelier Paul Cézanne, or les Lauves. [ 52 ]
“ Cézanne ‘s doubt ” : try by Maurice Merleau-Ponty [edit ]
Cézanne ‘s stylistic approaches and beliefs regarding how to paint were analyzed and written about by the french philosopher Maurice Merleau-Ponty who is chiefly known for his association with phenomenology and existentialism. [ 53 ] In his 1945 try entitled “ Cézanne ‘s Doubt ”, Merleau-Ponty discusses how Cézanne gave up classical aesthetic elements such as graphic arrangements, single view perspectives, and outlines that enclosed color in an try to get a “ populate position ” by capturing all the complexities that an center observes. He wanted to see and sense the objects he was painting, quite than think about them. ultimately, he wanted to get to the sharpen where “ sight ” was besides “ touch ”. He would take hours sometimes to put down a individual stroke because each accident needed to contain “ the vent, the light, the object, the composing, the character, the draft, and the style ”. A still life sentence might have taken Cézanne one hundred working sessions while a portrayal took him around one hundred and fifty sessions. Cézanne believed that while he was painting, he was capturing a moment in time, that once passed, could not come back. The atmosphere surrounding what he was painting was a character of the sensational reality he was painting. Cézanne claimed : “ art is a personal apperception, which I embody in sensations and which I ask the sympathy to organize into a paint. ” [ 54 ]
bequest [edit ]
Victor Choquet, Baigneuses, etc.) view of the 1904 Salon d’Automne, photograph by Ambroise Vollard, Salle Cézanne (, etc. ) Cézanne ‘s works were rejected numerous times by the official Salon in Paris and ridiculed by artwork critics when exhibited with the Impressionists. Yet during his life Cézanne was considered a victor by younger artists who visited his studio in Aix. [ 55 ] Along with the study of Vincent van Gogh and Paul Gauguin, the work of Cézanne, with its sense of immediacy and incompletion, critically influenced Matisse and others prior to Fauvism and Expressionism. [ 56 ] [ 57 ] After Cézanne died in 1906, his paintings were exhibited in a large museum-like retrospective in Paris, September 1907. The 1907 Cézanne retrospective at the Salon d’Automne greatly affected the steering that the avant-garde in Paris took, lending credenza to his situation as one of the most influential artists of the nineteenth hundred and to the advent of Cubism. Inspired by Cézanne, Albert Gleizes and Jean Metzinger wrote :
Cézanne is one of the greatest of those who changed the class of art history. .. From him we have learned that to alter the color of an object is to alter its structure. His workplace proves without doubt that painting is not—or not any longer—the art of imitating an object by lines and colors, but of giving formative [ solid, but alterable ] form to our nature. ( Du “Cubisme”, 1912 ) [ 55 ] [ 58 ]
Ernest Hemingway compared his writing to Cézanne ‘s landscapes. [ 59 ] [ 60 ] As he describes in A Moveable Feast, I was “ learning something from the paint of Cézanne that made writing simple truthful sentences far from enough to make the stories have the dimensions that I was trying to put in them. ” Cézanne ‘s explorations of geometric simplification and optical phenomena inspired Picasso, Braque, Metzinger, Gleizes, Gris and others to experiment with ever more complex views of the same subject and finally to the fracture of shape. Cézanne thus sparked one of the most revolutionary areas of aesthetic inquiry of the twentieth hundred, one which was to affect profoundly the development of modern art. Picasso referred to Cézanne as “ the founder of us all ” and claimed him as “ my one and lone overlord ! ” other painters such as Edgar Degas, Pierre-Auguste Renoir, Paul Gauguin, Kasimir Malevich, Georges Rouault, Paul Klee, and Henri Matisse acknowledged Cézanne ‘s genius. [ 55 ] Cézanne ‘s paint The Boy in the Red Vest was stolen from a swiss museum in 2008. It was recovered in a serbian police foray into in 2012. [ 61 ] The 2016 film Cézanne and I explores the friendship between the artist and Émile Zola. [ 62 ]
art commercialize [edit ]
The Card Players, 1892–93, oil on canvas, 97 x 130 cm, Royal Family of Qatar Paul Cézanne, , 1892–93, anoint on canvas, 97 ten 130 centimeter, Royal Family of Qatar On 10 May 1999, Cézanne ‘s painting Rideau, Cruchon et Compotier sold for $ 60.5 million, the fourth-highest price paid for a painting up to that time. As of 2006, it was the most expensive still life ever sold at an auction. One of Cézanne ‘s The Card Players was sold in 2011 to the Royal Family of Qatar for a price variously estimated at between $ 250 million ( $ 287.6 million today ) and possibly equally high as $ 300 million ( $ 345.1 million today ), either price signifying a new mark for highest price for a painting up to that date. The phonograph record price was surpassed in November 2017 by Leonardo da Vinci ‘s Salvator Mundi. [ 63 ] [ 64 ]
Nazi-looted art [edit ]
In 2000 french courts ordered the capture of Cézanne ‘s “ The sea at l ’ Estaque ” which was part of the “ From Fra Angelico to Bonnard : masterpieces from the Rau Collection ” exhibition at the Musée du Luxembourg because of a call that it had been looted by Nazis from the gallery owner Josse Bernheim-Jeune. [ 65 ] In 2020 the birthplace of a Cézanne from the Buehrle collection came under examination. [ 66 ] The paint, Paysage, had already been flagged as potentially debatable in the 2015 Schwarzbuch Bührle: Raubkunst für das Kunsthaus Zürich ? [ 67 ]. In Die Wochenzeitung, Keller said the birthplace of Paysage had been “ whitewash ”. “ Among Keller ’ s objections to the birthplace description on the foundation garment ’ s web site is the failure to note that the pre-war owners, Berthold and Martha Nothmann, were forced to flee Germany as Jews in 1939. ” [ 68 ]
gallery [edit ]
Paintings [edit ]
calm life paintings [edit ]
Watercolours [edit ]
Portraits and self-portraits [edit ]
See besides [edit ]
Notes [edit ]
References [edit ]
- Gino Zaccaria, The Enigma of Art, Brill, Leide-Boston 2021.
far reading [edit ]
- Danchev, Alex (2012) Paul Cézanne: A Life, New York: Pantheon, ISBN 978-0-30737-707-4
- Danchev, Alex (2013) The Letters of Paul Cézanne, Los Angeles: Getty Publications, ISBN 978-1-60606-160-2