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French artist Paul Cezanne (1839-1906)
Sunday, January 19, 2014 18: 36
+ in the quote book
"I am attracted to the boundless fantasies of nature... nature reveals itself to me gradually, I move very slowly - I should improve endlessly"
Paul Cezanne
Paul Cezanne was born in Aix en Provence on January 19, 1839.
He was the only son of an overbearing father and grew up in the quiet, shady Aix en Provence, the old provincial capital of Southern France, 15 miles inland from Marseille.
It is known that the ancestors of Cezanne in the XVII century emigrated to the south of France from the town of Cesana Turinese in the Italian Alps.
Among them were shoemakers, hairdressers, tailors.
Paul's father, the self confident and assertive Louis Auguste Cezanne went to Paris to study the hat craft.
After returning to Aix, he invested his savings in the wholesale and retail trade of hats, succeeded in this and eventually began to lend money to manufacturers of hat felt.
Soon this "rude and greedy" man so he was remembered by Cezanne's childhood friends - became the most successful moneylender in Aix.
At the age of forty, Louis Auguste took one of the girls who worked in his shop as a mistress - Anne Elizabeth Honorine Aubert.
He married her in 1844, when Paul was five, and the eldest of his two sisters was three years old.
As a child, Cezanne had little idea of good painting, but in many other respects he received an excellent education.
After graduating from high school, he attended St. Joseph's School, and then studied at the Bourbon College from the age of 13 to 19.
His education fully corresponded to the tradition and social and religious requirements of the time.
Cezanne studied well, if not brilliantly, and received many awards in mathematics,Latin and Greek.
Throughout his later life, he enthusiastically read classical authors, wrote Latin and French poems, and until his last days was able to quote from memory entire pages from Apuleius, Virgil and Lucretius.
From an early age, Cezanne was drawn to art.
Drawing was a compulsory subject both at St. Joseph's School and at the Bourbon College, and from the age of 15 he began to attend the free Academy of drawing.
However, Cezanne never received the annual prize for drawing at the college - in 1857, the best friend of the young Paul, Emile Zola, was awarded it.
Cezanne and Zola were also drawn together by their passion for literature.
In particular, they admired the romanticism of Victor Hugo, Alphonse Lamartine, Alfred Musset.
They talked a lot about the future, instilling in each other the determination to devote their lives to art, both saw themselves as poets.
The friendship of Zola and Cezanne was important for both of them.
Largely influenced by Zola, Cezanne chose the path of the artist.
In turn, Cezanne's reflections on painting determined Zola's tastes in the field of fine art.
Together with Cezanne's mother, his sister Marie and later his son Paul, Zola became a constant, although not always trustworthy, adviser and support of the artist in all practical matters.
Perhaps the most valuable information about the artist's youth can be extracted from Zola's notes to the novel "Creativity" written much later, the prototype of the main character of which was Cezanne.
In 1886, Cezanne married Maria Hortense Fike.
Three years later, they had a son, named Paul.
Emotional ties allowed us to maintain this strange union for forty years.
Rebellious peers of Cezanne defended new methods - work on the "plein air".
The artist Eugene Boudin began to paint in nature in the 1850s, but even in the mid 60s, when Pissarro and Monet began to work in this way, it seemed a bold innovation.
"I remember," Pissarro wrote many years later, " that although I was full of zeal, even at the age of about forty I did not have the slightest idea of the deep content of the movement that we unconsciously followed.
It was in the air."
When the Impressionists took their easels out into nature, they also took palettes full of bright, pure colors that gave the landscapes a radiant shimmer.
Using unmixed dyes, which were superimposed with short strong strokes, the impressionists conveyed the multicolored color and light shades of nature.
This technique, called "color refraction techniques", led to a displacement of outlines, so that objects seemed to be partially blurred.
Camille Pissarro was the only one in whom Cezanne, mastering landscape painting, saw a reliable mentor.
Pissarro was not only nine years older and much more experienced, but obviously had the qualities of a born teacher and a remarkably subtle, benevolent critic.
Pissarro was perhaps the only one who had the benevolence and endurance to put up with the obnoxious temper of this man.
Therefore, when Pissarro offered Cezanne his hospitality, as well as assistance in his work, Cezanne gratefully responded and, taking Hortense with the child, settled with Pissarro in Pontoise, located in the green valley of the Oise River.
The result of Cezanne's stay in Auvers and Pontoise was that the landscape and still life began to attract him more than fictional subjects.
The landscape cut through by the roadbed.
1869-1871
Cezanne developed his own system of uniform rectangular strokes that descend diagonally across the canvas (usually from the upper right corner to the lower left) and cover the entire canvas.
From time to time, he changed the direction of the brushstroke not only in different works, but also in different parts of the same picture, but always strictly ensured that the strokes kept the same shape inside each section and lay down in a strictly parallel direction.
This length of brushstrokes gives Cezanne's painting a resemblance to a woven or even carpet surface and a sense of rhythmic movement ("The Castle in Medan").
Together with Pissarro, Cezanne worked intermittently during the years 1872-1874.
His desire to study did not decrease, and his ability to work seemed inexhaustible.
In Pontoise and Auvers, he worked in oils, watercolors, pastels, drew, copied Pissarro's paintings to better understand the technical and color techniques of an older colleague, and even engaged in engraving.
Pissarro recognized the originality of Cezanne's talent.
He claimed that Cezanne has a unique vision.
Speaking about their creative relationship, Pissarro recalled: "We were always together, but everyone protected the only thing that really matters - their own feelings."
In 1873, Pissarro brought Cezanne together with a Parisian art dealer Julien Tanguy, who had an excellent artistic flair.
Tangi accepted works from artists whom he considered promising in exchange for canvases and tubes of paint.
Thus, he acquired many paintings by Pissarro, Cezanne, Guillaumin, Sisley, Van Gogh, Gauguin, Signac, Seurat.
Another patron was Victor Choquet, a Parisian customs official and collector of paintings and antiques.
He was not rich, but he had a flair that allowed him to collect a first class collection of contemporary artists, including works by Manet, Renoir, Monet and Pissarro.
When he first saw Cezanne's paintings in the Tangi store, he immediately purchased the "Bathers"; by the time of his death in 1900, he owned more than thirty works by Cezanne.
Cezanne achieved some success only at the Salon of 1882.
The artist Antoine Guillemet became a member of the official jury and received the right to present the work of one of his students.
In this capacity, he exhibited a painting by Cezanne, known as "Portrait of Mr. L. A.".
This work has since disappeared.
View of Auvers sur Oise.
From the late 70s to the early 90s, Cezanne rushed from one place to another with the indefatigable perseverance of a fugitive.
Thus, we find him living in Estac, Gardanne and Aix in the south, in Pontoise, Auvers, Chantilly, Fontainebleau, Issa, Melun, Medan, Laroche, Guyon, Villen, Vernon around Paris and in half a dozen apartments in the city itself.
Cezanne rarely stayed in one place for at least a year, but he returned to some of them several times.
In his self imposed exile, Paul Cezanne turned into a great artist.
We can judge this transformation by his canvases, but we have only fragmentary information about him during this period.
Only Renoir, Monet and Pissarro report what happened to him - only they saw Cezanne from time to time.
Having dissimilar characters, Pissarro is extremely patient and complacent, Monet is extremely energetic, Renoir is generous and cheerful - all of them appreciated the artistic significance of Cezanne and put up with the peculiarities of his nature.
For 30 years, all three remained Cezanne's friends and supported him.
Cezanne spent most of his time in Provence.
From the end of 1882 until the summer of 1885, he reluctantly left these places, working either in Aix, where he lived in his parents ' house, or in an Overpass, where Hortense and little Paul lived "in a house with a garden just behind the station".
Still life with a bottle and a basket of apples
By this time, Cezanne began to focus more and more on still life.
If Manet was the first who fueled Cezanne's interest in still life, then the artist who most influenced him in this sense in his mature years was Jean Baptiste Chardin.
The weight of the volumes, the unity of the individual parts of the picture in Chardin as a whole inspired Cezanne with a new understanding of the possibilities of still life.
The things that the artist used in his still lifes were neither diverse nor luxurious.
Jewelry, Chinese trinkets, fine silk did not appeal to him.
He wrote apples over and over again.
He liked peaches, pears, oranges, lemons and onions.
Next to them, he placed single objects: teapots, jugs, bottles, dishes, glasses, plates.
These are the main characters of Cezanne's compositions.
Cezanne painted still lifes throughout his creative life, he was equally fascinated by still life, landscape, depiction of human figures and portraiture, but he paid special attention to still life in the period from 1883 to 1895, when he created 59 paintings of this genre.
Rilke noted that still lifes excite him because Cezanne "made them express the universe" - made them the center of harmony and contradictions of the real world.
The admiration for still lifes and other paintings by Cezanne prompted Gauguin to the famous description "Looking at Cezanne".
In a letter to a friend of the artist from 1885, Gauguin exclaimed: "This incomprehensible man, with an essentially mystical and oriental nature (he looks like an old Levantine).
Its forms are mysterious and oppressively calm, like a person immersed in a dream, its color is full of oriental importance.
He is a man of the noonday and spends whole days on the mountaintop, reading Virgil and contemplating the heavens; his horizons are wide, his blue is unusually intense, red is excitingly mobile."
Spending weeks, and often months, working on his still lifes, Cezanne created about 200 paintings of this genre.
Mainly under the influence of Cezanne and to a lesser extent Manet, French art, gradually abandoning landscape, the main genre of the XIX century, turned to still life.
Having overcome the status of second rate, the genre of still life after Cezanne became a full fledged expression of the artistic vision of many of the greatest masters of the XX century.
Along with landscapes and still lifes, Cezanne also created portraits, the first of which was a portrait of his father, painted in the early 60s.
Most of the portraits created by Cezanne have a distinctive common property: he cared so little about the resemblance to the original that his portraits seem to be portraits at all.
Often the heroes of the portraits were his wife Hortense, whom he painted more than forty times, and himself.
More than 35 of his self portraits have been preserved.
Cezanne also expressed interest in the human figure in the creation of group portraits.
In the late period of his work, he was carried away by the idea of combining two major painting genres, including human figures in the landscape, and brilliantly implemented it in "Big Bathers".
In the 1880s and 90s, Cezanne was really interested in the landscapes of Provence.
The interest was such that he created 300 picturesque landscapes, and half of them were made between 1883 and 1895.
The natural ratio of the forms of the heavy, sun scorched land of Provence and the transparency of the local light reminded Cezanne of his ideas about Italy and Greece, and Provence was associated with these countries as one of the " great classical landscapes".
During his life, Cezanne painted a huge number of views of Provence.
But there were several of them, to whom he turned more often than to others.
Among them, the most thoughtfully constructed views of the city of Gardana.
Another favorite place for Cezanne the landscape painter was the vicinity of the Estac.
By the beginning of the 90s, Cezanne's interest in the landscapes of the Estac had faded, and the artist focused on the views of Mount Saint Victoire, which always fascinated him.
He painted Saint Victoire more than 60 times.
Since the mid 80s, Saint Victoire has become the only and most important theme of Cezanne's landscapes and remained it until the end of his life.
At the end of 1895, there was a noticeable change in the perception of Cezanne's work by critics, as well as by the public.
It was at this time that Ambroise Vollard, a well known art dealer who devoted his life to supporting innovative artists, organized and presented a large retrospective exhibition of the artist.
This was the first personal display of his works, which became a revelation even for those who were the main initiators of the exhibition: Renoir, Monet, Pissarro and Guillaumin.
If Cezanne reacted to the exhibition evasively, then the art world, the press and the public paid a lot of attention to it.
Pissarro wrote to his son Georges: "Collectors are fools, they do not understand anything, yet he is a first class artist, surprisingly subtle, truthful and classic."
To his son Lucien, Pissarro reported: "My delight cannot be compared with Renoir's, even Degas fell under the charm of this refined savage, and Monet, and we all...".
The exposition of 1895 was a success and the fame of Paul Cezanne, until then very limited, began to gradually grow.
The sale of his works has grown significantly.
In 1897, Vollard visited the studio in Fontainebleau, where the artist was working at that time, and prudently bought up all the works that were there.
Big bathers.
The combination of dependence with intolerance is the main feature of Cezanne's character.
All his life, he was drawn to people and at the same time pushed them away.
If he could not convey the essence of what was depicted on the canvas, he growled like an animal, broke the brushes and tore the unfinished canvases, could throw them out into the street.
He did not need anyone, did not want to be, as he himself said, "caught on a hook."
The sensation was so acute that he developed a painful fear of being touched.
Once, when the Impressionist artist Emile Bernard (1868 - 1941) put his hand on his arm, he fell into a frenzy.
And, suddenly coming to his senses, he began to justify himself in embarrassment: "Donot pay attention - this is happening against my will.
I canot stand being touched, and this has been going on for a very long time."
He sought salvation in painting.
Work was the only thing for him that brought complete "spiritual satisfaction".
Creativity also healed Cezanne from self doubt.
At a time when his painting was fiercely attacked, he wrote to his mother: "I've learned to feel superior to everything around me."
There is no doubt that he was firmly convinced of the incomparable superiority of his artistic vision.
The source of creative perseverance for Cezanne was the belief in art as a "sacred act".
His whole life is an example of service, devotion and epic completeness.
Both his work and his fate are extremely important for artists of the next generations.
In the XX century, he appeared as a great hermit of art, who courageously fought alone.
"It's not what the artist does that matters, but who he is," Picasso said of Cezanne in 1935, " boundless perseverance that's what he teaches us."
View of the Saint Victoire Mountain
Paul Cezanne is buried in the Saint Pierre Cemetery near Aix en Provence in the south of France.
To the north of his grave, you can see a wavy line of Starry Hills, and even further away, in the transparent air of Provence, a mountain named Saint Victoire is blue.
Anyone who gets to these parts immediately understands that everything around is in some sense created by Cezanne.
The whitish outcrops of rocks, sharp slopes of pine forests, fragrant shrubs, transparent sky, smooth curves and steep slopes of hills all this and much more Cezanne captured on his canvases with such irresistible force that to visit here after getting acquainted with his painting means to see these places reflected in his eyes and in his lonely soul.
Cezanne, like no one else, managed to get into the spirit of this land, glorified its forms and colors, revealed its depths, into which no one's eyes had penetrated before him.
However, the traveler soon realizes that the view that opens up to his eyes is actually different from the landscape that Cezanne creates on his canvas.
Provence, depicted by Cezanne , is simpler and more constructive than the present.
On the canvas, distant objects seem close, and the details of the foreground are shifted to the depth.
The colors on the canvas are the colors of Provence, but if you look from the point where the artist could stand with an easel, you will not always be able to detect the color scheme of Cezanne paintings.
On the canvases, everything looks more distinct and dense.
The artist Paul Serusier wrote a year before the death of Paul Cezanne: "He cleaned the pictorial art from the age old mold, returning it to the integrity and purity of classical samples."
centre.smr.ru›win/artists/sezann/biogr sezann.htm
Paul Cezanne, perhaps unaware of this, came to create a decorative composition without characters.
Such a composition could be based solely on a combination of decorative spots.
Moreover, Cezanne created the conditions for the introduction of multiple images into the decorative composition.
Pablo Picasso and the Cubists sensed these possibilities, talked a lot about these possibilities, but did very little.
The results of Cezanne's creativity and, to an even greater extent, Vrubel's creative system, made it possible for the great Russian artist Pavel Filonov to go directly to the structure of multiple images in easel painting.
More messages about Paul Cezanne:
On January 19, 1839, the great French artist Paul Cezanne was born
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laura mz address by name Sunday, January 19, 2014 19: 16 (link) wonderful post, thank you!
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Sunday, January 19, 2014 19: 50external links
Tomaovsyanka
I am very glad of your response!
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Svetlana k address by name Friday, January 24, 2014 19: 06 (link) Spavsibo, Tamara!
I was pleased to get acquainted with the peculiarities of Cezanne's work.
As always, videos play an active role.
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Friday, January 24, 2014 20: 45external links
Tomaovsyanka
Yes, Sveta!
A video for understanding the geniuses of the avant garde plays a crucial role for me!
Kok that I already understand, but I take very little
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Friday, January 24, 2014 22: 38external links
Svetlana k
Tamara!
In art, this is normal... this is how it should be... there is no dispute about tastes.
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