Cezanne, Paul
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Paul Cézanne
Self portrait, 1875 Date of birth: January 19, 1839 (1839-01-19) [1]
Place of birth: Aix en Provence
Date of death: October 22 1906(1906-10-22)[1][2] (67 years)
Place of death: Aix en Provence
Citizenship: France France
Style: Post Impressionism
Signature:
Works on Wikimedia Commons
The request "Cezanne" is redirected here; for the city in France, see Cezanne (Marne).
Paul Cézanne (fr. Paul Cézanne; 1839-1906) was a French painter, a bright representative of post impressionism.
Content
1 Biography 2 Works 3 Personality 4 Early works 5 Landscapes of Cezanne 6 Cezanne Style 7 Results of Cezanne's work 8 Gallery 9 Notes 10 Literature
Biography[edit / edit wiki text]
Cezanne was born in Aix en Provence on January 19, 1839.
He was the only son of an overbearing father and grew up in quiet Aix en Provence, the old provincial capital of Southern France, 15 miles inland from Marseille.
The artist's father, Louis Auguste Cezanne, self confident and assertive, went to Paris to study the hat craft.
Returning to Aix after several years of apprenticeship, 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.
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, 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, but at first glance, he did not have any pronounced talents.
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 college — in 1857, the best friend of the young Paul, Emile Zola, was awarded it.
Works[edit / edit wiki text]
Cezanne's artistic heritage consists of more than 800 oil paintings, not counting watercolors and other works.
No one can count the number of works destroyed as imperfect by the artist himself over the years of his long creative path.
In the Paris Autumn Salon of 1904, an entire hall was set aside for the demonstration of Cezanne's paintings.
This exhibition was the first real success, moreover, the triumph of the artist.
Individuality[edit / edit wiki text]
Cezanne's works bear the imprint of the artist's inner life.
They are filled with the internal energy of attraction and repulsion.
Contradictions were originally inherent in both the artist's mental world and his artistic aspirations.
The southern temperament was combined in Cezanne's everyday life with seclusion and asceticism, piety - with attempts to free himself from the religious traditions that bound the temperament.
Confident in his genius, Cezanne was nevertheless forever obsessed with the fear that he would not find the exact means of expressing what he saw and wanted to express in the picture by means of painting.
He was always talking about the inability to" realize " his own vision, he always doubted that he could do it, and each new picture became both a refutation and a confirmation of this.
Cezanne, obviously, was characterized by many fears and phobias, and his unstable character found refuge and salvation in the work of a painter.
Perhaps this circumstance was the main reason for Cezanne's fanatical work on his paintings.
Suspicious and unsociable, Cezanne became a whole and strong person in his work.
Creativity cured him the more strongly from his own insurmountable spiritual contradictions, the more intense and constant it was.
In mature years, the feeling of one's own psychological contradictions and the inconsistency of the surrounding world was gradually replaced in Cezanne's work by a feeling not so much of inconsistency as of the mysterious complexity of the world.
Contradictions have receded into the background, and the understanding of the conciseness of the language of being itself has come to the fore.
But if this language is concise, there is a chance to express it in a certain number of basic signs or forms.
It was at this stage that the best, most profound and meaningful works of Cezanne appeared.
Early works[edit / edit wiki text]
Cezanne's early works are characterized by temperament, gloomy scenes and signs of the absence of a professional school.
According to the plots, they can be attributed to romanticism, but the choice of plots is definitely associated with serious mental problems of the author[the source is not specified 318 days].
All this, taken together: both the subjects of the works, and the frankly weak school of drawing and painting, predetermined the impossibility of both exhibiting and selling these works.
But it is interesting to note which artists influenced Cezanne during this period.
These are Paolo Veronese, Tintoretto, Eugene Delacroix and Honore Daumier.
These painters are united by the temperamental style, which was attractive for the young Cezanne, who was distinguished by sharp changes of mood and obvious signs of complex and highly dramatic emotional experiences.
Landscapes of Cezanne[edit / edit wiki text]
Later, acquaintance and collaboration with Camille Pizarro led to the fact that Cezanne's palette became much lighter, and the strokes were separate.
Pizarro's influence was reflected in the fact that landscapes took a key place in Cezanne's work.
It is difficult to say at the same time that Cezanne would not have come to this without Pizarro.
Most likely, he would have come, but perhaps much later and not so decisively.
In the landscapes of Pizarro Cezanne, the author's ability to organize space attracted him.
This trait turned out to be related to the inner aspirations of Cezanne himself.
But the influence of Pizarro did not lead to the appearance in Cezanne's painting of the sphere of the main interests of the Impressionists: light and the air environment.
Cezanne went his own, special way, dictated by his personal characteristics.
He was interested not in the variability, but in the stability of combinations of colors and shapes in nature.
If the Impressionists were looking for countless options for changes, and the temporary, instantaneous took a leading place in their works, Cezanne was looking for the eternal, something that does not obey time, and always remains the same.
Characteristic in this sense is the fundamental difference between Cezanne's landscapes and Pizarro's landscapes.
Cezanne is not at all interested in different space plans.
He pulls all the plans into a single pictorial field, trying to express not the multiplicity of space, but its wholeness and uniqueness.
Individual perspectives in Cezanne's landscapes seem to flow into each other.
Cezanne often uses an inverse and spherical perspective to look into space from the outside, from somewhere from another dimension.
There are almost no absolutely straight lines in Cezanne's landscapes: they then bend, then have a slope.
Cezanne style[edit / edit wiki text]
In his work, the artist tried at the cost of titanic efforts to reconcile the classics and modernity, Poussin and nature, the laws of grand style and the right to individual choice.
Of course, in the era of the triumph of individual choice, no style could no longer be a model for artists, each of whom now chose his own path in art freely, obeying only the inner properties of his soul, and not the requirements of the artistic community.
Therefore, the task that Cezanne set for himself was in principle impossible, which predetermined the artist's constant doubts.
It is impossible to assert both freedom and canons at the same time.
But the specific artistic results that Cezanne achieved in his work were so impressive that they aroused respect among representatives of various trends in painting.
Cezanne's paintings reminded all experimenters that the connection between the classics and modernity forms the basis for the art of colors and forms not to lose the criteria of artistry in the process of its development, replacing them with the complete arbitrariness of the painters, who put only originality at the forefront instead of the laws of harmony and beauty.
It is no coincidence that one of the artists whose works greatly influenced Cezanne was Nicolas Poussin, the largest representative of classicism.
Classicism carried the laws of stability and equilibrium, which largely corresponded to the real nature of things, the laws of the existing world.
Poussin's drawing, strict and sustained, balanced and harmonious compositions were related to what Cezanne himself was looking for in nature and painting.
Cezanne believed, as well as representatives of the Renaissance and Classicism, that order, not chaos, is at the heart of being, and the creative force orders everything, building harmony out of chaos.
The protective barriers that classicism put in the way of an arbitrary approach to solving pictorial problems and problems of expressing form were also related to Cezanne.
Expressiveness as an end in itself, expressiveness for the sake of expressiveness, the use of certain pictorial techniques to create a particular expressive effect contradicted the views of Cezanne, for whom painting was primarily not an art, but a means of cognition that gives a person the opportunity to directly come into contact with certain foundations of the universe.
Historically, this approach, of course, expressed the desire of the European spirit to return to a certain religious basis, and in this sense, Cezanne's painting can be compared with the religious art of different eras.
Cezanne had a negative attitude to the painting of many of his contemporaries innovators, such as Gauguin, Van Gogh, Seurat, and others, precisely because he saw in their works the preponderance of arbitrariness, individual interpretation of the world over the search for the basic laws of its real existence, which Cezanne's own painting was ultimately supposed to express.
For the same reason, Cezanne was an opponent of the decorative approach in painting, because decorativeness removed volume from painting, depriving the space of the picture of three dimensionality.
And although three dimensionality on a painting is an artificially created illusion, Cezanne considered this illusion to be the greatest achievement of Renaissance painting, because the image of volume, from Cezanne's point of view, brought painting closer to reality.
Therefore, Cezanne called Gauguin's works "painted Chinese pictures".
Cezanne himself believed that the forms of nature ultimately form an organic unity, and ultimately a certain limited number of basic forms lies at the heart of everything that exists.
Cezanne's painting in a certain sense became a revival in the art of the ancient Pythagorean traditions, although Cezanne, of course, only felt the coincidence of his final views with this tradition, and did not consciously follow Pythagoreanism.
Here we can rather say that Pythagoreanism, in turn, only expressed certain insights that are characteristic of people of different historical epochs, regardless of whether these people know the views of the Pythagoreans or not.
This means that Cezanne first came to his beliefs independently, and only then realized what tradition they are related to.
Cezanne eventually became the founder of the painting of forms in European art, one of the directions of which, shortly after Cezanne, was Cubism.
But Cubism, even in the person of Picasso, turned out to be poorer in its content of Cezanne's painting, because it lost those purely pictorial qualities, richness of color, multi layered writing, which Cezanne achieved as a result of hard work.
In addition, Cubism for Picasso was only a stage, a conscious experiment, an artistic game, and not a search for the foundations of being, so the internal content of Picasso's works of the Cubist era is much poorer than the content of Cezanne's best works.
Over time, when Cezanne became interested in watercolors, he transferred some techniques of watercolor painting to oil painting: he began to paint on white, specially unpainted canvases.
As a result, the paint layer on these canvases has become more lightweight, as if highlighting from the inside.
Cezanne began to limit himself to three colors: green, blue and ochre, mixed, of course, with the white color of the canvas itself.
This approach to the choice of colors was necessary for Cezanne in order to achieve the most meaningful artistic result with a minimum of funds.
During this period, the modeling of forms on canvas, as well as their generalization, becomes more concise.
The results of Cezanne's work[edit / edit wiki text]
If the results of creativity are comprehended within the framework of the French artistic tradition, rather than the pan European one, then we can say that Cezanne sought and was able to combine two leading French traditions in his work: classicism and romanticism, intelligence and passion, balance and impulse, harmony and boiling of feelings.
In the history of art, it was the fruitfulness of Cezanne's attempts to create a new great style, and not Cezanne's style itself as an artistic canon, that made him famous.
This is all the more true because you can draw a variety of artistic conclusions for yourself from Cezanne's works.
They are multidimensional, which in itself is characteristic of many outstanding works of different eras, but multidimensionality in the era of free artistic search acquires a special meaning.
Everyone can take for themselves what they want from Cezanne's works, and not what the artistic canon dictated earlier.
That is why Cezanne's work remains a kind of" artistic storeroom " for modern artists.
The main thing in the perception of Cezanne's paintings is not to succumb to the temptation to build any theory, artistic or philosophical, on their basis.
Cezanne himself has never had any theories.
He defined the essence of his approach as the absence of any theoretical mediation between the artist and the nature of things.
A direct look, direct absorption and transmission of the response of nature on the canvas were for him a natural approach to painting, which Cezanne considered a way of direct contact with the truth, which does not fit into the framework of thoughts and words.
The girl at the piano (Overture to "Tannhauser").
ca. 1868.
Hermitage, St. Petersburg A bouquet of flowers in a blue vase.
1873—1875.
Hermitage, St. Petersburg Bridge over the Marne in Creteuil (Banks of the Marne).
1888-1894.
Pushkin State Museum of Fine Arts, Moscow Smoker.
1890—1892.
Hermitage, St. Petersburg Mt. Victoria.
1897—1898.
Hermitage Museum, Saint Petersburg
Gallery[edit / edit wiki text]
"The Girl at the Piano" (Overture to "Tannhauser"), ca. 1868, The Hermitage, St. Petersburg.
"Mount Saint Victoire", 1882-1885, Metropolitan Museum of Art, New York.
"The Banks of the Marne", 1888, The Hermitage, St. Petersburg.
"Pierrot and Harlequin" ("Maslenitsa"), 1888, Pushkin State Museum of Fine Arts, Moscow.
"Still Life with drapery", 1889, The Hermitage, St. Petersburg.
"A man with a pipe", 1890.
"Card Players", 1892-1893, collection of the Emir of Qatar[* 1].
"The Young Italian Woman", 1896.
"Mount Saint Victoire and the Black Castle", 1904-1906.
"Bathers", 1906.
Notes[edit / edit wiki text]
Sources
↑ 1 2 data.bnf.fr: open data platform — 2011.
<a href="https://wikidata.org/wiki/Track:Q20666306"></a><a href="https://wikidata.org/wiki/Track:Q54837"></a>
↑ http://www.britannica.com/biography/Paul Cezanne
↑ Qatar Purchases Cézanne's The Card Players for More Than $250 Million, The Highest Price Ever for a Work of Art / / Vanity Fair, February 2, 2012.
Comments
In 2011, it was sold at a closed auction to the family of the Emir of Qatar for $ 250 million, becoming the most expensive painting ever sold at that time[3].
Literature[edit / edit wiki text]
Yavorskaya N. V. Cezanne — - M., 1936.
Perrusho A. Cezanne , translated from French -M., 1966.
Comp.
Yavorskaya N. V. Paul Cezanne: Correspondence.
Memoirs of contemporaries.
- M., 1972.
Comp.
Barskaya A. L. Paul Cezanne: Album.
— 1975.
Lindsay J. Paul Cezanne.
Translated from English = J. Lindsay.
Cezanne: His Life and Art.
- L.: Evelyn, Adams and Mackay, 1969.
- Moscow: Iskusstvo, 1989.
- p. 416 p.
- ISBN 5-210-00021-4.
Venturi L. V. 1—2 // Cezanne, son art, son oeuvre.
— Paris, 1936.
Rewald J.
The ordeal of Paul Cezanne.
— London, 1950.
Novotny F. Cezanne und das Ende wissenschftlicher Perspektive.
— Wien, 1938.
Badt K. Die Kunst Cezannes.
— Munchen, 1956.
Murina Elena.
Cezanne.
- M.: Art XXI century, 2014.
- 296 p — - 1500 copies.
— ISBN 978-5-98051-106-7.Wikify the article.
Correct the article according to the stylistic rules of Wikipedia.
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