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Home Paintings by famous masters Bright personalities in the art of Paul Cezanne: paintings, biography
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Paul Cezanne: paintings, biography
Author: Pavel In
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21.12.2013 20:42
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Biography of the artist
Paul Cezanne is a name well known to anyone who is at least a little interested in painting.
The French art of the last century and the creative path of many European artists of the beginning of this century are divided by an invisible line into two stages "before Cezanne" and "after".
Acquaintance with the artistic discoveries of this master, who spent most of his life in his hometown in the south of France - Aix, was a turning point in the development of many painters.
What is the essence of the renewal that Cezanne brought to art?
His words about the laws of landscape construction have already become a textbook: "Treat nature by means of a cylinder, a ball, a cone - and everything is in perspective reduction, that is, each side of the object, the plan should be directed to a central point.
Lines parallel to the horizon convey the length…
Lines perpendicular to this horizon give depth.
And since in nature we humans perceive more depth than the surface, it is necessary to introduce a sufficient amount of blue into the vibrations of light transmitted by red and yellow tones to feel the air."
But Cezanne was not strong with theoretical statements.
His contribution to art is landscapes, still lifes, several subject paintings and portraits.
By age, the artist was a contemporary of the Impressionists.
However, his work represented the next stage in the evolution of artistic vision.
As if arguing with the Impressionists, from whom he learned a lot, Cezanne said that he wanted to create paintings for museums - that is, to convey the unshakable, eternal appearance of nature in contrast to Monet and Pissarro, who sought to capture the changing features of nature.
His statement about the main forms and lines was justified by the desire to create a solid constructive basis in each picture.
Views of the south of France - a large series of landscapes with Mount Saint Victoire and other works, as well as still lifes, where the image of apples, a jug, drapery or several other ordinary things varied, were important because a special spatial system was created in each picture, different in its laws from the simple rules of direct perspective that have triumphed in painting since the days of Brunelleschi and Piero della Francesca.
In one picture, Cezanne could combine several points of view on the subject, techniques of direct and reverse perspective.
These innovations asserted the right of the artist to create a special artistic world of a work inspired by nature, but by no means reproducing its appearance as a direct reflection.
Cezanne worshipped nature, he affirmed its greatness and beauty.
But he dared to violate the laws of landscape construction that have developed since the time of Poussin.
At first, this brought him the fate of an outcast, later the worldwide fame of the founder of a new art.
Of course, Cezanne did not come to his discoveries in painting immediately.
He studied at the college in Aix, where he studied both ancient languages and ancient literature.
Living in Aix, you could feel the spirit of the cultural tradition of the Mediterranean - the cradle of European civilization.
The surrounding nature also contributed to this.
Next to Cezanne was his friend the future famous writer Emile Zola.
They were connected by a romantic friendship.
Zola was the first to leave for the capital and began his career as a journalist, an art critic; many of the ideas that he put forward in his articles were discussed by him in conversations and letters with Cezanne.
When Cezanne visited Paris, Zola became his guide, an intermediary when meeting artists and writers.
Cezanne's early paintings, created by him in the 1860s, were painted in very dark colors, with a lot of black color, it is clear that sometimes the artist applied paint directly with a knife, in wide layers.
At first, his work is covered with the tradition of romanticism.
Cezanne is read by Victor Hugo, studies Delacroix's painting.
Acquaintance with the Impressionists, and especially with Camille Pissarro, with whom he went to etudes and even copied one of his paintings, forced Cezanne to completely change his palette.
He got rid of the black color forever, began to write with clean colors, with a smaller, calm brushstroke.
But if for the Impressionists the most important role was played by the immediacy of the impression, the visual image on the canvas plane, then Cezanne even in the works of the early 1870s the period of the greatest closeness with Pissarro and his group, the creation of a thoughtful composition was in the first place, where space was transmitted not flattened, as with the impressionists, but going into depth.
The Impressionist landscape was often combined with a genre painting.
In Monet, the sails of yachts slide along the surface of the Seine, in Pissaro, a peasant plow is visible left in the field.
Cezanne's landscape is always deserted.
This is a world that is not affected by human activity.
The landscape "The Banks of the Marne" (1888, Pushkin Museum of Fine Arts, Moscow) was painted in central France.
According to the chosen motif, it is close to impressionistic paintings, but in Cezanne the river seems frozen, with a mirror surface; trees stand motionless on the banks.
The range of colors is restrainedly cold, the white primer of the canvas can be seen through the picturesque layer in some places.
In the landscape "Mount Saint Victoire" (1900, State Hermitage Museum, St. Petersburg), a mighty bluish block rises into the sky, reigning over the warm yellowish ochre wrinkles of the foothills covered with swirling blue green vegetation.
The sense of the advancing array of mountains, the ability to convey their greatness bring Cezanne and Poussin closer, despite the difference in their artistic systems.
Cezanne's still lifes, which he painted for a very long time, sometimes for several months, convey the same feeling of greatness, but embodied in small, everyday things.
His apple would be impossible to bite.
The folds of white napkins are as significant in their architectonic role as the flutes of antique columns.
Cezanne builds a form, searches for its primary basis, reveals the structure of complex forms.
His still lifes are the creative laboratory of the master.
At the beginning of the century, Cubists - Picasso and other artists started from them.
But if Cezanne revealed the form, leaving its real image, then the Cubists separated the object into parts, analyzing its structure.
Much could be told about the problems that Cezanne solved in his work, about the riddles that he left for his researchers.
Many books have been written about Cezanne.
Various art historians created their own theories explaining the principles of his art, polemicized with each other.
Biographers and popularizers described the dramatic life of Cezanne - a passionate, restless, proud and lonely man.
The art and life of Cezanne were first reflected in literature in the famous novel "Creativity" by Emile Zola, published in 1886.
The hero of the novel, Claude Lantier, is by no means entirely copied from Cezanne, this is a collective image of a representative of a new galaxy of artists, whose interests were initially defended by Zola in criticism.
But the writer became disillusioned with the new artistic movement, and Lantier is depicted in his novel as a loser.
The publication of the novel caused Zola to break up with his former artist friends.
The public did not like Cezanne's art and did not recognize it even when the Impressionists were in fashion.
Recognition for the artist came from young artists in the 1890s and 1900s.
They visited him in Aix, recorded conversations with him.
Exhibitions of Cezanne began to be organized, which enjoyed increasing success.
But the real fame came to him only posthumously.
Art calendar "One hundred memorable dates", 1989.
Cezanne's paintings
Mt. Victoria from the Bibemus quarry 1897
Self portrait Around 1895
Maria's Palace on the way to the Black Castle Around 1895
A large pine tree on the background of red fields 1895
Portrait of Ambroise Vollard
Lake in Annecy 1896
Still Life with Cupid 1895
Still life with a basket of apples 1890-1894.
Card players 1890-1892
Madame Cezanne 1891-1892
House with cracks in the walls 1892-1894
Big pine tree 1892-1896
The Boy in the Red vest 1890-1895
Millstone 1898-1900
Still life with ginger crinkle, sugar bowl and apples 1890-1894
Still life with apples and peaches Ca.
1905
Bathers 1898-1905
Still Life: Vase with tulips 1890-1892
Mount St. Victoria and the Black Castle 1904-1906
Big bathers 1900-1905
The Smoker 1895
The Road to Mount St. Victoria 1898-1902
A sharp turn on the road to Montgera 1899
The Lady in blue Circa 1900-1904
Mill on the river 1900-1906
Bathers 1892-1894
Still life with a curtain 1895
Pyramid of Skulls 1901
A peasant in a blue blouse 1897
Bathers, small board 1897
In the forest 1898-1899
The artist at work 1874-1875
The Seine River 1876-1878
Fruit pickers 1876-1877
Buffet 1873-1877
House and Tree 1873-1874
Self portrait Around 1875
Bathers 1874-1875
Madame de Buffan Circa 1878
The house of Dr. Gachet in Auvers 1873
Father Lacroix's house in Auvers 1873
The House of the hanged man in Auvers 1872-1873
Noon in Naples, or Grog 1872-1875
The roofs of Paris 1877
Madame Cezanne in a red armchair (Madame Cezanne in a striped skirt) 1877
Self portrait 1883-1887
Trestle with red roofs 1883-1885
Chestnut trees and outbuildings in Ja de Buffan Around 1885
The Valley Of the Oise Around 1880
View of the Estac (in the vicinity of Marseille) 1882-1883
View of the trestle through the pines 1882-1883
House in Provence 1882-1885
View of the Trestle and the If castle 1883-1885
Trestle with red roofs 1883-1885
The village behind the trees in the Ile de France Around 1879
Houses in Provence near Estac 1879-1882
Landscape 1879-1882
Turn of the road 1879-1882
Swimming pool in the park of Mrs. de Buffan 1882-1885
Victor Shoke in the chair 1879-1882
Bridge in the forest 1880
The Coast of the Marne 1888
Still Life with apples 1890
Self portrait 1878-1880
Mountains in French Provence 1878-1880
Portrait of Louis Juliarnet 1879-1880
Still Life 1879
Still Life with apples 1879-1882
Fruit bowl 1879-1880
Portrait of my son 1888-1890
Bathers 1879-1880
Bathers 1880
Still Life with a sugar bowl 1888-1890
Bathers 1879-1882
Pierrot and Harlequin 1888
Self portrait with palette 1885-1887
Madame Cezanne in Blue 1885-1887
Still Life with cherries and peaches 1883-1887
Mt. Victoria 1888-1890
Viaduct 1887
House with a red roof 1887-1890
The Coast of the Marne 1888
The bank of the Oise 1888
The Road to Chantilly 1888
Portrait of Madame Cezanne
House in Provence 1885-1886
Tall trees in Ja de Buffan 1885-1887
Mt. Victoria 1885-1887
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