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Paul Cezanne
French Post-Impressionist Painter, 1839-1906 During the second half of the 19th century French impressionism created a dramatic break with the art of the past. In conception and appearance the style was radically new and, although it initially inspired public ridicule, it soon affected nearly every ambitious artist in western Europe. The new vision emerged during the 1870s, chiefly in the art of Claude Monet, Auguste Renoir, and Camille Pissarro. For each of these artists impressionism was an illusionistic style which differed from the tradition of Renaissance illusionism in its greater emphasis upon vibrant, natural color and on an immediate confrontation with the phenomena of the visible world. As the style developed during the 1880s, however, it increasingly became characterized by paintings which were flat rather than illusionistic. In other words, the impressionists insistence upon a direct application of pigment to canvas resulted in surfaces which declared themselves first of all as surfaces - and, consequently, in paintings which declared themselves first of all as paintings rather than as windows which looked out upon the natural world. The tendency toward flatness persisted into the last years of the 19th century, its pervasiveness giving the impression that illusionistic space - fought for, won, and defended since the very beginning of the Renaissance - had finally been sacrificed by the medium of painting. Paul C??zanne worked within and finally emerged from this trend. As a painter, he matured slowly, his greatest works coming during the last 25 years of his life. During this period he scored a remarkable and heroic achievement: he restored to painting the space and volume that had seemingly been lost to it. But he did it in a totally unprecedented way: not by return to the illusionism of the past but by the creation of a spatial illusionism that did not violate flatness. C??zanne was born on Jan. 19, 1839, in Aix-en-Provence. His father, Philippe Auguste, was the cofounder of a banking firm which prospered throughout the artist life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance. In 1852 C??zanne entered the Coll??ge Bourbon, where he met and became friends with Émile Zola. This friendship was decisive for both men: with youthful romanticism they envisioned successful careers in the Paris art world, C??zanne as a painter and Zola as a writer. Consequently, C??zanne began to study painting and drawing at the École des Beaux-Arts in Aix in 1856. His father opposed the pursuit of an artistic career, and in 1858 he persuaded C??zanne to enter law school at the University of Aix. Although C??zanne continued his law studies for several years, he was simultaneously enrolled in the School of Design in Aix, where he remained until 1861. In 1861 C??zanne finally convinced his father to allow him to go to Paris. He planned to join Zola there and to enroll in the École des Beaux-Arts. But his application was rejected and, although he had gained inspiration from visits to the Louvre, particularly from the study of Diego Vel??zquez and Caravaggio, C??zanne experienced self-doubt and returned to Aix within the year. He entered his father banking house but continued to study at the School of Design. The remainder of the decade was a period of flux and uncertainty for C??zanne. His attempt to work in his father business was abortive, and he returned to Paris in 1862 and stayed for a year and a half. During this period he met Monet and Pissarro and became acquainted with the revolutionary work of Gustave Courbet and Édouard Manet. C??zanne also admired the fiery romanticism of Eug??ne Delacroix paintings. But he was never entirely comfortable with Parisian life and periodically returned to Aix, where he could work in relative isolation. He retreated there, for instance, during the Franco-Prussian War (1870-1871).

 

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Paul Cezanne Still Life with Apples and Peaches oil painting

Painting ID::  27765

X 
 

Paul Cezanne
Still Life with Apples and Peaches
mk62 c.1905 Oil on canvas 81.2x100cm Washington D.C.National Gallery of Art,Gift of Eugene and Agnes Meyer
   
   
     

 

 

Paul Cezanne Still Life oil painting

Painting ID::  27766

X 
 

Paul Cezanne
Still Life
mk62 1890-1894 Oil on canvas 65.5x81.5cm on loan to the Kunsthaus Zurich
   
   
     

 

 

Paul Cezanne The Card Players oil painting

Painting ID::  27767

X 
 

Paul Cezanne
The Card Players
mk62 1890-1892 Oil on canvas 65x81.7cm New York,The Metropolitan Museum of Art, Gift of Stephen C.Clark
   
   
     

 

 

Paul Cezanne The Card Players oil painting

Painting ID::  27768

X 
 

Paul Cezanne
The Card Players
mk62 1890-1892 Oil on canvas 45x57cm Paris,Musee d Orsay
   
   
     

 

 

Paul Cezanne Lake Annecy oil painting

Painting ID::  27769

X 
 

Paul Cezanne
Lake Annecy
mk62 1896 Oil on canvas 64x79cm London,Courtauld Institute Galleries
   
   
     

 

 

Paul Cezanne Mont Sainte-Victoire and Chateau Noir oil painting

Painting ID::  27770

X 
 

Paul Cezanne
Mont Sainte-Victoire and Chateau Noir
mk62 1904-1906 Oil on canvas 65.5x81cm Tokyo,Bridgestone Museum of Art,Ishibashi Foundation
   
   
     

 

 

Paul Cezanne In the Grounds of Chateau Noir oil painting

Painting ID::  27771

X 
 

Paul Cezanne
In the Grounds of Chateau Noir
mk62 c.1900 Oil on canvas 93x74cm London,National Gallery
   
   
     

 

 

Paul Cezanne View of Chateau Noir oil painting

Painting ID::  27772

X 
 

Paul Cezanne
View of Chateau Noir
mk62 1894-1896 Oil on canvas 73x92cm Washingto D.C.National Gallery of Art,Gift of Eugene and Agnes Meyer
   
   
     

 

 

Paul Cezanne The Mill oil painting

Painting ID::  27773

X 
 

Paul Cezanne
The Mill
mk62 1898-1900 Oil on canvas 73x92cm Philadelphia,Philadelphia Museum of Art
   
   
     

 

 

Paul Cezanne Quarry at Bibemus oil painting

Painting ID::  27774

X 
 

Paul Cezanne
Quarry at Bibemus
mk62 1898-1900 Oil on canvas 65x81cm Essen,Museum Folkwang
   
   
     

 

 

Paul Cezanne Mont Sainte-Victoire Seen from Bibemus oil painting

Painting ID::  27775

X 
 

Paul Cezanne
Mont Sainte-Victoire Seen from Bibemus
mk62 1898-1900 Oil on canvas 65x81cm Baltimore Museum of Art
   
   
     

 

 

Paul Cezanne Mont Sainte-Victoire,Seen from Les Lauves oil painting

Painting ID::  27776

X 
 

Paul Cezanne
Mont Sainte-Victoire,Seen from Les Lauves
mk62 1904-1906 Oil on canvas 73.8x81.5cm The Nelson-Atkins Museum of Art,Nelson Fund
   
   
     

 

 

Paul Cezanne Mont Sainte-Victoire,Seen from Les Lauves oil painting

Painting ID::  27777

X 
 

Paul Cezanne
Mont Sainte-Victoire,Seen from Les Lauves
mk62 1904-1906 Oil on canvas 60x73cm Kunstmuseum Basel
   
   
     

 

 

Paul Cezanne Mont Sainte-Victoire,Seen from Les Lauves oil painting

Painting ID::  27778

X 
 

Paul Cezanne
Mont Sainte-Victoire,Seen from Les Lauves
mk62 1904-1906 Oil on canvas 65x81cm Zurich,Kunsthaus Zurich
   
   
     

 

 

Paul Cezanne Mont Sainte-Victoire oil painting

Painting ID::  27779

X 
 

Paul Cezanne
Mont Sainte-Victoire
mk62 1902-1906 Oil on canvas 65x81cm Philadelphia Museum of Art
   
   
     

 

 

Paul Cezanne Mont Sainte-Victoire oil painting

Painting ID::  27780

X 
 

Paul Cezanne
Mont Sainte-Victoire
mk62 1890-1894 Oil on canvas 54x65cm Edinaburgh,National Gallery of Scotland
   
   
     

 

 

Paul Cezanne Man Standing,Hands on Hips oil painting

Painting ID::  27781

X 
 

Paul Cezanne
Man Standing,Hands on Hips
mk62 1885-1887 Oil on canvas 127x96.8cm New York,The Museum of Modern Art,
   
   
     

 

 

Paul Cezanne Bathers oil painting

Painting ID::  27782

X 
 

Paul Cezanne
Bathers
mk62 c.1875-1877 Oil on canvas 38.1x46cm New York,Metropolitan Museum of Art,joan Whitney Payson Foundation
   
   
     

 

 

Paul Cezanne Six Women oil painting

Painting ID::  27783

X 
 

Paul Cezanne
Six Women
mk62 1892-1894 Oil on canvas 27x41cm Moscow,Pushkin Museum
   
   
     

 

 

Paul Cezanne Bothers oil painting

Painting ID::  27784

X 
 

Paul Cezanne
Bothers
mk62 1900-1906 Watercolour and Pencil 13x21cm
   
   
     

 

       Prev    1  2  3  4  5  6  7  8  9  10     Next

 

Paul Cezanne
French Post-Impressionist Painter, 1839-1906 During the second half of the 19th century French impressionism created a dramatic break with the art of the past. In conception and appearance the style was radically new and, although it initially inspired public ridicule, it soon affected nearly every ambitious artist in western Europe. The new vision emerged during the 1870s, chiefly in the art of Claude Monet, Auguste Renoir, and Camille Pissarro. For each of these artists impressionism was an illusionistic style which differed from the tradition of Renaissance illusionism in its greater emphasis upon vibrant, natural color and on an immediate confrontation with the phenomena of the visible world. As the style developed during the 1880s, however, it increasingly became characterized by paintings which were flat rather than illusionistic. In other words, the impressionists insistence upon a direct application of pigment to canvas resulted in surfaces which declared themselves first of all as surfaces - and, consequently, in paintings which declared themselves first of all as paintings rather than as windows which looked out upon the natural world. The tendency toward flatness persisted into the last years of the 19th century, its pervasiveness giving the impression that illusionistic space - fought for, won, and defended since the very beginning of the Renaissance - had finally been sacrificed by the medium of painting. Paul C??zanne worked within and finally emerged from this trend. As a painter, he matured slowly, his greatest works coming during the last 25 years of his life. During this period he scored a remarkable and heroic achievement: he restored to painting the space and volume that had seemingly been lost to it. But he did it in a totally unprecedented way: not by return to the illusionism of the past but by the creation of a spatial illusionism that did not violate flatness. C??zanne was born on Jan. 19, 1839, in Aix-en-Provence. His father, Philippe Auguste, was the cofounder of a banking firm which prospered throughout the artist life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance. In 1852 C??zanne entered the Coll??ge Bourbon, where he met and became friends with Émile Zola. This friendship was decisive for both men: with youthful romanticism they envisioned successful careers in the Paris art world, C??zanne as a painter and Zola as a writer. Consequently, C??zanne began to study painting and drawing at the École des Beaux-Arts in Aix in 1856. His father opposed the pursuit of an artistic career, and in 1858 he persuaded C??zanne to enter law school at the University of Aix. Although C??zanne continued his law studies for several years, he was simultaneously enrolled in the School of Design in Aix, where he remained until 1861. In 1861 C??zanne finally convinced his father to allow him to go to Paris. He planned to join Zola there and to enroll in the École des Beaux-Arts. But his application was rejected and, although he had gained inspiration from visits to the Louvre, particularly from the study of Diego Vel??zquez and Caravaggio, C??zanne experienced self-doubt and returned to Aix within the year. He entered his father banking house but continued to study at the School of Design. The remainder of the decade was a period of flux and uncertainty for C??zanne. His attempt to work in his father business was abortive, and he returned to Paris in 1862 and stayed for a year and a half. During this period he met Monet and Pissarro and became acquainted with the revolutionary work of Gustave Courbet and Édouard Manet. C??zanne also admired the fiery romanticism of Eug??ne Delacroix paintings. But he was never entirely comfortable with Parisian life and periodically returned to Aix, where he could work in relative isolation. He retreated there, for instance, during the Franco-Prussian War (1870-1871).