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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 The Large Bathers oil painting

Painting ID::  357

X 
 

Paul Cezanne
The Large Bathers
1900-05 The Barnes Foundation
   
   
     

 

 

Paul Cezanne Le Chateau Noir oil painting

Painting ID::  358

X 
 

Paul Cezanne
Le Chateau Noir
1900-04 National Gallery of Art, Washington DC
   
   
     

 

 

Paul Cezanne The Artist's Father oil painting

Painting ID::  359

X 
 

Paul Cezanne
The Artist's Father
1866 National Gallery of Art, Washington DC
   
   
     

 

 

Paul Cezanne The House of Pere Lacroix in Auvers oil painting

Painting ID::  360

X 
 

Paul Cezanne
The House of Pere Lacroix in Auvers
1873 National Gallery of Art, Washington DC
   
   
     

 

 

Paul Cezanne Still Life with Drapery oil painting

Painting ID::  361

X 
 

Paul Cezanne
Still Life with Drapery
1899 The Hermitage, St.Petersburg
   
   
     

 

 

Paul Cezanne Girl at the Piano oil painting

Painting ID::  362

X 
 

Paul Cezanne
Girl at the Piano
1868-69 ' The Hermitage, St.Petersburg
   
   
     

 

 

Paul Cezanne Onions and Bottles oil painting

Painting ID::  363

X 
 

Paul Cezanne
Onions and Bottles
1895-1900 Musee d'Orsay, Paris
   
   
     

 

 

Paul Cezanne Vessels, Basket and Fruit oil painting

Painting ID::  364

X 
 

Paul Cezanne
Vessels, Basket and Fruit
1888-90 Musee d'Orsay, Paris
   
   
     

 

 

Paul Cezanne The House of Dr Gauchet in Auvers oil painting

Painting ID::  365

X 
 

Paul Cezanne
The House of Dr Gauchet in Auvers
1873 Musee d'Orsay, Paris
   
   
     

 

 

Paul Cezanne Boy in a Red Waistcoat oil painting

Painting ID::  366

X 
 

Paul Cezanne
Boy in a Red Waistcoat
1890-95 Stiftung Sammlung E.G.Buhrle, Zurich
   
   
     

 

 

Paul Cezanne Mardi Gras oil painting

Painting ID::  367

X 
 

Paul Cezanne
Mardi Gras
1888 Stiftung Sammlung E.G.Buhrle, Zurich
   
   
     

 

 

Paul Cezanne Montagne Sainte-Victoire oil painting

Painting ID::  368

X 
 

Paul Cezanne
Montagne Sainte-Victoire
1890-94 National Gallery of Scotland, Edinburgh
   
   
     

 

 

Paul Cezanne Still Life oil painting

Painting ID::  369

X 
 

Paul Cezanne
Still Life
1890-94
   
   
     

 

 

Paul Cezanne Cherries and Peaches oil painting

Painting ID::  370

X 
 

Paul Cezanne
Cherries and Peaches
1883-87 Los Angeles County Museum of Art
   
   
     

 

 

Paul Cezanne Self Portrait on a Rose Background oil painting

Painting ID::  371

X 
 

Paul Cezanne
Self Portrait on a Rose Background
1875-77 Galerie Beyeler, Basle
   
   
     

 

 

Paul Cezanne Three Bathers oil painting

Painting ID::  10810

X 
 

Paul Cezanne
Three Bathers
1875 - 1877. 8 3/4" x 7 1/2" ( 22x19 cm).
   
   
     

 

 

Paul Cezanne Pastoral(Idyll) oil painting

Painting ID::  11357

X 
 

Paul Cezanne
Pastoral(Idyll)
ca 1870 2' 1 1/2'' x 2' 8''(65 x 81cm)
   
   
     

 

 

Paul Cezanne Head of and Old Man oil painting

Painting ID::  11358

X 
 

Paul Cezanne
Head of and Old Man
ca 1866 1' 8'' x 1' 7''(51 x 48 cm)
   
   
     

 

 

Paul Cezanne Achille Emperaire oil painting

Painting ID::  11359

X 
 

Paul Cezanne
Achille Emperaire
ca 1868 6' 6 3/4'' x 4'()200x 122 cm Gift of Mrs.Rene Lecomte and Mrs.Louis de Chaisemartin,1964
   
   
     

 

 

Paul Cezanne The Magdalen,or Sorrow oil painting

Painting ID::  11360

X 
 

Paul Cezanne
The Magdalen,or Sorrow
ca 1868-1869 5' 5'' x 4' 1 1/2''(165 x 125.5 cm) Gift of an anonymous Canadian,1952
   
   
     

 

  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).