Fia300.CezanneFInal

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Fia300.CezanneFInal

  1. 1. Doubtless there are things in nature which have not yet been seen. If an artist discovers them, he opens the way for his successors. 
 -Paul Cezanne
  2. 2. <ul><li>Cezanne's Provencal Landscape, although unfinished, exemplifies his devotion to the study of nature. Even though his style of painting evolved over time, nature remained constant throughout his work. </li></ul>
  3. 3. Paul Cezanne, Provencal Landscape c. 1887 - 1888, oil on canvas, 81.2 x 65.7 cm Ellie Thiele, Chelsea Fierst & Bridget Charlton
  4. 4. Introduction to Cezanne <ul><li>The Bridge </li></ul><ul><li>Cezanne, the impressionist </li></ul><ul><li>Developing a mature style </li></ul><ul><li>Nature as an inspiration </li></ul><ul><ul><li>He sought to be a worthy interpreter of the beauty he saw in the Provencal Landscape </li></ul></ul><ul><ul><li>“ P ainters must devote themselves entirely to the study of nature and try to produce pictures which will be an education ” -Paul Cezanne </li></ul></ul>
  5. 5. <ul><li>“ The decade was a turbulent one personally for Cezanne: his father died, his mother’s health began to fail, and he broke off relations with his closest friend, Zola. Despite the emotional upheaval, the paintings from this period are suggestive of the artist’s continuing aspiration, in his own words, ‘to make of impressionism something solid and enduring, like the art in museums.’” </li></ul>
  6. 6. Subject Provencal Landscape c. 1887 Oil on Canvas 31 7/8 x 25 5/8 in. mature period
  7. 7. Aix-en-Provence <ul><li>Southern France </li></ul><ul><li>Known for its lush countryside </li></ul><ul><li>Location of many of Cezanne’s paintings </li></ul><ul><li>Cezanne left a lasting impression in this area </li></ul><ul><ul><li>Atelier Cezanne </li></ul></ul><ul><ul><li>Hotel Cezanne </li></ul></ul><ul><li>&quot;When I was in Aix, I thought I would be better off elsewhere. Now that I'm here, I regret Aix... when one is born there, that's it, nothing else appeals.&quot;
 </li></ul><ul><ul><li>Cezanne in Letter to Philippe Solari, Tailloires, July 23,1896 </li></ul></ul>
  8. 8. <ul><li>Located in the cultural and history city center </li></ul><ul><li>the first boutique hotel in Aix-en-Provence </li></ul><ul><li>“ Strong in Colour and in Composition” just like Cezanne himself </li></ul>Hotel Cezanne, Aix en Provence Atelier Cezanne, Aix en Provence <ul><li>The studio at Les Lauves </li></ul><ul><li>Shows the many </li></ul><ul><li>focuses of Cezanne </li></ul><ul><li>Could see mount saint- </li></ul><ul><li>Victoire from the </li></ul><ul><li>window and often </li></ul><ul><li>painted it from there </li></ul>
  9. 9. Jas de Bouffan <ul><li>The Cezanne family estate - Located near Aix-en-Provence </li></ul><ul><ul><li>37 acres </li></ul></ul><ul><li>One of the most significant Provencal sites for Cezanne </li></ul><ul><li>used it as a summer residence in his early years </li></ul><ul><ul><li>Purchased in 1859 </li></ul></ul><ul><ul><li>Moved the Jas de Bouffan permanently in 1970 </li></ul></ul><ul><li>Cezanne frequently painted on the grounds of the estate </li></ul><ul><ul><li>The manor itself was the subject of many of his works </li></ul></ul>Paul Cezanne, The House of the Jas de Bouffan c. 1874, oil on canvas Paul Cezanne, Jas de Bouffan, The Pool c. 1876, oil on canvas
  10. 10. <ul><li>Landscape </li></ul><ul><li>Probably located on or near the Jas to Bouffan </li></ul><ul><li>Trees are the focal point </li></ul><ul><li>&quot;Do you remember the pine tree on the bank of the Arc, which bent its shaggy head over the wide pool extending at its feet? That pine, whose foliage shielded our bodies from the heat of the sun? Ah! May the gods protect it from the fatal stroke of the wood-cutter's axe.” - Cezanne in a letter to Zola, 1858 </li></ul>
  11. 11. Cezanne’s Tree Motif <ul><li>Used as both traditional framing images as well as the principal subject </li></ul><ul><li>Particularly fascinated with large pines and chestnut trees </li></ul>Paul Cezanne, The Aqueduct, c. 1885 -90, oil on canvas Paul Cezanne, The Large Pine , c. 1889, oil on canvas
  12. 12. <ul><li>Possible result of the Mistras </li></ul><ul><li>Writhing trees </li></ul><ul><li>“ Van Gogh admires the coloristic precision in Cezanne's canvases…he also suggests that, if Cezanne's touch sometimes seems awkward, this is because of the mistral, which makes his canvases shake as he paints on them.” </li></ul>Vincent van Gogh, Olive Trees with Yellow Sky and Sun , 1889
  13. 13. Composition Provencal Landscape c. 1887 Oil on Canvas 31 7/8 x 25 5/8 in. mature period
  14. 15. “ Beginning around 1880, Cézanne moved beyond the flickering brushwork characteristic of impressionism to his more mature style , which is notable for its structured application of paint in the form of dense, parallel brush strokes . The patches of color rendered in this way unite his compositions through an overall surface pattern, a tapestry-like effect .”
  15. 16. Comparison Paul Cezanne, Provencal Landscape, c. 1887 Camille Pissarro, Rue des Voisins , 1871
  16. 17. People: <ul><li>Emile Zola </li></ul><ul><li>Gustave Courbet </li></ul><ul><li>Edouard Manet </li></ul><ul><li>Camille Pissarro </li></ul><ul><li>Nicolas Poussin </li></ul>
  17. 18. Research info: Katsushika Hokusai South Wind, Clear Sky From the series Thirty-Six Views of Mt. Fuji: Color Woodblock Print
  18. 19. Research Info: Early Cezanne Paul Cezanne, The Railway Cutting , 1870, oil on canvas
  19. 20. Research Info: Cezanne’s Mature Period (c.1877 - 1895) Paul Cezanne, The Gulf of Marseille Seen from L’Estaque, c. 1885 Paul Cezanne, Montagne Sainte-Victoire , c. 1887 Paul Cezanne, Montagne Sainte-Victoire Seen from Les Lauves, 1902-04 Paul Cezanne, Chateau Noir,1900-04
  20. 21. Conclusion <ul><li>Cezanne attempted to bridge the natural and artistic worlds </li></ul><ul><li>the brush strokes and colors are meant to be interdependent on one another </li></ul><ul><li>Late career, he used color in short strokes or in almost mosaic patches </li></ul><ul><li>During WWI Gwendoline Davies visited the Berneheim-Jeune Gallery in France </li></ul><ul><li>In February 1918 she purchased Cezanne’s Provencal Landscape, and Midday, L'Estaque </li></ul>
  21. 22. <ul><li>Websites: </li></ul><ul><li>http://www.dl.ket.org/webmuseum/wm/paint/auth/cezanne/land/index.htm </li></ul><ul><li>http://cezanne.hotelaix.com/index_uk.php </li></ul><ul><li>http://www.atelier-cezanne.com/anglais/surlespas.htm </li></ul><ul><li>http://www.artnet.com/magazineus/features/tuchman/tuchman9-29-05_detail.asp?picnum=5 </li></ul><ul><li>http://www.nga.gov/exhibitions/2006/cezanne/motif2.shtm </li></ul><ul><li>http://www.frenchentree.com/france-provence-living/DisplayArticle.asp?ID=17217 </li></ul><ul><li>http://www.geschichteinchronologie.ch/eu/F/EncJud_Dreyfus-affaire-1894-1906-d/012-Emile-Zola-portrait.jpg </li></ul><ul><li>http://www.expo-cezanne.com/2.cfm </li></ul><ul><li>http://www.pbs.org/cezanne/the_life_of_paul_cezanne.html </li></ul><ul><li>Books: </li></ul><ul><li>Fiero, Gloria. The Humanistic Tradition vol. 2. New York:The McGraw-Hill Companies, 2006. </li></ul><ul><li>Reff, Theodore. “ P ainting and Theory in the Final Decade.” The Late Work. New York: The Museum of Medern Art, 1977. </li></ul><ul><li>Fiero, Gloria. The Humanistic Tradition vol. 2. New York:The McGraw-Hill </li></ul>Sources:

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