Cezzanne Part2
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The document provides information on several paintings by Paul Cézanne from 1890-1906. It describes his style of depicting individuals or landscapes in a simplified manner through planes of color rather than detailed rendering. It notes that Cézanne sought to interpret and transfer images to canvas rather than reproduce nature exactly, anticipating later abstract art through reducing forms to basic shapes.
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- 2. c. 1890-91 (130 Kb); Oil on canvas, 54.2 x 66.5 cm (21 3/8 x 26 1/8 in); The Hermitage, St. Petersburg His men generally face forward, almost in a frieze. They are individuals in the same scenery, neither interacting nor overlapping. There is no eye contact between any of them. Cézanne's only real passion was his art, but that passion was never revealed on the canvas itself.
- 3. Les grandes baigneuses 1900-05 (140 Kb); Nudes in Landscape; Oil on canvas, 132.4 x 219.1 cm (52 1/8 x 86 1/4 in); The Barnes Foundation, Merion, Pennsylvania
- 4. Still Life `solidifier of Impressionism'' He does not draw his picture before painting it: instead, he creates space and depth of perspective by means of planes of color, which are freely associated and at the same time contrasted and compared.
- 5. Still Life with Water Jug c. 1892-3 (110 Kb); Oil on canvas, 53 x 71.1 cm; Tate Gallery, London
- 6. Still Life With a Basket (Kitchen Table) c. 1890-95; Musée d'Orsay, Paris
- 7. Chrysanthemums (Vase fleuri) 1896-98 (Rewald); c.1900 (160 Kb); Oil on canvas, 70 x 57.8 cm (27 1/2 x 22 3/4 in); The Barnes Foundation, Merion, Pennsylvania
- 8. Pyramid of Skulls c. 1901 (130 Kb); Oil on canvas, 37 x 45.5 cm (14 5/8 x 17 7/8"); Private collection
- 9. Landscape Cézanne immortalized the Provençal countryside with his broad, panoramic views. Often these are framed in branches, sometimes with architectural elements, but seldom with human activity. These too are still lifes. Cézanne's landscapes were not painted in the open air, as were those of the Impressionists, nor were they captured first with a camera. He composed the pictures the way he wanted them -- arranging the trees and the houses, probably gleaned from his sketchbooks, on the canvas in the configurations he decided upon. Etude: Paysage a Auvers (Study: Landscape at Auvers) c. 1873 (170 Kb); Oil on canvas, 46.3 x 55.2 cm (18 1/4 x 21 3/4"); Philadelphia Museum of Art
- 10. Jas de Buffan, The Pool c. 1876 (150 Kb); Oil on canvas, 46.1 x 56.3 cm (18 1/8 x 22 1/8 in); The Hermitage, St. Petersburg
- 11. Cézanne understood that a painting could not really do its subject justice. He knew that colors in nature and their combination with natural light could never be truly reproduced. He saw himself as an interpreter who had to accept the limitations of the medium and tried to transfer the images onto canvas the best way he could. He attempted to bridge the natural and artistic worlds . Maisons au bord d'une route c. 1881
- 12. Gardanne 1885-86
- 13. Maison et arbres 1890-94 (160 Kb); House and Trees; Oil on canvas
- 14. Le lac d'Annecy (Lake Annecy) 1896 (190 Kb); Oil on Canvas, 64.2 x 79.1 cm (25 1/4 x 31 1/8 in); Venturi 762; Courtauld Institute Galleries, London
- 15. Foliage 1895-1900 (150 Kb); Watercolor and pencil on paper, 44.8 x 56.8 cm (17 5/8 x 22 3/8 in); The Museum of Modern Art, New York
- 16. During the last decade of his life, Cézanne's paintings became more simplified, the objects in his landscapes reduced to components -- cylinders, cones and spheres. He is often seen as anticipating cubist and abstract art, because he reduced the imperfect forms of nature to these essential shapes. By the time of his death in 1906, Picasso and Braque were in the midst of exploring the most radical implications of his style. Houses on the Hill (River Bank) 1900-06 (100 Kb); Oil on canvas, 60.3 x 79.2 cm (23 3/4 x 31 3/8 in); McNay Art Institute, San Antonio, TX