Famous Artists
| Paul Cezanne | Salvador Dali | Renoir | Wassily Kandinsky | Joan Miro | Tamara de Lempicka |
| Claude Monet | Gauguin Paul | Picasso | Botero Fernando | Van Gogh | William Bouguereau |
| Paul C¨¦zanne (January 19, 1839 ¨C October 22, 1906) was a
French artist and Post-Impressionist painter whose work laid the foundations
of the transition from the 19th century conception of artistic endeavour to
a new and radically different world of art in the 20th century. C¨¦zanne can
be said to form the bridge between late 19th century Impressionism and the
early 20th century's new line of artistic enquiry, Cubism. The line
attributed to both Matisse and Picasso that C¨¦zanne "is the father of us
all" cannot be easily dismissed. C¨¦zanne's work demonstrates a mastery of design, colour, composition and draftsmanship. His often repetitive, sensitive and exploratory brushstrokes are highly characteristic and clearly recognisable. He used planes of colour and small brushstrokes that build up to form complex fields, at once both a direct expression of the sensations of the observing eye and an abstraction from observed nature. The paintings convey C¨¦zanne's intense study of his subjects, a searching gaze and a dogged struggle to deal with the complexity of human visual perception. The C¨¦zannes came from the small town of Cesana now in West Piedmont, and it has been assumed that they were ultimately of Italian origin. Paul C¨¦zanne was born on January 19, 1839 in Aix-en-Provence, one of the southernmost regions of France. On February 22nd, Paul was baptized in the parish church, with his grandmother and uncle Louis as godparents. His father, Louis- Auguste C¨¦zanne (July 28, 1798 ¨C October 23, 1886), was the cofounder of a banking firm that prospered throughout the artist's life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance. On the other hand, his mother, Anne-Elisabeth Honorine Aubert (September 24, 1814 ¨C October 25, 1897), was vivacious and romantic, but quick to take offense. It was from her that Paul got his conception and vision of life. He also had two younger sisters, Marie, with whom he went to a primary school every day, and Rose. At the age of ten, Paul entered the Saint Joseph boarding-school, where he studied drawing under Joseph Gibert, a Spanish monk, in Aix. In 1852 C¨¦zanne entered the Coll¨¨ge Bourbon (now Coll¨¨ge Mignet), where he met and became friends with ¨¦mile Zola, who was in a less advanced class. He stayed there for six years, though in the last two years he was a day scholar. From 1859 to 1861, complying with his fatherˇŻs wishes, C¨¦zanne attended the law school of the University of Aix, while also receiving drawing lessons. Going against the objections of his banker father, he committed himself to pursuing his artistic development and left Aix for Paris in 1861. He was strongly encouraged to make this decision by Zola, who was already living in the capital at the time. Eventually, his father reconciled with C¨¦zanne and supported his choice of career. C¨¦zanne later received an inheritance of 400,000 francs from his father, which rid him of all money fears. In Paris, C¨¦zanne met the Impressionists, including Camille Pissarro. Initially the friendship formed in the mid-1860s between Pissarro and C¨¦zanne was that of master and mentoree, with Pissarro exerting a formative influence on the younger artist. Over the course of the following decade their landscape painting excursions together, in Louveciennes and Pontoise, led to a collaborative working relationship between equals. C¨¦zanne's early work is often concerned with the figure in the landscape and comprises many paintings of groups of large, heavy figures in the landscape, imaginatively painted. Later in his career, he became more interested in working from direct observation and gradually developed a light, airy painting style that was to influence the Impressionists enormously. Nonetheless, in C¨¦zanne's mature work we see the development of a solidified, almost architectural style of painting. Throughout his life he struggled to develop an authentic observation of the seen world by the most accurate method of representing it in paint that he could find. To this end, he structurally ordered whatever he perceived into simple forms and colour planes. His statement "I want to make of impressionism something solid and lasting like the art in the museums",[12] and his contention that he was recreating Poussin "after nature" underscored his desire to unite observation of nature with the permanence of classical composition. |
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