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Friday, June 7, 2013

Cezanne, Paul


The Bay of Marseilles, Seen from L'Estaque
1886
oil on canvas
80.2 x 100.6 cm
The Art Institute of Chicago, IL, USA

In scale and resolution, this is the culminating work of a series of landscapes that Cezanne painted at L'Estaque. L'Estaque is a Mediterranean small French fishing village a few miles west of Marseille. Many artists of the Impressionist and Post-Impressionist periods visited or resided there or in the surrounding area. Many of them painted village scenes, the road leading to the village, and the view of the Bay from the village. During the early 1880s, Cezanne came to cherish L'Estaque as a retreat from the complexities of family life. It inspired some of his grandest landscapes, which are remarkable for the sense of deliberation and structure in every brushstroke and the finely balanced palette of blues and ochers. Cezanne painted many views of the water from his room in L'Estaque, showing the changing seasons, the shifting light of day, and the changes in the village itself over time.

"I am a pupil of Pissarro." (Cezanne)

Paul Cezanne (1839 - 1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th century conception of artistic endeavor to a new and radically different world of art in the 20th century. He can be said to form the bridge between late 19th century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. He is regarded today as one of the great forerunners of modern painting, both for the way that he evolved of putting down on canvas exactly what his eye saw in nature and for the qualities of pictorial form that he achieved through a unique treatment of space, mass, and color. In his early career, he was strongly influenced by Delacroix and Courbet, using thick slabs of paint to give his early works a sculptural presence and intensity. He exhibited with the Impressionists, but eventually rejected what he considered the Impressionists' lack of structure, declaring his intention to make Impressionism into "something solid and durable, like the art of museums" in the individual brushstroke and the fall of light onto objects.
The paintings convey his intense study of his subjects. His often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of color and small brushstrokes that build up to form complex fields. Misunderstood and discredited by the public during most of his life, his art grew out of Impressionism and eventually challenged all the conventional values of painting in the 19th century through its insistence on personal expression and on the integrity of the painting itself.

Cezanne was born at Aix-en-Provence in the south of France on Jan. 19, 1839. He went to school in Aix, forming a close friendship with the novelist Emile Zola. He also studied law there, but at the same time he continued attending drawing classes. Against the implacable resistance of his father, he made up his mind that he wanted to paint and in 1861 joined Zola in Paris. In Paris he met Camille Pissarro and came to know others of the impressionist group but he remained an outsider to their circle. Extremely personal in character, his early paintings deals with bizarre subjects of violence and fantasy in harsh, somber colors and extremely heavy paintwork. In the late 1870s, Cezanne however entered the phase known as "constructive",' characterized by the grouping of parallel, hatched brushstrokes in formations that build up a sense of mass in themselves. He continued in this style until the early 1890s.

Finally, living as a solitary in Aix rather than alternating between the south and Paris, he concentrated on a few basic subjects, still lifes of studio objects, studies of bathers, and successive views of the Mont Sainte-Victoire. The landscapes of the final years have a more transparent and unfinished look. By the time of his death on Oct. 22, 1906, his art had begun to be shown and seen across Europe, and it became a fundamental influence on the Fauves, the Cubists, and virtually all advanced art of the early 20th century.
He exhibited little in his lifetime and pursued his interests increasingly in artistic isolation. He did not gain commercial success until he was in his 50s.
He has been called the father of modern painting.
"Cezanne is the father of us all." (Matisse and Picasso).
http://www.imaginarymuseum.net/view/flipcard