It’s Day 237 and it’s funny because I thought I had already done a tribute to today’s artist! I think that’s a side-effect to this project at this point. I can’t even remember all the artists I’ve done. I am however feeling a little pressure to do the famous/greats of our times and the intimidation factor is heightening! Join me in honoring Paul Cézanne today!
Paul Cézanne (US /seɪˈzæn/ or UK /sɨˈzæn/; French: [pɔl sezan]; 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 endeavour to a new and radically different world of art in the 20th century. Cézanne’s often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne’s intense study of his subjects.
Cézanne can be said to form the bridge between late 19th-century Impressionism and
the early 20th century’s new line of artistic enquiry, Cubism. Both Matisse and Picasso are said to have remarked that Cézanne “is the father of us all.”
The Cézannes lived in the town of Cesana now in West Piedmont, and the surname may be of Italian origin. Paul Cézanne was born on 19 January 1839 in Aix-en-Provence, inProvence in the South of France. On 22 February, Paul was baptized in the Église de la Madeleine, with his grandmother and uncle Louis as godparents. His father, Louis-Auguste Cézanne (28 July 1798 – 23 October 1886), was the co-founder 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.
His mother, Anne Elisabeth Honorine Aubert (24 September 1814 – 25 October 1897), was “vivacious and romantic, but quick to take offence”. It was from her that Cézanne got his conception and vision of life. He also had two younger sisters, Marie and Rose, with whom he went to a primary school every day.
At the age of ten Paul entered the Saint Joseph school in Aix. In 1852 Cézanne entered the Collège Bourbon (now Collège Mignet), where he met and became friends with Émile Zola, who was in a less advanced class, as well as Baptistin Baille—three friends who would come to be known as “les trois inséparables” (the three inseparables). He stayed there for six years, though in the last two years he was a day scholar. In 1857 he began attending the Free Municipal School of Drawing in Aix, where he studied drawing under Joseph Gibert, a Spanish monk. From 1858 to 1861, complying with his father’s wishes, Cézanne 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 Cézanne and supported his choice of career. Cézanne later received an inheritance of 400,000 francs (£218,363.62) from his father, which rid him of all financial worries.
In Paris, Cézanne met the Impressionist Camille Pissarro. Initially the friendship formed in the mid-1860s between Pissarro and Cézanne was that of master and disciple, in which Pissarro exerted 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.
Cézanne’s early work is often concerned with the figure in the landscape and includes 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. Nevertheless, in Cézanne’s mature work there is 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”, and his contention that he was recreating Poussin “after nature” underscored his desire to unite observation of nature with the permanence of classical composition.
Cézanne was interested in the simplification of naturally occurring forms to their geometric essentials: he wanted to “treat nature by the cylinder, the sphere, the cone” (a tree trunk may be conceived of as a cylinder, an apple or orange a sphere, for example). Additionally, Cézanne’s desire to capture the truth of perception led him to explore binocular vision graphically, rendering slightly different, yet simultaneous visual perceptions of the same phenomena to provide the viewer with an aesthetic experience of depth different from those of earlier ideals of perspective, in particular single-point perspective. Cézanne’s innovations have prompted critics to suggest such varied explanations as sick retinas, pure vision, and the influence of the steam railway.
Cézanne’s paintings were shown in the first exhibition of the Salon des Refusés in 1863, which displayed works not accepted by the jury of the official Paris Salon. The Salon rejected Cézanne’s submissions every year from 1864 to 1869. He continued to submit works to the Salon until 1882. In that year, through the intervention of fellow artist Antoine Guillemet, he exhibited Portrait of Louis-Auguste Cézanne, Father of the Artist, reading ‘l’Evénement’, 1866 (National Gallery of Art, Washington, D.C.), his first and last successful submission to the Salon.
Before 1895 Cézanne exhibited twice with the Impressionists (at the first Impressionist exhibition in 1874 and the third Impressionist exhibition in 1877). In later years a few individual paintings were shown at various venues, until 1895, when the Parisian dealer, Ambroise Vollard, gave the artist his first solo exhibition. Despite the increasing public recognition and financial success, Cézanne chose to work in increasing artistic isolation, usually painting in the south of France, in his beloved Provence, far from Paris.
He concentrated on a few subjects and was equally proficient in each of these genres: still lifes,
portraits, landscapes and studies of bathers. For the last, Cézanne was compelled to design from his imagination, due to a lack of available nude models. Like the landscapes, his portraits were drawn from that which was familiar, so that not only his wife and son but local peasants, children and his art dealer served as subjects. His still lifes are at once decorative in design, painted with thick, flat surfaces, yet with a weight reminiscent of Gustave Courbet. The ‘props’ for his works are still to be found, as he left them, in his studio (atelier), in the suburbs of modern Aix.
Although religious images appeared less frequently in Cézanne’s later work, he remained a devout Roman Catholic and said, “When I judge
art, I take my painting and put it next to a God-made object like a tree or flower. If it clashes, it is not art.”
Cézanne’s paintings were not well received among the petty bourgeoisie of Aix. In 1903 Henri Rochefort visited the auction of paintings that had been in Zola’s possession and published on 9 March 1903 in L’Intransigeant a highly critical article entitled “Love for the Ugly”. Rochefort describes how spectators had supposedly experienced laughing fits, when seeing the paintings of “an ultra-impressionist named Cézanne”. Erroneously believing that Cézanne’s paintings in fact represented “the art dear to Zola” (Rochefort’s Dreyfusard arch-enemy), he drew connections between “Dreyfusard snobs,” so-called after the French officer who was accused but innocent of having sold defense plans to Germany, and Zola’s supposedly cherished artist, Cézanne. The public in Aix was outraged, and for many days, copies of L’Intransigeant appeared on Cézanne’s door-mat with messages asking him to leave the town “he was dishonouring”.
One day, Cézanne was caught in a storm while working in the field. Only after working for two hours under a downpour did he decide to go home; but on the way he collapsed. He was taken home by a passing driver. His old housekeeper rubbed his arms and legs to restore the circulation; as a result, he regained consciousness. On the following day, he intended to continue working, but later on he fainted; the model with whom he was working called for help; he was put to bed, and he never left it. He died a few days later, on 22 October 1906. He died of pneumonia and was buried at the Saint-Pierre Cemetery in his hometown of Aix-en-Provence.
Partial biography is from wikipedia. It’s a very long one so if you’re interested in all his eras/styles please visit it!
I of course had to do a still life with apples! I hope you enjoy my piece. I am really working hard to get the impressionistic painting style down and I think I’m getting more comfortable with it. The only issue I have with this piece is the shadows of the apples on the plate…I’m going to have to play around with shading and experiment more with that. I feel like it may be a little too hard edged. OR I’m just over-analyzing things. I still feel like I could’ve been a little softer with the shading. Anyways, hope you enjoy and I’ll see you tomorrow on Day 238!
[…] Artwork by Linda Cleary, “Still Life with Apples – Tribute to Paul Cezanne”, 2014 […]
You must have channeled Cezanne