Post-Impressionism
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Paul Cezanne
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| When: |
1839-1906 |
| Where: |
France |
| Who: |
Trained under Pissarro - Learnt to use brighter
colours and consistent brushstrokes. |
| What: |
Exhibited with the Impressionists, after being
rejected by the Salon. |
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Even among the Impressionists, he was laughed
at and criticised. |
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Retreated to Aix in 1886 and devoted to art. |
| What: |
His one and only goal: “to render, whatever
our power or temperament in the presence of nature may be, the
likeness of what we see, forgetting everything that has appeared
before our day." |
| Early Style: |
Early paintings were characterised by strong,
dark colours and bold brushstrokes.
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The Abduction
1867
Oil on canvas
89.5 x 115.5 cm
Fitzwilliam Museum, Cambridge, UK |
A Modern Olympia
c. 1873-1874
Oil on canvas
46 x 55.5 cm
Musee d'Orsay, Paris |
| Mature Style: |
Later, instead of imitating reality as it appeared to the
eye, he attempted to “reproduce nature in terms
of the cylinder and the sphere and the cone.”
Simplify the objects into near-abstract forms fundamental
to all reality.
He believed that beneath all the changes the appearances of
the objects go through, there is a fundamental, unchanging
structure.
He wanted to bring out this fundamental, permanent geometric
structure that underlies everything.
Through this process, he would create paintings that are "solid
and durable, like the art of the museums, to carve out the
underlying structure of things."
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| Subjects: |
Landscapes
Still Lifes
Figures |
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Landscape:
Mont Sainte-Victoire |
Painted more than 30 times.
Defining the scene with coloured planes.
Using the pull and push effects of warm and cool colours,
he created paintings like a piece of jig-saw puzzle.
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Mont Sainte-Victoire (La Montagne Sainte-Victoire)
1885-1895
Oil on canvas
72.8 x 91.7 cm
The Barnes Foundation, Merion, Pennsylvania |
Mont Sainte-Victoire
1900
Oil on canvas
78 x 99 cm
Hermitage, St. Petersburg |
Mont Sainte-Victoire (Le Mont Sainte-Victoire)
1902-04
Oil on canvas
69.8 x 89.5 cm
Philadelphia Museum of Art |
| Note: |
The change of painting style.
The gradual flattening of the forms. |
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| Still Lifes |
Worked on these for a long time, as a result he would have
to use wax fruits.
He constantly reworked on these paintings over a length of
time.
As a result, there are mulitple of viewpoints - ambiguity
caused the flattening of the picture plane.
Some of the objects do look as of they are falling off the
table. Why?
However, sense of depth is created by the play of warm and
cool colours.
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Still Life with Compotier
1879-1882
Collection Mr. and Mrs. Rene Lecomte, Paris |
Still Life with Plate of Cherries
1885-87
Oil on canvas
58.1 x 68.9 cm
Los Angeles County Museum of Art |
Still Life with Plaster Cupid
1895
27 1/2 x 22 1/2 in
Courtauld Institute of Art, London |
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Apples & Oranges
c. 1899
Oil on canvas
74 X 93 cm
Musee du Louvre, Galerie du Jeu de Paume, Paris |
Compotier, Pitcher, & Fruits
1892-1894
Oil on canvas
72.5 x 91.8 cm
The Barnes Foundation, Merion, Pennsylvania
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Still Life with Flower Holder
c. 1905
Oil on canvas
81.3 X 100.7 cm
National Gallery of Art, Washington |
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| Fiigures |
Man in a Room
Oil on canvas
80 x 57.2 cm
The Barnes Foundation, Merion, Pennsylvania |
Madame Cézanne in a Yellow Chair
1888-90
Oil on canvas
81 x 64.9 cm
The Art Institute of Chicago |
The Card Players
1890-1892
Oil on canvas
17 3/4 x 22 1/2 in
The Louvre, Paris |
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| Bathers: |
Did not paint from models, rather from imagination after studying
the work of Rubens and El Greco.
The resulting paintings of the bathers are abstract and only
the essential structures of the figures are depicted. |
Large Bathers
1899-1906
Oil on canvas
81 7/8 x 98 in (208 x 249 cm)
Philadelphia Museum of Art |
Bathers
1900-1906
Oil on canvas
130 x 195 cm
National Gallery, London |
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