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Cezanne

Cezanne. Post-Impressionism. Cezanne. Father was stock broker Cezanne trained as lawyer, while attending drawing academy Studied in Paris, painted in Impressionists style, but was rejected at 1874 Impressionists exhibition Went back home (Aix-en -Provence) to continue painting in obscurity

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Cezanne

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  1. Cezanne Post-Impressionism

  2. Cezanne • Father was stock broker • Cezanne trained as lawyer, while attending drawing academy • Studied in Paris, painted in Impressionists style, but was rejected at 1874 Impressionists exhibition • Went back home (Aix-en -Provence) to continue painting in obscurity • Impressionists used colour to dissolve form, He used patches of colour to build it up.

  3. Cezanne as Impressionist • He was largely untrained so his early work was crude compared to other Impressionists.

  4. Cezanne as Post-Impressionist • Cézanne's grasp of form and solid pictorial structures came to dominate his mature style. • His overriding concern with form and structure set him apart from the Impressionists from the start.

  5. Composition and Solid Form • The subject of the work is less important than a well constructed design and solid forms.

  6. Composition and Solid Form

  7. Composition and Solid Form • The main objects are arranged roughly in a triangle or pyramid.

  8. Composition and Solid Form • He paints still-life, landscape, and the figure as if there is a permanent geometry (cones, cylinders, & spheres) under the surface.

  9. Jug and Fruit 1906

  10. Squarish Patches • Cezanne uses flat squarish patches of colour to serve two purposes: 1) To create a 2D surface for compositional unity, and 2) To suggest separate planes that shape 3D solidity and space.

  11. Still-life with Onions 1895

  12. Painted over a long period of time ( often fruit rotted - replaced with wax fruit) • Forms based on basic geometric forms - cylinder, cubes, cones, & spheres. • Design most imp. - distorts for design - more imp. than imitation of objects.

  13. Works like Still-Life with Onions are often seen from multiple perspectives.

  14. Subject • Form & composition, with colour used to achieve both • Actual subject not as imp. as solid and unified qualities of work as whole

  15. Perspective • Not sitting in same position each time • Influenced Cubism

  16. Composition • Objects, and direction of line are carefully placed for overall asymmetrical balance. • He will even tilt objects to add to flow of composition.

  17. Colour • Warm hues of fruit contrast cool of surroundings. • Warm colours advance and cool colours recede.

  18. Still-life with Plaster Cast 1895

  19. Still-life with Plaster Cast 1895 Subject • Domestic Still-life objects combined with dramatic baroque sculpture (art history)

  20. Still-life with Plaster Cast 1895 • Plaster cupid by Puget is a plaster copy (copy of a copy) & in the background is a painting of a copy of The Flayed Man (copy of copy of copy)

  21. Still-life with Plaster Cast 1895 • Tension between foreground and background • Which is real & which is illusion?

  22. Still-life with Plaster Cast 1895 • There is a tension between two dimensional qualities and three dimensional qualities.

  23. Still-life with Plaster Cast 1895 • Painting contains subtle shifts of perspective due to long period of painting • The artists position changes so perspective changes.

  24. Still-life with Plaster Cast 1895 • The apple placed in background floor is same scale as foreground apples. • Traditional scale & perspective are intentionally ignored in order to balance the composition.

  25. Mont Sainte-Victoire, 1904

  26. Mont Sainte-Victoire • Part of a series painted more than 30 times • The mountain dominates landscape

  27. Mont Sainte-Victoire, 1904 • Form - Distorted, reduced to pyramid shape (geometry)

  28. Mont Sainte-Victoire, 1904 • Perspective- wanted canvas to remain flat, so he didn't use traditional aerial perspective

  29. Mont Sainte-Victoire, 1904 • Space - depth achieve through contrast of warm & cool colour • Compressed space - foreground, middle ground & background painted with same intensity, and similar squarish patches of colour • Canvas maintains flat quality - sky seems as close as foreground

  30. Mont Sainte-Victoire, 1904 • Colour- Felt free to adjust relationships of colour (distort) for design sake. • Modulated - colours and values distributed to produce visual balance

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