Paul Cézanne
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| + | "The landscape thinks itself in me, and I am its consciousness."--[[Paul Cézanne ]] cited in ''[[Sense and Non-Sense]]'' (1948) by Maurice Merleau-Ponty | ||
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| + | "Le paysage [...] se pense en moi et je suis sa conscience" | ||
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| + | "The tang of the town is not in [[Paul Cézanne|Cezanne]]’s portraits of places. His leaden landscapes do not arouse to spontaneous activity a jaded retina fed on [[Fortuny]], [[Monticelli]] or [[Monet]]." --[[James Huneker]] cited in [https://archive.org/stream/jstor-25587466/25587466_djvu.txt] | ||
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| '''Paul Cézanne''' (19 January 1839 – 22 October 1906)<!--full dates in box, per MOS--> 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. | '''Paul Cézanne''' (19 January 1839 – 22 October 1906)<!--full dates in box, per MOS--> 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 is said to have formed the bridge between late 19th-century [[Impressionism]] and the early 20th century's new line of artistic enquiry, [[Cubism]]. Both [[Henri Matisse|Matisse]] and [[Pablo Picasso|Picasso]] are said to have remarked that Cézanne "is the father of us all." | + | Cézanne's explorations of geometric simplification and optical phenomena inspired [[Pablo Picasso|Picasso]], [[Georges Braque|Braque]], [[Jean Metzinger|Metzinger]], [[Albert Gleizes|Gleizes]], [[Juan Gris|Gris]] and others to experiment with ever more complex views of the same subject and eventually to the fracturing of form. Cézanne thus sparked one of the most revolutionary areas of artistic enquiry of the 20th century, one which was to affect profoundly the development of [[modern art]]. Picasso referred to Cézanne as "the father of us all" and claimed him as "my one and only master!" Other painters such as [[Edgar Degas]], [[Pierre-Auguste Renoir]], [[Paul Gauguin]], [[Kasimir Malevich]], [[Georges Rouault]], [[Paul Klee]], and [[Henri Matisse]] acknowledged Cézanne's genius. |
| - | ==''Cézanne's Doubt:'' An Essay by Maurice Merleau-Ponty== | + | [[Maurice Merleau-Ponty]] wrote "[[Cézanne's Doubt]]" (1945). |
| - | Cézanne's stylistic approaches and beliefs regarding how to paint were analyzed and written about by the French philosopher [[Maurice Merleau-Ponty]] who is primarily known for his association with phenomenology and [[existentialism]]. In his 1945 essay entitled ''[[Cézanne's Doubt]]'', Merleau-Ponty discusses how Cézanne gave up classic artistic elements such as pictorial arrangements, single view perspectives, and outlines that enclosed color in an attempt to get a "lived perspective" by capturing all the complexities that an eye observes. He wanted to see and sense the objects he was painting, rather than think about them. Ultimately, he wanted to get to the point where "sight" was also "touch". He would take hours sometimes to put down a single stroke because each stroke needed to contain "the air, the light, the object, the composition, the character, the outline, and the style". A still life might have taken Cézanne one hundred working sessions while a portrait took him around one hundred and fifty sessions. Cèzanne believed that while he was painting, he was capturing a moment in time, that once passed, could not come back. The atmosphere surrounding what he was painting was a part of the sensational reality he was painting. Cèzanne claimed: "Art is a personal apperception, which I embody in sensations and which I ask the understanding to organize into a painting." | + | |
| ==See also== | ==See also== | ||
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"The landscape thinks itself in me, and I am its consciousness."--Paul Cézanne cited in Sense and Non-Sense (1948) by Maurice Merleau-Ponty In French: "Le paysage [...] se pense en moi et je suis sa conscience" "The tang of the town is not in Cezanne’s portraits of places. His leaden landscapes do not arouse to spontaneous activity a jaded retina fed on Fortuny, Monticelli or Monet." --James Huneker cited in [1] |
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Paul Cézanne (19 January 1839 – 22 October 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's explorations of geometric simplification and optical phenomena inspired Picasso, Braque, Metzinger, Gleizes, Gris and others to experiment with ever more complex views of the same subject and eventually to the fracturing of form. Cézanne thus sparked one of the most revolutionary areas of artistic enquiry of the 20th century, one which was to affect profoundly the development of modern art. Picasso referred to Cézanne as "the father of us all" and claimed him as "my one and only master!" Other painters such as Edgar Degas, Pierre-Auguste Renoir, Paul Gauguin, Kasimir Malevich, Georges Rouault, Paul Klee, and Henri Matisse acknowledged Cézanne's genius.
Maurice Merleau-Ponty wrote "Cézanne's Doubt" (1945).
See also
- List of paintings by Paul Cézanne
- Cézanne (typeface)
- The Bathers (Cézanne)
- Post-Impressionism
- Marie-Hortense Fiquet
