Biography cezanne paul

The colors and forms thus became the dominant elements of his compositions, completely freed from the rigid rules of perspective and paint application as promoted by the Academy. In his own words, it was "something other than reality" that he endeavored to reveal. The central feature of these still lifes was the crucial shift of attention from the objects themselves, to the forms and colors that were potentially communicated by their surfaces and contours.

One was the depiction of the Mont Sainte-Victoire, a dramatic mountain that dominated the parched and stony landscape at Aix. The other was the final synthesis of nature and the human body in a series of so-called Bathers nudes depicted frolicking in a landscape.

Biography cezanne paul

The later versions of the Bathers were becoming increasingly abstract in regard to how form and color seemed to fuse together on the canvas. The last decade of his life had been marred by the development of diabetes and severe depression, which contributed toward alienating the artist from most of his friends and family. With his reputation evolving steadily in the late years of his life, an increasing number of young artists fell under the influence of his innovative vision.

Among them was the young Pablo Picasso , who would soon steer the Western tradition of painting into yet another new and utterly unprecedented direction. Content compiled and written by Ivan Savvine. Edited and published by The Art Story Contributors. The Art Story. Important Art. A Modern Olympia The Card Players Study of Trees c. Mont Sainte-Victoire c.

The Large Bathers Early Training. Mature Period. Late Period and Death. Influences and Connections. Useful Resources. Similar Art and Related Pages. The eye is not enough; it needs to think as well. Under Pissarro's tutelage, and within a very short time during , Cezanne shifted from dark tones to bright hues and began to concentrate on scenes of farmland and rural villages.

Although he seemed less technically accomplished than the other impressionists, Cezanne was accepted by the group and exhibited with them in and In general the impressionists did not have much commercial success, and Cezanne's works received the harshest critical commentary. He drifted away from many of his Parisian contacts during the late s and '80s and spent much of his time in his native Aix.

After , he did not work closely again with Pissarro. In , Cezanne became embittered over what he took to be thinly disguised references to his own failures in one of Zola's novels. As a result he broke off relations with his oldest supporter. In the same year, he inherited his father's wealth and finally, at the age of 47, became financially independent, but socially he remained quite isolated.

Cezanne's goal was, in his own mind, never fully attained. He left most of his works unfinished and destroyed many others. In such a manner Pissarro and the others hoped to capture the most transient natural effects as well as their own passing emotional states as the artists stood before nature. He drifted away from many of his Parisian contacts during the late s and 's and spent much of is time in his native Aix.

After , he did not work closely again with Pissarro. As a result he broke off relations with his oldest supporter. In the same year, he inherited his father's wealth and finally, at the age of 47, became financially independent, but socially he remained quote isolated. He left most of his works unfinished and destroyed may others. He complained of his failure at rendering the human figure, and indeed the great figural works of his last years - such as the Large Bathers - reveal curious distortions that seem to have been dictated by the rigor of the system of color modulation he imposed on his own representations.

Working slowly and patiently, the painter transformed the restless power of his earlier years into the structuring of a pictorial language that would go on to impact nearly every radical phase of 20th-century art. Each of these works seems to confront the viewer with its identity as a work of art; landscapes, still lifes and portraits seem to spread out in all directions across the surface of the canvas, demanding the viewer's full attention.

These brushstrokes have been credited with employing 20th century Cubism's analysis of form. We strive for accuracy and fairness. If you see something that doesn't look right, contact us! Frida Kahlo. Jean-Michel Basquiat. Georgia O'Keeffe. Fernando Botero.