A consideration of the life and legend of Cezanne and what factors beyond his work may have contributed to our understanding and interpretation of his art and its influence.
Abstract This examination of Cezanne and the attempt to account for his foundational position in the history of modern art focuses on three themes that run through the literature on this remarkable yet problematic artist. It begins with the issue of form and its theoretical implications. Several contemporary critics and artists are considered in the critical debate of Cezanne's form and his concept of 'realisation', including Maurice Denis and the Nabis, Emile Bernard, Roger Fry, and D.H. Lawrence. It also addresses the question of objects, focusing on the still life's, through which many believe Cezanne reinvented the genre. The artist's technique is also examined, including his use of tone and 'modulation.' Technique is further analyzed in a section on Cezanne's landscapes.
Outline
Form and Mysticism
Objects and Object hood: Still Life
The Artist in Nature
The Artist and the Painter
From the Paper "Color, drawing, modelling, and structure unite in the creation of form--a central theme in Cezanne criticism which produces many types of analysis and, for some, leads beyond technique into phenomenology, metaphysics, or mysticism. The Nabis movement had already linked art with a spirituality through some members' interest in theosophy. Maurice Denis, coming from this background, saw something transcendent in Cezanne's works. He, along with Emile Bernard, spoke of the absence of 'material vision' and the representation of a different order of form."
Abstract This paper reviews the styles of the artists Vincent Van Gogh and Paul Cezanne through analysis of some of their greatest works of arts. It portrays Van Gogh Van Gogh as a master painter whose impact on both Impressionism and Expressionism cannot be undermined and how his approach to his work was clearly conceptual and his goal was to use painting to express emotions. While Van Gogh was a master of technique, Paul Cezanne was a master of style and the flair he used in painting is canvasses captured the attention of many young painters. The paper shows how both artists were of equal genius and yet had such different temperaments.
From the Paper "The model's face is focused on as Cezanne uses a white tone that creates a cold and unbreakable structure yet, the dress and the darker colors of the wall allow that coldness to merge creating a balance of hues. The stark lines of the wall and the harsh color of the background finds relief in the light tones of the curtain and the brightness of the dress. Each color is perfectly balanced and each form symmetrically achieved contrasting against the other to harmonize the overall picture. Cezanne attempted to create a natural harmony with the people and the space, which they occupied. He stated that, "painters must devote themselves entirely to the study of nature and try to produce pictures which will be an education" (Rewald 1995, 303) "
Abstract This paper analyzes two pieces of art in terms of their content and design, as well as investigating the periods during which these pieces were produced. The two works that are explored are "Landscape with Saint John on Patmos" by Nicolas Poussin and Paul Cezanne's "Mont Saint- Victoire". Both images are of landscapes featuring mountains, yet the overall composition and execution of both pieces is remarkably different
This paper explores the relationship between art and technology and concentrates on the importance of photography in the emergence between art and technology.
Abstract With the developments in technology, the connection between art and technology came faster than ever. This paper explores how the invention of photography affected the relationship between art and technology in the history of art. It includes genres like Impressionism, Modernism, and Dadaism, and also talks about very important figures of art history, such as Pablo Picasso, Edgar Degas, and Paul Cezanne.
From the Paper "The first major modern technological advance that began to change the face of art was photography. Photography was invented by the French painter Louis Daguerre in 1837 and was immediately met with opposition from many in the art world. Artists had long struggled trying to capture a realistic portrait of the world around them. Now with photography, science had succeeded marvelously. Thus, the photograph introduced an era of mechanical reproducibility which challenged the accepted paradigm of artistic genius: the concept of a work of art as a unique image created by hand by a trained artist. Photography slowly began taking the jobs earlier filled by artists. It proved to be a faster and less expensive way to accurately portray the world; therefore, photography was used to take pictures of buildings and portraits where earlier an artist would have been commissioned (Wolter-Abele, 1)."
Abstract This paper examines the style, artists and impact of cubism, the most prominent art movement of the early 20th century. The paper discusses early influences on the development of cubism, including Paul Cezanne, Georges Braque and Pablo Picasso. Next, the paper studies analytic cubism and critiques some of the style's most well-known paintings and sculptures. The paper concludes with an investigation of the passing of cubism and its legacy on the art world.
From the Paper "Cubism is the most influential art movement to emerge in the first quarter of the Twentieth Century. "It may have said to have begun in 197 with Pablo Picasso's Les Demoiselles d'Avignon. The movement was influenced by archaic and primitive sculpture. Particularly of West Africa." (Alexander, p. 288) Another influence was Paul Cezanne, whose works were exhibited in Paris in 1905 and 1907. It was something he said that started some of the other Parisian artists moving toward Cubism. "You must see in nature the cylinder, the sphere, and the cone." He published this in 1907, but the actual term "cubism" may have come from Henri Matisse's phrase: "avec les petits cubes" (with little cubes). He said that in a disparaging way upon seeing some of the works of Georges Braque."
Abstract This paper provides an examination of how the self portraits of three artists--Rembrandt, Gauguin and Cezanne-- work autobiographically. The paper looks at how the self-portraits reveal glimpses into the lives of the artists as well as their place in history.
From the Paper "It has been said that art imitates life. Certainly this seems to be the case in many artistic works throughout history and will most likely continue to be the case in the work of generations of artists yet to come. This is reflected most, perhaps, in the self-portraits of artists, as the very notion of self-portraiture implies some amount of introspection and personal experience. This is why many such self-portraits are said to be-at least in part-autobiographical in nature. Here we will examine..."
Abstract In this article, the writer looks at realism and notes that realism was also considered to be illusionism. The writer explains that this was because, in realism, the artist made every attempt to create the illusion that what was being seen was as though the viewer were looking through a window into a moment in life. The writer points out that illusionism required a strong focus on shadow and light, as well as the composition of the figure in relationship to the canvas. The writer discusses the concept of illusion in painting, focusing on paintings by Ingres, Cezanne and Matisse, small copies of which are included in the paper.
From the Paper "In the painting by Ingres the painter has utilized black background in order to give the illusion that the subject is close in proximity to the viewer. The line of the drapes serves to draw the viewer's eye closer to the subject, leading into the line of the woman that is the center of focus. The artist then uses shadow and light to accentuate the figure, detailing the shape of her form. Color is also used to add to the portrait, with blues in the drapes and on the bed. This serves as an additional background for the flesh tones that are used, which are mildly distorted on the legs, as the artist attempted to give the illusion of leg length and realism in relation to the woman's position on the bed. Additionally, naturalistic tones have been used in the painting that adds to the realistic affect of the work."
Abstract An examination of the Impressionism Movement and various well-known impressionists. The paper looks at the influence each artist has had on the artists that have followed and how the Impressionists set into motion the idea that artists should follow their own ideas and develop their own unique techniques. The author uses a number of painting images in this paper.
From the Paper "It is impossible to imagine walking into an art gallery today, and not being shown pieces belonging to such breakthrough artists as Claude Monet, August Renoir, or Paul C?zanne. The influence that such artists had on their society, their generation, and the many generations to follow is immeasurable. Impressionist painters were seen as rebels, or radical in that they broke many of the rules regarding painting of the time. The fact of the matter is that as the impressionism movement continued, a new class of radicals sprung up, finding alternative methods of painting in direct correlation to a somewhat negative reaction to the constraints of impressionism. From these two revolutionary movements, however, have come some of the finest pieces of artwork, along with the founding fathers of what modern art has evolved into."
Tags: art, monet, cezanne, van, gogh, renoir, impressionist, paint, influence
From the Paper "In the early twentieth century, Picasso introduced the style of painting which has come to be known as Cubism. This style is characterized by a distortion of figures, the breaking down of objects into basic shapes, and the depiction of multiple viewpoints all at once. According to the art historian Anna Moszynska, "this extreme fragmentation of form marked a fundamental break with existing modes of pictorial expression" (Moszynska, 1990, p. 11). Picasso's abstraction of reality was seen as being shockingly new at the time. However, Picasso was not alone in creating Cubism. In this, he was strongly influenced by the Post.Impressionist painters who came before him. Specifically, he was influenced by Cezanne's use of basic geometric shapes to depict landscapes and objects. Guided by the work of Cezanne, "Picasso began to treat solid forms in a more ..."
Abstract This paper looks at the history and origins of Impressionism and Modernism. It looks at some of the by-products of these art forms, and the techniques employed by well-known Impressionists and Modernists. The paper also describes and analyzes the paintings of some of the most famous impressionist and modernist artists.
From the Paper "Although the term "Impressionism" was first used in 1874 by a journalist ridiculing a landscape by Monet, the bitter controversy that raged for twenty years over the merits of Impressionism actually began eleven years earlier, in 1863, at the Salon des Refuses, an exhibition held to accommodate the exceptionally numerous works rejected by the jury for the salon that year. It was here that Manet shocked the viewing public with his Dejeuner sur l'Herbe ("Luncheon on the Grass"), which portrays a nude woman and two clothed men seated in the woods. Thus, Manet's refusal to idealize the figures or make the event seem less contemporary offended many critics and art dealers, for with this painting, Manet had drawn away the curtain of classical illusion and brought the nude up-to-date."
Abstract Matisse was the founder and of course, leader of Fauvism which itself was influenced by names like Van Gogh and Cezanne. Although the movement did not last long, Matisse developed his own unique style that is still remembered as one that had to do primarily with bright colors.
Abstract This three-page undergraduate paper is a visual analysis of Paul Cezanne's "The House With Cracked Walls" and Picasso's "Boulevard Montmartre on a winter morning" (1897). While Paul Cezenne changed from expressionism to impressionism to classicism to cubism, and experimented with various other art forms like romanticism of which "The House With Cracked Walls" is an example, Pissarro remained Impressionistic and only experimented with Neo-Impressionism for a while. The difference was due to one's unstable personality as compared to the other's balanced nature. This difference is shown in their paintings. 3 pgs. Bibliography lists 7 sources.
This paper discusses the lives and works of Pablo Picasso, Henri Matisse and Diego Rivera, all masters but from different backgrounds and different training, who may have been influenced by one another.
Abstract This paper explains that Spaniard Pablo Picasso was basically a painter who extended his art to sculptures in ceramic and bronze; in the early 1900s, he created the visual style of Cubism, which concentrated on the two dimensional surface of pictures and did not honor the old techniques of perspective, foreshortening, modeling and chiaroscuro. The author points out that Frenchman Henri Matisse's "Large Red Interior" (1948), a painting of his studio, is a dynamic painting with an excellent relationship between line and color and probably his last statement on his life as an easel painter. The paper relates that the art of Mexican muralist Diego Rivera reflects the Mexican Civil War and the struggles of World War I; in France for 14 years, Rivera studied the works of Matisse, Paul Gauguin and Paul Cezanne and similar artists.
From the Paper "Now let us look at the education of the three masters, and Picasso attended many art schools during his childhood as his father taught there. He did not finish his course at any college and left his course in less than a year from the Royal Academy of San Fernando in Madrid. Whereas Picasso was a Spaniard, Henri Matisse was born in France in 1869 at Cateau-Cambresis. His father was a seed merchant and Matisse did not get in touch with art in his early years. He decided to study law and gave up only when he was sick and took up arts as he had started painting during the period of his sickness. After changing colleges he finally enrolled at Ecole des Beaux. Even there he could not complete his course due to differences with the teachers."
Abstract This paper briefly describes the origins of the Impressionist movement, the artists that best represent the Impressionism movement and how the movement, in essence, sought to create the illusion of forms bathed in light and atmosphere.
From the Paper "Although the term "Impressionism" was first used in 1874 by a journalist ridiculing a landscape by Monet, the bitter controversy that raged for twenty years over the merits of Impressionism actually began eleven years earlier in 1863 at the Salon des Refuses, an exhibition held to accommodate the exceptionally numerous works rejected by the jury for the salon that year. It was here that Manet shocked the viewing public with his Dejeuner sur l'Herbe which helped to withdraw the curtain of classical illusion and brought the nude up-to-date. This form of "Impressionism" set the artistic stage for many years to come and influenced an entire generation of painters well into the 20th century. "
Abstract This paper explains that, in 1907, Georges Braque, who initially was greatly influenced by Henri Matisse, with his friend Pablo Picasso, rediscovered Paul Cezanne, the originator of the Cubist movement. Braque's style went through a radical transformation. The author points out that, within a three year period, Picasso and Braque invented Analytic Cubism, a new, completely non-illusionistic and non-imitative method of depicting the visual world; the collaboration between Braque and Picasso was so close and intense that often only experts can distinguish Braque's painting of 1910 -1912 from those of Picasso. The paper relates that Cubism, which survived in its purest form until the mid-1920s, had an impact on the art world that extended far beyond the existence of the painting style itself and paved the way for several other art revolutions, including Dada and surrealism.
From the Paper "From 1917 to 1920, Georges Braque's works are derived compositionally from Synthetic Cubism, which is the second phase of Cubism and began around 1914. These paintings were much flatter and more "variegated in color," and included "brightly dotted decorative passages." Sometime around 1930, Braque moved to the coast of Normandy in France, and as a result, the subject of this paintings changed, and now included bathers, beach scenes, and seascapes as his favorite themes, while stylistically, he "became increasingly interested in ornamentation and patterned surfaces." By the early 1940's, Braque was concerned with melancholy themes, and from 1945, birds became a dominant subject. And then by the 1950's, Braque had returned to the brilliant colors of the Fauve period, "as in the Louvre ceiling, 1952-53, and the decoration for the villa at Saint Paul-de-Vence, 1954." Georges Braque remained active until the end of his life, and his work includes sculpture, graphics, book illustration and decorative art."
