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."

Tags:art, bell, cezanne, clive, denis, form, fry, landscape, life, maurice, modern, nabis, painting, realisation, roger, significant, zola

Abstract
This paper asserts that, although Paul Cezanne was called the father of modern art and associated initially with the Impressionists, historians must consider that he abandoned his early style in favor of an increasingly abstract interpretation that was both innovative and archaic through a fusion of contemporary considerations, which is called primitivism. The paper supports this contention through a formal analysis of three masterpieces by Cezanne: "Large Bathers", "The Modern Olympia" and "Temptation of St Anthony". The paper concludes with a review of Cezanne's own reflections on his philosophy of his art.

Table of Contents:
Introduction
The Artist's Agenda: Disconnection from the Academy through Unity with Nature
Triad of Primitivism: "Large Bathers", "The Modern Olympia" and "Temptation of St. Anthony"
Conclusion: Cezanne and Philosophy: A Conglomeration of Connections

From the Paper
"The term "primitive" generally refers to a period of time characterized by the use of simple technology. Particular European Artists attempted to appropriate the form and imaging of the primitive subject as a means to escape "history." Flam explains that this agenda was adopted not only by Matisse and Picasso, but by each of the artists now referenced as the Fauves. In the context of Cezanne's artistic endeavors, primitivism may be regarded as both a movement away from the technological sophistication of the modern Western world and a reinterpretation of ancient paganism that is both alien to the contemporary."

Tags:academy, redesign, rebellion, provence, classical

Abstract
This essay provides a discussion of the artist generally considered the father of 19th century painting, Paul Cezanne. The essay briefly describes his life before revealing his ideology of painting as expressed in the variety of styles that influenced his works before he ultimately created a style of painting that was distinctly his own.

From the Paper
"This research presents a discussion of the artistic ideology and artworks of Paul Cezanne, considered the father of 19th century art and a pioneer of modernism. The research offers a brief discussion of the artist's life, his views of perception and the variety of styles that influenced him before he evolved a completely new form of art. His romanticist, impressionistic, still life pieces and his post-impressionistic works are discussed, and examples are rendered in the appendix. A conclusion discusses Cezanne's view of the artist and how he or..."

Tags:romanticism, impressionism, post-impressionism, modernism, light, color, perception, isolation, out-of-doors, nature

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) "

Tags:impressionism, expressionism, emotions, creativity, motifs, breakdown

Abstract
This paper discusses the works "The Large Bathers" by Paul Cezanne" and The Abduction of Europa" by Noel-Nicolas Coypel. The paper discusses how both these two paintings share much in common, how both show women in the nude, both use water and clouds as important elements and how both are built upon triangles. The paper also examines how they are also very different in their depictions of detail, light, and movement.

From the Paper
"The overwhelming triangular shape created by the trees draws the eye of the viewer to look at two figures standing on the shore opposite the women and at the town even further in the distance, with the trees and the bathers creating a frame around these objects. And yet, upon further viewing, there is little to be seen that is of interest in the background. Perhaps it is most interesting that the two figures are not clearly depicted as potraying man or beast, but could be any combination of the two. The figure on the left could arguably be a cow or some other beast of burden and its shorter broader companion a small child who is leading the beast to water. In the water is a figure, perhaps a swimmer in mid-stroke or a duck with some splashing by its partner who is diving for a fish."

Tags:oil, nudes, light, triangles

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

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 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..."

Tags:gauguin, cezanne, rembrandt

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)."

Tags:cezanne, dadists, degas, edgar, impressionism, modernism, photography

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."

Tags:picasso, cezanne, braque, sculpture, painting, blue, rider, papier, colle, expressionism, analytic