Paul Cezanne Essays - Art Movements, Paul Czanne, Aids To Navigation

Paul Cezanne Paul C?zanne was born in Aix-en-Provence, a small town south of France. As a young boy, C?zanne's passions lay in his poetry and his friends, including Emile Zola (Preble 402). C?zanne is included in the time of the Post-Impressionists. C?zanne wanted "to make Impressionism into something solid and enduring like the art of museums" (Preble 401). C?zanne did not have a typical, (as I define as friendly), relationship with his father. C?zanne had some problems with his father. C?zanne's father wanted for C?zanne to be a lawyer. His father had sent him to a college for lawyers but C?zanne was coaxed otherwise by his friend Zola her moved to Paris (Preble 402). C?zanne's father had bought the Jas de Bouffan, which would be the place that C?zanne did many of his works (Rewald 21). The Jas de Bouffan would be their residence for over a half a century. In one of C?zanne's paintings of their residence he omits people and animals that, like in most of his paintings, would disrupt the unchanging features of the scene (Murphy 150). C?zanne's father was always in a struggle with his son. His father was one that could not comprehend anyone being able to be successful in anything that did not make him or her rich. One thing that his father had to be able to recognize was that his son had determination, but his father was utterly blind in seeing his son's talent (Rewald 35). When C?zanne's father died, C?zanne spoke of him as a genius for leaving him an income of 25,000 francs (Murphy 123). C?zanne married his 12-year affair Hortense Fiquet. A few months after their marriage, C?zanne's father died. Hortense was not welcome at the Jas de Bouffan by C?zanne's mother and sister. People say that his mother and sister banned her from the house and they were in a rage of giving her too much money (Murphy 117). C?zanne's sister, Marie, was the one that encouraged the marriage, even though she disliked Hortense, in hope that in would lift the spirits of her brother. Hortense and C?zanne did not along very well (Rewald 125). Even after their marriage, C?zanne had no thought about living the Jas or his other and sister. C?zanne thought that 16,000 francs, which were her share, was all that she needed (Rewald 125). Emile Zola was Paul's best friend. C?zanne and Zola were attracted by their shared interest in literary movements and artists. Zola and C?zanne played an important role in each other's life with Zola helping start C?zanne's art career and C?zanne helping Zola to start thinking about pictorial art (Murphy 14). C?zanne at one point thought he could write and some of his works are found in his letters to Zola: Dark, thick unwelcome mist covers me up; The sun withdraws its last handful of diamonds (Murphy 14). Zola was a very important person on telling the history of C?zanne. However, their friendship had its rocky times and its breakup by Zola. Zola can recall the complete disorder of C?zanne's studio (Rewald 62). Zola tells us how C?zanne rarely swept the interior of his studio for fear that the dust would disrupt his works. C?zanne based his work on the observation of nature and used separate strokes that were visible to make rich surfaces (Preble 400). C?zanne tried counting on the connection between adjacent strokes of color to show the entirety of the form and the space decreasing. In C?zanne's The Saint Victoire from Bellevue we can see how C?zanne uses this technique to show space and depth from a flat plane. C?zanne likes to make alterations on nature and enlarge the mountain; C?zanne also makes spatiality more clear and distinct than the actual photographs of the motifs (Loran 125). C?zanne seemed to be obsessed by this mountain and somewhat exaggerated the size of it in every one of his paintings (Murphy 154). In another view of this, entitled Mont Saint-Victoire, C?zanne uses the tree to show height by extending it the entire length of the canvas. C?zanne utilizes color contrasts to show depth playing with cool and warm color shifts (Schapiro 66). C?zanne painted this scene at least 60 times from every possible angle. C?zanne had a very distinct style of painting. To move out of the style of the broken-color of the Impressionists, C?zanne created the system of modulating the colors from a volume of cool to warm or light to dark. He made a series of steps (Loran 25). As the colors begin to overlap they are