By: Racquel Sampedro, Fernando Rodríguez

1. PAUL CÉZANNE

2. Paul Cézanne was a Post-Impressionist French painter who
was born on January the 19th, 1839.
His father was the co-founder of a banking firm that
prospered throughout the artist's life, affording him financial
security that was unavailable to most of his contemporaries
and eventually resulting in a large inheritance.
When Paul Cézanne was 10, he entered the Saint Joseph
School, where he met Émile Zola and Baptistin Baille and
the three became very good friends. His father gave him
400000 francs which rid him of all financial worries.
In Paris, Cézanne met Camille Pissarro. Cézanne's early work
is often concerned with the figure in the landscape. Then he
started to focus on painting from direct observation and
gradually developed a light, airy painting style.

3. Cézanne's work is broadly post-impressionist. His work helped
the transition from the 19th century idea of art to the very
different world of art in the 20th century. Cézanne forms the
bridge between late 19th century Impressionism and the early
20th century Cubism. The line attributed to both Matisse and
Picasso that "Cézanne is the father of us all" is significant.
Cézanne's work demonstrates a mastery of design, colour and
composition. His brushstrokes are 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, a searching gaze and a struggle to deal with the
complexity of human visual perception.

4. The work of Post-Impressionist French painter can be said to have formed the bridge
between late 19th century Impressionism and the early 20th century's new line of
artistic inquiry, Cubism. The mastery of design, tone, composition and color that spans
his life's work is highly characteristic and now recognizable around the world. Both
Henri Matisse and Pablo Picasso were greatly influenced by Cézanne.
Post-impressionism CubismImpressionism Modern art
We can resume Cezzane's art periods in:

5. Post-impressionism
Paul Cézanne's paintings from his post-impressionism stage are peculiar, bearing little
overt resemblance to the artist's mature and more important style. The subject matter
is brooding and melancholy and includes fantasies, dreams, religious images and a
general preoccupation with the macabre. His technique in these early paintings is
similarly romantic, often impassioned.
His early work had a sense of energy and revealed a profound depth of feeling.
Though Cézanne received encouragement from Pissarro and some of the other
Impressionists during the 1860s and enjoyed the occasional critical backing of his
friend Zola, his pictures were consistently rejected by the annual Salons and frequently
inspired more ridicule than did the early efforts of other experimenters in the same
generation.

8. Impressionism
In 1872, Cézanne moved to Pontoise, France, where he spent two years working very
closely with Pissarro. He taught Cézanne new ways to paint with brushstrokes of pure
colour. Also during this period, Cézanne became convinced that one must paint directly
from nature. One result of this change in artistic philosophy was that romantic and
religious subjects began to disappear from Cézanne's canvases. Additionally, the
somber, murky range of his palette began to give way to fresher, more vibrant colors.
The more personal direction his work began to take was not well-aligned with that of
other Impressionists, and his art continued to generate disappointing responses from
the public at large. In fact, after the third Impressionist show, Cézanne did not exhibit
publicly for nearly 20 years.

10. Cubism
Cézanne was not primarily interested in creating an illusion of depth in his painting
and he abandoned the tradition of perspective drawing. Perspective, which had been
used since the Early Renaissance, was a geometric formula that solved the problem
of how to draw three-dimensional objects on a two dimensional surface. Cézanne
felt that the illusionism of perspective denied the fact that a painting is a flat two-
dimensional object. He liked to flatten the space in his paintings to place more
emphasis on their surface - to stress the difference between a painting and reality. He
saw painting in more abstract terms as the construction and arrangement of colour
on a two-dimensional surface. It was this flat abstract approach that appealed to the
Cubists and their early paintings, such as Picasso.

12. Haga clic para agregar texto