Paul CÃÆ'Â © zanne ( US: or UK: ; France: Ã, [p> L sezan] ; 19 January 1839 - October 22, 1906) is a French artist and Post-Impressionist painter whose work laid the foundations of the transition from a 19th century conception of artistic endeavor to a new and very different world of art in the 20th century. Repeated and repetitive brush strokes of CÃÆ'Â © zanne are very distinctive and clearly recognizable. He uses the field of color and small brush strokes that form to form a complicated field. The paintings convey an intense study of CÃÆ'Â © zanne towards his people.
CÃÆ'Â © zanne is said to have formed a bridge between late 19th century Impressionism and the beginning line of artistic inquiry of the early 20th century, Cubism. Both Matisse and Picasso are said to have said that CÃÆ'Â © zanne "is the father of all of us."
Video Paul Cézanne
Live and work
Initial and family years
The CÃÆ' © zannes comes from the commune of Saint-Sauveur (Hautes-Alpes, Occitania). Paul CÃÆ'Â © zanne was born on January 19, 1839 in Aix-en-Provence. On February 22, he was baptized in ÃÆ' â € ° glise de la Madeleine, with his grandmother and uncle Louis as godparents, and became a devout Catholic in the future. His father, Louis Auguste CÃÆ'Â © zanne (1798-1886), a native of Saint-Zacharie (Var), was the founder of banking firm (Banque CÃÆ' Â © zanne et Cabassol) who prospered throughout the artist's life, giving him financial security unavailable to some great contemporaries and ultimately produce a great inheritance.
His mother, Anne Elisabeth Honorine Aubert (1814-1897), was "passionate and romantic, but quickly offended". From him that CÃÆ' Â © zanne get his conception and vision of his life. She also has two younger sisters, Marie and Rose, with whom she goes to elementary school every day.
At the age of ten CÃÆ'Â © zanne entered the school of Saint Joseph in Aix. In 1852 CÃÆ'Â © zanne entered the CollÃÆ'¨ge Bourbon (now CollÃÆ'¨ge Mignet), where he became friends with ÃÆ' â € ° mile Zola, who was in a less advanced class, as well as Baptistin Baille - three friends who came to be known as "les trois insÃÆ' Â © parable" (the three are inseparable). He lived there for six years, though in the last two years he was a day scholar. In 1857, he began attending the Free Town Drawing School in Aix, where he studied drawing under Joseph Gibert, a Spanish monk. From 1858 to 1861, according to his father's wishes, CÃÆ'Â © zanne attended the law school of Aix University, while also receiving drawing lessons.
Against his father's rejection, he committed to pursue his artistic development and left Aix for Paris in 1861. He was strongly encouraged to make this decision by Zola, who had lived in the capital at the time. Finally, his father reconciled with CÃÆ'Â © zanne and supported his career choice. CÃÆ' Â © Zanne then received a heritage of 400,000 francs from his father, who rid him of all financial worries.
Artistic style
In Paris, CÃÆ'Â © zanne met with Impressionist Camille Pissarro. Initially the friendship that formed in the mid-1860s between Pissarro and CÃÆ'Â © zanne was master and disciple, in which Pissarro gave formative influence on younger artists. Over the next decade, their landscape painting journey together, at Louveciennes and Pontoise, leads to a cooperative working relationship between the equal.
The early work of CÃÆ'Â © zanne is often associated with figures in the landscape and includes many large group paintings, heavy figures in the landscape, imaginatively painted. Later in his career, he became more interested in working from direct observation and gradually developed a light and airy painting style. Nevertheless, in the adult works of CÃÆ'Â © zanne there is a development of architecturally compacted and almost architectural styles. Throughout his life he struggled to develop authentic observations of the world that were seen with the most accurate method of representing them in paints he could find. To this end, he structurally commands whatever he feels into simple colored shapes and fields. His statement "I want to make impressionism something solid and enduring like art in a museum", and his opinion that he re-created Poussin "after nature" underlines his desire to unify the observations of nature with the timelessness of classical composition.
Optical phenomena
CÃÆ'Â © zanne is interested in simplifying natural forms for their geometric needs: it wants to "treat nature with cylinders, balls, cones" (tree trunks can be understood as cylinders, apples or orange spheres, for example). In addition, the desire of CÃÆ'Â © zanne to capture the truth of perception led him to explore binocular vision graphically, giving a bit of a different visual perception, but simultaneous of the same phenomenon to give the viewer a depth aesthetic experience different from the perspective of the initial perspective, in particular the single point perspective. His interest in new modes of space and volume is derived from the stereoscopic obsessions of his day and from reading the spatial perception theory of Hippolyte Taine. Innovation CÃÆ'Â © zanne has encouraged critics to suggest diverse explanations such as pain retinas, pure vision, and the influence of steam railways.
Exhibits and subjects
The paintings of CÃÆ' © zanne are featured in the first exhibition of the Salon des RefusÃÆ'  © s in 1863, featuring works not received by the official Paris Salon jury. The salon refused the filing of CÃÆ' © zanne every year from 1864 to 1869. He continued to submit works to the Salon until 1882. In that year, through the intervention of fellow artist Antoine Guillemet, he exhibited the Portrait de MLA , perhaps > Portrait of Louis-Auguste CÃÆ'  © zanne, Artist's Father, Reading "L'ÃÆ'¨ÃÆ'ÃÆ'ÃÆ'  ° ÃÆ' 'nement" , 1866 (National Art Gallery, Washington, DC), his first and final successes are subject to Salon.
Prior to 1895 CÃÆ'Â © zanne was exhibited twice with Impressionists (at the first Impressionist exhibition in 1874 and the third Impressionist exhibition in 1877). A few years later, several paintings were displayed in various places, until 1895, when Parisian dealer Ambroise Vollard gave his first solo artist. Despite public recognition and increased financial success, CÃÆ'Â © zanne chose to work in improving artistic isolation, usually painting in southern France, in his beloved Provence, away from Paris.
She concentrates on several subjects and is equally adept in each genre: still life, portraits, scenery and studies of baths. For the latter, CÃÆ'Â © zanne was forced to design from his imagination, due to the lack of available naked models. Like the landscape, the portrait is taken from what is familiar, so not only his wife and son but the local farmers, his children and his art dealer serve him as the subject. His still life is at once decorative in design, painted with thick, flat surfaces, yet with a heavy reminiscent of Gustave Courbet. 'Props' for his works remains to be found, as he leaves them, in his studio (atelier), on the outskirts of modern Aix.
CÃÆ'Â © zanne's paintings are not well received among the petty bourgeoisie of Aix. In 1903, Henri Rochefort visited the auction of the paintings that had belonged to Zola and published on March 9, 1903 at L'Intransigeant a very important article titled "Love for the Ugly". Rochefort describes how audiences should experience laughter when they see the painting "an ultra-impressionist named CÃÆ' Â © zanne". The public at Aix was furious, and for days, a copy of L'Intransigeant appeared above the door mat CÃÆ'Â © zanne with messages asking him to leave the city "he does not respect".
Death
One day, CÃÆ'Â © zanne was caught in a storm while working in the fields. After working for two hours, he decided to go home; but on the street he fainted. He was taken home by a passing driver. His elderly housekeeper rubbed his arms and legs to restore circulation; as a result, he regained consciousness. The next day, he intends to continue working, but then he passes out; the model with whom he works for help; he was put to sleep, and he never left her. He died a few days later, on 22 October 1906 due to pneumonia and was buried at the Saint-Pierre Cemetery in his hometown of Aix-en-Provence.
Maps Paul Cézanne
The main working period CÃÆ'Â © zanne
Various periods in the work and life of CÃ © zanne have been set.
Dark Period, Paris, 1861-1870
In 1863 Napoleon III was made by decree Salon des RefusÃÆ' © s, in which the painting was denied to be displayed in the AcadÃÆ' © nà © nà © nà © des Beaux-Arts must be displayed. The artists of the rejected work included the young Impressionists, who were considered revolutionaries. CÃÆ' © zanne is influenced by their style but his social relationship with them is incompetent - he looks rude, shy, angry, and succumbs to depression. His works in this period are characterized by dark colors and heavy black usage. They were sharply different from the previous watercolors and sketches in ÃÆ'â € cole SpÃÆ' © ciale de dessin in Aix-en-Provence in 1859, and their expression violence was different from the next work.
In 1866-67, inspired by Courbet's example, CÃÆ'Â © zanne painted a series of paintings with a palette knife. He then calls these works, mostly portraits, une couillarde ("harsh words for extraordinary virility"). Lawrence Gowing has written that the pallet knife phase of CÃÆ'Â © zanne "is not just the invention of modern expressionism, although by chance that, the idea of ​​art as an emotional ejaculation first appeared this time".
Among the paintings of the couillarde is a series of portraits of his uncle Dominique in which CÃÆ'Â © zanne achieved a style that is "united with a divided Impressionism". Then the works of the dark period include some erotic or violent subjects, such as Woman Dressing ( c. 1867 ), The Rape ( c. 1867 ), and The Murder ( c. 1867-68 ), which depicts a man stabbing a woman held by her female leg.
Impressionist, Provence and Paris, 1870-1878
After the start of the Franco-Prussian War in July 1870, CÃÆ'Â © zanne and his lover, Marie-Hortense Fiquet, left Paris for L'Estaque, near Marseilles, where he changed the theme to the main scene. He was declared a dodger in January 1871, but the war ended the following month, in February, and the couple moved back to Paris, in the summer of 1871. After the birth of their son Paul in January 1872, in Paris, they moved to Auvers in Val-d'Oise near Paris. Mother CÃÆ'Â © zanne had a party for a family event, but her father was not informed about Hortense for fear of risking her anger. Artist receives from his father a monthly allowance of 100 francs.
Camille Pissarro lives in Pontoise. There and in Auvers he and CÃÆ'Â © zanne paint the scene together. For a long time after that, CÃÆ'Â © zanne described himself as Pissarro's disciple, who referred to him as "God the Father", and said: "We are all from Pissarro." Under the influence of Pissarro, CÃÆ'Â © zanne began to leave a darker color and the canvas became lighter.
Leaving Hortense in the Marseille region, CÃÆ'Â © zanne moved between Paris and Provence, showing off in the first show (1874) and third Impressionist (1877). In 1875, he attracted the attention of collector Victor Chocquet, who provided financial assistance. But the paintings of CÃÆ'Â © zanne on display attract excitement, anger, and sarcasm. Louis Leroy's reviewer says of CÃÆ'Â © zanne's portrait of Chocquet: "This strange-looking head, the color of old boots might give [a pregnant woman] a shock and cause yellow fever in her uterus before entering the world."
In March 1878, father CÃÆ'Â © zanne knew about Hortense and threatened to cut CÃÆ'Â © zanne financially, but, in September, he relented and decided to give him 400 francs for his family. CÃÆ'Â © zanne continued to migrate between the regions of Paris and Provence until Louis-Auguste owned a studio built for him in his house, Bastide du Jas de Bouffan, in the early 1880s. It is on the top floor, and an enlarged window is provided, allowing northern light but disturbing the roofline. This feature persists to this day. CÃÆ'Â © zanne stabilizes his residence in L'Estaque. He painted with Renoir there in 1882 and visited Renoir and Monet in 1883.
Adolescence, Provence, 1878-1890
In the early 1880s the family of CÃÆ'Â © zanne stabilized their residence in Provence where they lived, except for short visits abroad, since then. This move reflects a new independence from Paris-based impressionists and a marked preference for the land south, CÃÆ'Â © zanne. Hortense's brother has a house in the view of Montagne Sainte-Victoire in Estaque. This series of mountain paintings from 1880 to 1883 and others from Gardanne from 1885 to 1888 are sometimes known as the "Constructive Period".
The year 1886 was a turning point for the family. CÃÆ' Â © zanne is married to Hortense. That same year, CÃÆ'Â © zanne's father died, leaving him a purchased property in 1859; he is 47 years old. In 1888, the family was in the former manor, Jas de Bouffan, a large house and land with other buildings, which provide new comfort. This house, with its vast land, is now owned by the city and is open to the public on a limited scale.
For many years it was believed that CÃÆ'Â © zanne broke his friendship with ÃÆ' â € ° Zola mile, after the latter used him, in large part, as the basis for the fictitiously failed and ultimately tragic artist Claude Lantier, in L'OEuvre .
Recently letters have been found that deny this. A letter from 1887 indicates that their friendship survives.
The last period, Provence, 1890-1906
The beautiful period of CÃÆ'Â © zanne in Jas de Bouffan is only temporary. From 1890 until his death he was beset by troubling events and he drew deeper into his paintings, spending a long time as a virtual hermit. His paintings became famous and sought after and he is the object of honor of the new generation of painters.
The problem began with the onset of diabetes in 1890, destabilizing his personality to the point where relationships with others were again strained. He was traveling in Switzerland, with Hortense and his son, probably hoping to restore their relationship. CÃÆ' Â © zanne, however, returned to Provence for life; Hortense and Paul junior, to Paris. The financial need encourages the return of Hortense to Provence but in a separate residence. CÃÆ'Â © zanne moved with her mother and sister. In 1891 he turned to Catholicism.
CÃÆ'Â © zanne alternated between painting in Jas de Bouffan and in the Paris area, as before. In 1895, he made a germinal visit to BibÃÆ' Â © mus Quarries and climbed the Montagne Sainte-Victoire. The labyrinth landscape of the mine must have a record, when he rented a cabin there in 1897 and painted it extensively. Its form is believed to have inspired the embryonic "Cubism" style. Also that year, his mother died, an annoying event but that made reconciliation with his wife possible. He sold an empty nest in Jas de Bouffan and rented a place on Rue Boulegon, where he built a studio.
The relationship, however, continues to be a storm. He needs a place to be himself. In 1901 he bought some land along Chemin des Lauves, a deserted road in some of the highlands in Aix, and commissioned a studio to be built there (now open to the public). He moved there in 1903. Meanwhile, in 1902, he had compiled a will that excluded his wife from his inheritance and handed it over to his son. The relationship seems to be dead again; he is said to have burned a memento of his mother.
From 1903 to the end of his life he painted in his studio, working for a month in 1904 with â € Å"mil Bernard, who lives as a guest house. After his death it became a monument, Atelier Paul CÃÆ'Ã… © zanne, or les Lauves.
" CÃÆ' Â © zanne's Doubt ": an essay by Maurice Merleau-Ponty
CÃÆ'Â © zanne approaches and beliefs about how to paint are analyzed and written by the French philosopher Maurice Merleau-Ponty who is primarily known for his connection with phenomenology and existentialism. In his article entitled "CÃÆ' Â © zanne's Doubt", Merleau-Ponty discusses how CÃÆ'Â © zanne releases classical artistic elements such as pictorial arrangements, single view perspectives, and elaborates that color is enclosed in an attempt to gain a "living perspective" by capturing all the observed complexity of the eye. He wanted to see and feel the things he painted, rather than thinking about them. In the end, he wants to get to the point where "sight" is also "touching". He will take hours sometimes to put a stroke because each stroke must contain "air, light, object, composition, character, outline, and style". The surviving life may have taken CÃÆ'¼zanne hundred work sessions while portraits took him about one hundred and fifty sessions. CÃÆ'¨zanne believes that while he is painting, he captures the moment in time, which has passed, can not return. The atmosphere surrounding the painting is part of the sensational reality that he painted. CÃÆ'¨zanne claims: "Art is a personal perception, which I manifest in sensation and that I ask for understanding to organize myself into a painting."
Legacy
The works of CÃÆ'Â © zanne were rejected many times by the official Salon in Paris and were ridiculed by art critics when exhibited with Impressionists. But during his lifetime, CÃÆ'Â © zanne was considered a master by a young artist who visited his studio in Aix.
After CÃÆ'Â © zanne died in 1906, his paintings were exhibited in a large retrospective like the museum in Paris, September 1907. The 1907 Retrospective CÃÆ'Â © zanne in Salon d'Automne greatly influenced the direction taken by the avant-garde in Paris, lending credence to his position as one of the most influential artists of the nineteenth century and to the rise of Cubism.
Inspired by CÃÆ'Â © zanne, two young artists wrote:
CÃÆ'Â © zanne is one of the greatest of those who changed the course of art history... From him we have learned that changing the coloring of an object means changing its structure. His work proves beyond a doubt that painting is not - or no longer - the art of imitating objects by lines and colors, but giving the shape [solid, but immutable] plastics into our nature. (Albert Gleizes and Jean Metzinger in Du "Cubism" , 1912)
The exploration of geometric simplification and the optical phenomenon of Zanne inspired Picasso, Braque, Metzinger, Gleizes, Gris, and others to experiment with more complex views of the same subject and ultimately on form fractures. CÃÆ'Â © zanne thus sparked one of the most revolutionary fields of artistic inquiry of the 20th century, which greatly influenced the development of modern art. Picasso refers to CÃÆ'Â © zanne as "the father of all of us" and claims him as "my only teacher!" Other painters such as Edgar Degas, Pierre-Auguste Renoir, Paul Gauguin, Kasimir Malevich, Georges Rouault, Paul Klee, and Henri Matisse acknowledge the genius of CÃÆ'Â © zanne.
The prize in his memory, called the medal CÃÆ' Â © zanne, was awarded by the city of Aix en Provence, in France for a special achievement in art.
The painting of CÃÆ'Â © zanne The Boy in the Red Vest was stolen from a museum in Switzerland in 2008. It was found in a Serb police attack in 2012.
Film 2016 CÃÆ' © zanne dan saya mengeksplorasi persahabatan antara artis dan ÃÆ' ‰ mil Zola.
Galeri
Lukisan
Lukisan still life
Cat air
Potret dan potret diri
Lihat juga
- Daftar lukisan oleh Paul CÃÆ' © zanne
- CÃÆ' © zanne (tipografi)
- Post-Impresionisme
- Marie-Hortense Fiquet
- Daftar karya seni yang terkait dengan Agnes E. Meyer
Catatan
Referensi
Bacaan lebih lanjut
- Danchev, Alex (2012) Paul CÃÆ' © zanne: A Life , New York: Pantheon, ISBN 978-0-30737-707-4
- Danchev, Alex (2013) Huruf Paul CÃÆ' © zanne , Los Angeles: Publikasi Getty, ISBN 978-1-60606-160-2
Tautan eksternal
- Galeri Seni Nasional, CÃÆ' © zanne di Provence
- Paul CÃÆ' © zanne di Museum of Modern Art
- Lembaga Penelitian Getty. Los Angeles, California
- Impresionisme: Pameran Centenary di Museum Seni Metropolitan - Katalog Pameran: CÃÆ' © zanne (pp. 49-63)
- Koleksi Pribadi Edgar Degas , teks digital sepenuhnya dari The Metropolitan Museum of Art libraries (lihat Degas dan CÃÆ' © zanne: Savagery and Refinement, pp. 197-220)
Source of the article : Wikipedia
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