Paul Cezanne S And Oranges Essay

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; 19 January 1839 – 22 October 1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavor to a new and radically different world of art in the 20th century.

Cézanne is said to have formed the bridge between late 19th-century Impressionism and the early 20th century's new line of artistic enquiry, Cubism.

C.), Before 1895 Cézanne exhibited twice with the Impressionists (at the first Impressionist exhibition in 1874 and the third Impressionist exhibition in 1877).

In later years a few individual paintings were shown at various venues, until 1895, when the Parisian dealer, Ambroise Vollard, gave the artist his first solo exhibition.

His still lifes are at once decorative in design, painted with thick, flat surfaces, yet with a weight reminiscent of Gustave Courbet.

The 'props' for his works are still to be found, as he left them, in his studio (atelier), in the suburbs of modern Aix.Cézanne later received an inheritance of 400,000 francs from his father, which rid him of all financial worries.In Paris, Cézanne met the Impressionist Camille Pissarro.Cézanne's early work is often concerned with the figure in the landscape and includes many paintings of groups of large, 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, airy painting style.Cézanne was influenced by their style but his social relations with them were inept—he seemed rude, shy, angry, and given to depression.His works of this period are characterized by dark colours and the heavy use of black.Cézanne's paintings were not well received among the petty bourgeoisie of Aix.In 1903 Henri Rochefort visited the auction of paintings that had been in Zola's possession and published on 9 March 1903 in L'Intransigeant a highly critical article entitled "Love for the Ugly".Additionally, Cézanne's desire to capture the truth of perception led him to explore binocular vision graphically, rendering slightly different, yet simultaneous visual perceptions of the same phenomena to provide the viewer with an aesthetic experience of depth different from those of earlier ideals of perspective, in particular single-point perspective.His interest in new ways of modelling space and volume derived from the stereoscopy obsession of his era and from reading Hippolyte Taine’s Berkelean theory of spatial perception.


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