Paul Cazanne

In the artwork, I see apples in a basket, a wine bottle, a plate with cookies on it, a table cloth folded with apples on it, and everything sits on a table. When I first saw this painting, it just looked like a table with fruit, cookies, and wine on it. To me this is not an important piece of artwork because anyone can draw this painting it would just look different than what Cezanne’s does. Especially with the colors they would use and the lines and shapes they would draw. When you look closer you can see that the basket of apples is tipped over and some have spilled out.

A great artist once wrote, “If you hear a voice within you say 'you cannot paint,' then by all means paint, and that voice will be silenced”. This artist was Vincent van Gogh, soon to be an appraised artist known all around the world for his works, such as Starry Night. He is one of the very first artists of the post-impressionist style than is now adored in every continent. However, there is much more to the man than one painting. Creating a full timeline that stretches beyond Gogh’s life, this paper will discuss the life of Vincent van Gogh and the impression he made on the world.

This essay will discuss the significant similarities and differences between Paul Cézanne’s work, Still Life with Pot of Flowers and Pears painted in 1880-90 and Louise Moillon’s work, Still Life with Bowl of Curaçao Oranges painted in 1634. Although both painters were born in France, they were painting during time periods. Moillon was born in 1609 in Paris and was painting during the Baroque era, which encompassed intense shadow and rich colours (Harrison, 2010). Cezanne was born in 1839 in Aix-en-Providence and was paining in the Post-Impressionism era, which included thick applications of paint and had a more expressive effect (Harrison, 2010). Both works are created with oil paint, however, Cezanne has chosen to paint his work on canvas, whereas Moillon’s work is displayed on panel.

Paul Cézanne (1839-1906) was a French painter, born in Aix, France. Cézanne was born to a middle-class family, being his father the co-founder of a banking firm. Cézanne attended to good schools due to his family’s background. Paul was registered to the Bourbon College where he enhanced his skills. After meeting Émile Zola in the Bourbon College, Cézanne was encouraged to go deeper in his artistic career. Both of them had the idea of success in the industrial Paris. His father derailed his plans when he denied him to continue his artistic career. Paul was offered by his father to study law at the University of Aix-en-Provence. Cézanne accepted the offer and continued studying law for a time. After persuading his father to allow him to go to

The perspectives of this painting are atmospheric to give the distant mountains a further look. The painting tries to get a 3-D feeling with the mountains and while still having it make the people look 2-D. the one point perspective makes you look up towards the peak of the far away mountains. The linear perspective

Overall, both images by Paul Cezanne, are able to be viewed in different lights when confronted by the public eye. The artist has been able to get across his views by altering the: Delineation, Modelling, Picture Space, Picture Plane, Literal Surface and the Brush work

In the article “Cezanne in the Wild”, (September 2006) the author Richard Shiff, analysis the different points of view and Cezanne connection to nature effect his work, “I paint as I see, as I feel, and I have very strong sensations” page 605. The author entails, Cezanne critics each discussing the artist style of painting and their points of view of Cezanne representation of nature and its impact. Each critics examines his style, Maurice Denis focused on aesthetic vision interpreting and discusses the representation of nature bonding with paints and color. Denis states that Cezanne did not to reproduce but he could represent his subjects, focusing on emotion.

Amongst this plethora of color and brightness, the viewer of this painting is also drawn to the nude figures(male and female) positioned in the painting in which some seem to be moving and others seem to stationary. Comparing the form of Mattise's painting to that of Cezanne’s The Large Bathers, there is an immediate similarity in particular to the use of symmetry and the triangular shape that forms in the center due to the way the trees in both paintings are shaped. Both Matisse and Cezanne set the landscape of their paintings to somewhat resemble that of a stage. The trees painted at the sides and further away in distance.

The painting is Van Gogh in St. Remy mental hospital during treatment, copying the painting of Miller. Van Gogh created the painting in Holland from 1890 to 1891. The size of the painting is 73x91cm. This painting uses canvas, brushes and paint creation. In the lower right corner of the picture depicts a couple of farmers are harvesting in mature wheat, tired one morning, at noon after lying on the side of the rest of the scene stack. On the side of the man put off the shoes and two sickle, cover the face of the straw hat, head pillow hands, doesn't seem to fall asleep and his wife, feeling tired, nestled in her husband's chest, fell asleep. In addition to the sky above the left, all the other parts of the wheat cover. There are a horse and a cart in the wheat.

The transition between the 19th and 20th century has brought further development of modernistic ideas, concepts and techniques in art. Inspired by Cezanne’s idea, saying that all nature objects can be illustrated with just three geometrical figures: cube, sphere and cone, Pablo Picasso created his first paintings, which became the icons of modern art and cubism movement in

In 1877 a progression of works of art at St-Lazare Station had Monet taking a gander at smoke and steam and the way that they influenced shading and perceivability, being here and there misty and some of the time translucent. He was to further utilize this in study in the painting of the effects of mist and rain on the landscape. The investigation of the impacts of climate was to develop into various arrangements of works of art in which Monet often painted a similar subject in various lights, at various hours of the day, and through the

In the early days of painting, Paul Cezanne was using heavy brush strokes and thickly covered paint onto the canvas. But this drastic changed as soon as he met Pissaro and other painters in France. His undisciplined style became much more focused and steadied as he observed and painted landscapes in every opportunity he found as instructed by Pissaro. This resulted in him moving his paintings from outside the studio and focused more on nature and increasing the brightness of his works (Chipp 18).

Another artist of the Impressionism era that was impacted by the great wave of Japanese artwork was Paul Cézanne. In Cézanne’s case, his relationship with Japanese art forms was vague in comparison to the other Impressionists. He was not an avid collector of Japanese prints such as Degas, nor was he privy to the fascination with these unique objects. Cézanne was an artist “who admired Puget and Michelangelo for their sculptural volume: he was temperamentally incapable of adopting Japanese prints as his ideal,” (Berger 112). Studies have shown that Cézanne paid closer attention to what was going on in the art world than his counterparts, therefore, it is hard to determine how Cézanne could have possibly overlooked Japanese art (Berger 113).

Therefore, it is possible to draw comparisons between Cezanne’s work and the art of Cubists including Picasso; the distortions that are present in his work, for example in ‘Still Life with Compote and Glass’ (1914-15) have also been used by Cezanne in paintings such as ‘A Basket of Apples’ (1893), whose “deformation of nature” (Alan Clutton-Brock) was new at the time which shows how it was of great importance to early Cubists.

Cézanne got rid of the traditional presentation of paintings that is point on the space and colors. And he deliberately followed firm format than changing colors. He also reduces the basic essentials of all natural things to express with the circle, cylinder or cone. By so doing, we say this kind of artists are "Post-Impressionists." The Post-Impressionists