Paul Cezanne's The Large Bathers: Similarities And Differences

In the traditional European oil painting, the nude, the principal protagonist (the painter) is never painted, but what does gets painted is a result of what appeals to him sexually. A woman’s body hair and fat dimples are never painted, since it is not sexually appealing to the painter. When a woman is depicted with her lover, her attention is rarely painted as directed towards the male lover if one is present instead it is directed toward the spectator—the painter. Most Renaissance European oil paintings with sexual imagery are frontal, literally or metaphorically. Of course there are exceptions, let’s not dwell. The oil-paintings of this era feature stark nakedness. I chose the paintings that I did of the women that were clothed on purpose, they are still supplying a demand and these women still have makeup on their faces and are wearing very nice clothing which is appealing. Neither one of the paintings of the women have anything unappealing of their face i.e. pimples, warts, unibrows or a mustache. However in the painting of Diogenes he is depicted half naked and you can see his nipple and very defined muscles. Could one say that this artist was interested in men? As “attractive” attributes are depicted? Could I Berger declare that this is a hack work on the men?

Pablo Picasso’s Les Demoiselles D’Avignon is considered by many to be a revolutionary breakthrough in the history of modern art. Demoiselles is a “great manifesto of modernist painting” as Picasso had abandoned all known form of traditional art, a radical break from the Western tradition that very much led to the Cubism movement (Bishop, 2002). What made Demoiselles revolutionary was that "in it Picasso broke away from the two central characteristics of European painting since the Renaissance: the classical norm for the human figure, and the spatial illusionism of one-point perspective" (Fry, 1966). Cubism had “destroyed […] the realist conventions for three-dimensional perspective which had been dominant in art since the Renaissance” (Butler, 2010). While generally credited as the first Cubist painting, art historians such as John Golding have argued that it was only a “starting point for the history of Cubism” (1958). Indeed, the picture predicates key characteristics of Cubism like the distortion and break down of objects and figures into distinct shapes, rather than being itself a Cubist painting. This analysis will concentrate on the elements of Cubism in Demoiselles and how it led to the movement.

In the paper I would like to focus on a painting that is almost 120 years old, however it appears provocative even today - in the world of contemporary art, where there seems to be no room left for astonishment. What I find so special about this beautiful painting is the technique and the artist’s vision of the scenery. Even though the second half of the 19th century was the time of rebelliousness in the art world, Henri Matisse managed to find his own niche and create his own style of painting. While “Still Life with Oranges II” appears as a primitive piece of work that neglects canonic rules of proportion, shade and volume, it opens doors to the personal world of the artists, where there is a place for imagination and flirting with the audience. Bright colors and swirls of brush strokes celebrate life and create an uplifting mood, which we often under appreciate in a painting.

The art world has been host to a vast menagerie of talent, intellect, and creativity for about as long as human culture has existed. It has grown, developed, and changed just as humanity has. Naturally, with such an impressively expansive history, various avenues of art are visited time and time again by new artists. Artists seek not only to bring their own personal flavor and meaning to timeless concepts, but to find new ways to approach them. While not every single creator and craftsman can make such a great impact on art or the world, their efforts have given birth to some truly magnificent and unique works. In an effort to create a more meaningful understanding, as well a deeper appreciation, of the nuances, techniques, and design choices employed in these attempts, a comparison will be made between Edouard Vuillard’s Interior With a Screen (1909-1910) and Henri Matisse’s Blue Nude (Souvenir of Biskra) (1907). In this essay, each artist’s approach to the subject of the female nude will be closely analyzed, compared, and contrasted, as will their styles of painting, handling of visual elements, and their use of the principles of design. An interpretation of each work and what the artist intended when creating it will also be provided.

Picassos superb masterpiece, celebrated the feminine form. His representation of this robust feminine figure poised in the most provocative manner. The reclining nude figure seemingly leaps forward ahead of the deep red, blue, and green background. Her curvaceous form exaggerated with each stroke, highlighted with strong black outlines. Femme Couchée defined above all by the drawn line, the curvilinear contours that rivet our attention. His is best known for his colorful palette and serene imagery to represent the vibrate personalities and captured the zealots zest for life of his muses

Art by its nature is a subject of the philosophical, social, economic, political or religious context surrounding its creator. More often than not, a work of art addresses a specific topic or somewhat revolves around a particular person. Therefore, it is impossible to separate the context of a piece of painting, either historical or cultural, to its intrinsic value or the artwork's meaning. On the other hand, different cultures and time utilized specific conventions that govern the representation of objects of creativity. This essay highlights various pieces of art and their relationship to particular cultural, political, economic, or social settings. Moreover, it pinpoints how different times influence art presentation.

he artwork in which I chose to analyze is a sculpture found in the Metropolitan Museum titled Bather by Jean Antoine Houdon in 1782. The work is executed in marble and is originally a statue from a fountain group. The original work is said to be a fountain which consisted of a marble basin, in the center of which has a woman bathing, in white marble, and behind her, in lead, a black servant woman pouring water over her (Met Museum). Sadly all that remains is the statue of the woman bathing. The woman seems to be gazing down with a content look on her face. Based on the spectrum of continuum one would categorize the sculpture more towards the naturalistic end of it since the sculpture leans towards a more organic, life-like aspect than geometric.

Matisse's Bonheur de Vivre take elements from Paul Cezanne's The Large Bathers and create his own work that move beyond what Cezanne's work depicts.

Matisse was born Henri-Emile-Benoit Matisse in Le Cateau-Cambresis, France on December 31, 1869 to his mother and father Anna Heloise Gerard and Emile Hippolyte Matisse. He was the first son of the couple. Matisse's father was a grain merchant and his mother made hats and painted China. He grew up in nearby Bohain-en-Vermandois until the age of ten, when his father sent him to St. Quentin for high school. In ways that area hadn't changed much since Roman times. The young Matisse was an awkward youth who seemed ill-adapted to the rigors of the North; he hated the gelid winters. He was a pensive child and by his own account he was dreamy, frail and

Picasso is more spontaneous application of color, there is less uniformity. In Matisse there are more color schemes, the composition is more rigid, even if it's not more descriptive; it is a still life more organized, with more degree of stability. Unlike nudes of Picasso, the nudes of Matisse with safety on the line and in the tone, makes to describe him as a flat painter. Matisse made a complex image, winning the back of the woman through the looking glass with a few simple strokes, spontaneous, but courteous Matisse achieved the creation of a space, bed, and room which is no longer description to be magic and especially calligraphic rhythm. If Picasso paraphrased other artists, Matisse makes metaphor from other poems, as the mirror

Before the Bath by Pierre-Auguste Renior was created in 1875 on an oil canvas. This piece was one of 19 paintings Renior created to sell to the public in Paris (Barnes). Before the Bath can now be seen in the Barnes Foundation in room 7, in west wall. The oil canvas itself is 32 5/16 x 26 3/16in which makes viewers really appreciate the paintings beauty. When Renior displayed this painting for sale it caused an uproar and fistfights because people thought it was too revealing. Even with the public not accepting it at first, this painting became one of Renior’s most celebrated works (Barnes).

As well as Matisse’s Bonheur de Vivre, Pablo Picasso’s Les Demoiselles d’Avignon was inspired by and deviated from Cezanne’s great achievement. Cezanne’s landscape is a broad open field with the abstract females surround a pond as they bath with abstract surroundings, very much different from Picasso’s

He refuses to follow the convection of how nudes were presented in the salon and goes a different route to display the bodies with conveys, and connotes. And he was going against of the definition of nudes which was created by T.J. Clark that it was, “... a picture for men to look at, in women is constructed as an object of somebody else’s desire.” Aside of just going a different route, he’s going against the grain, because these women don’t look like they are perfect, nor are they mythical women that come from Greek or Roman myths i.e. Venus.

When the two men meet, Matisse’s career was beginning to take off. On March 19th, 1906, his second one-man show opened at a Private Gallery where he exhibited fifty-five paintings, along with a number of sculptures, watercolors, drawings, and lithographs. The paintings ranged in date from 1897 to the current year, so the exhibition served as a retrospective that gave a clear idea of his art development. For the 1906 Salon exhibition, Matisse only showed a single painting, Le Bonheur de vivre (Fig. 5), which was the largest- and most daring- canvas he had ever done. Matisse’s creation of The women with the hat (Fig. 3) had unexpectedly shocked people, but with le Bonheur de vivre. Matisse appear to have purposely set out this painting to create a shocking effect. That Matisse wanted his painting to be a kind of manifesto. Leo Stein bought the painting and declared it to be “the most important painting done in our time.” And was hung up high in Gertrude and Leo’s studio. Leo’s high opinion of Le Bonheur de vivre must have vexed Picasso.

The Large Bathers is a painting by the French painter Paul Cézanne. It is made in oil on