Professional Documents
Culture Documents
Paul Czanne
Paul Czanne
Paul Czanne, c. 1861 Born 19 January 1839 Aix-en-Provence, France 22 October 1906 (aged67) Aix-en-Provence, France French Painting Acadmie Suisse Post-Impressionism Mont Sainte-Victoire seen from Bellevue (c. 1885) Apothose de Delacroix (18901894) Rideau, Cruchon et Compotier (18931894) The Card Players (1890-1895) The Bathers (18981905)
Died
Influenced by Eugne Delacroix, douard Manet, Camille Pissarro Influenced Georges Braque, Henri Matisse, Pablo Picasso, Arshile Gorky, Caziel
Paul Czanne (US /sezn/ or UK /szn/; French:[pl sezan]; 18391906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavour to a new and radically different world of art in the 20th century. Czanne can be said to form the bridge between late 19th-century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. Both Matisse and Picasso are said to have remarked that Czanne "is the father of us all." Czanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Czanne's intense study of his subjects.
Paul Czanne
Going against the objections of his banker father, he committed himself to pursuing his artistic development and left Aix for Paris in 1861. He was strongly encouraged to make this decision by Zola, who was already living in the capital at the time. Eventually, his father reconciled with Czanne and supported his choice of career. Czanne later received an inheritance of 400,000 francs (218,363.62) from his father, which rid him of all financial worries.[12]
Paul Czanne Czanne's mature work there is the development of a solidified, almost architectural style of painting. Throughout his life he struggled to develop an authentic observation of the seen world by the most accurate method of representing it in paint that he could find. To this end, he structurally ordered whatever he perceived into simple forms and colour planes. His statement "I want to make of impressionism something solid and lasting like the art in the museums",[13] and his contention that he was recreating Poussin "after nature" underscored his desire to unite observation of nature with the permanence of classical composition.
Optical phenomena
Czanne was interested in the simplification of naturally occurring forms to their geometric essentials: he wanted to "treat nature by the cylinder, the sphere, the cone" (a tree trunk may be conceived of as a cylinder, an apple or orange a sphere, for example). Additionally, Czanne'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. Czanne's innovations have prompted critics to suggest such varied explanations as sick retinas,[14] pure vision,[15] and the influence of the steam railway.[16]
Les Grandes Baigneuses, 18981905: the triumph of Poussinesque stability and geometric balance
Paul Czanne clashes, it is not art."[18] Czanne'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. Rochefort describes how spectators had supposedly experienced laughing fits, when seeing the paintings of an ultra-impressionist named Czanne. Erroneously believing that Czanne's paintings in fact represented the art dear to Zola (Rochefort's Dreyfusard arch-enemy), he drew connections between Dreyfusard snobs, the French officer who was accused but innocent of having sold defense plans to Germany and Zola's supposedly cherished artist, Czanne. The public in Aix was outraged, and for many days, copies of L'Intransigeant appeared on Czanne's door-mat with messages asking him to leave the town he was dishonouring.[19]
Death
One day, Czanne was caught in a storm while working in the field.[20] Only after working for two hours under a downpour did he decide to go home; but on the way he collapsed. He was taken home by a passing driver.[20] His old housekeeper rubbed his arms and legs to restore the circulation; as a result, he regained consciousness.[20] On the following day, he intended to continue working, but later on he fainted; the model with whom he was working called for help; he was put to bed, and he never left it again.[20] He died a few days later, on 22 October 1906.[20] He died of pneumonia and was buried at the old cemetery in his beloved hometown of Aix-en-Provence.[21]
The Overture to Tannhuser: The Artist's Mother and Sister, 1868, Hermitage Museum, St. Petersburg
Paul Czanne
Camille Pissarro lived in Pontoise. There and in Auvers he and Czanne painted landscapes together. For a long time afterwards, Czanne described himself as Pissarro's pupil, referring to him as "God the Father", as well as saying: "We all stem from Pissarro."[26] Under Pissarro's influence Czanne began to abandon dark colours and his canvases grew much brighter.[27] Leaving Hortense in the Marseille region, Czanne moved between Paris and Provence, exhibiting in the first (1874) and third Impressionist shows (1877). In 1875, he attracted the attention of the collector Victor Chocquet, whose commissions provided some financial relief. But Czanne's exhibited paintings attracted hilarity, outrage, and sarcasm. Reviewer Louis Leroy said of Czanne's portrait of Chocquet: "This peculiar looking head, the colour of an old boot might give [a pregnant woman] a shock and cause yellow fever in the fruit of her womb before its entry into the world."[28] In March 1878, Czanne's father found out about Hortense and threatened to cut Czanne off financially, but, in September, he relented and decided to give him 400 francs for his family. Czanne continued to migrate between the Paris region and Provence until Louis-Auguste had a studio built for him at his home, Jas de Bouffan, in the early 1880s. This was on the upper floor, and an enlarged window was provided, allowing in the northern light but interrupting the line of the eaves. This feature remains today. Czanne stabilized his residence in L'Estaque. He painted with Renoir there in 1882 and visited Renoir and Monet in 1883.[citation needed]
was
in
the
former
manor,
Jas
Paul Czanne
de Bouffan, a substantial house and grounds with outbuildings, which afforded a new-found comfort. This house, with much-reduced grounds, is now owned by the city and is open to the public on a restricted basis. Also in that year Czanne broke off his friendship with mile Zola, after the latter used him, in large part, as the basis for the unsuccessful and ultimately tragic fictitious artist Claude Lantier, in the novel L'uvre. Czanne considered this a breach of decorum and a friendship begun in childhood was irreparably damaged.
Jas de Bouffan, 18851887
Czanne alternated between painting at Jas de Bouffan and in the Paris region, as before. In 1895 he made a germinal visit to Bibmus Quarries and climbed Montagne Sainte-Victoire. The labyrinthine landscape of the quarries must have struck a note, as he rented a cabin there in 1897 and painted extensively from it. The shapes are believed to have inspired the embryonic "Cubist" style. Also in that year, his mother died, an upsetting event but one which made reconciliation with his wife possible. He sold the empty nest at Jas de Bouffan and rented a place on Rue Boulegon, where he built a studio. The relationship, however, continued to be stormy. He needed a place to be by himself. In 1901 he bought some land along the Chemin des Lauves, an isolated road on some high ground at Aix, and commissioned a studio to be built there (now open to the public). He moved there in 1903. Meanwhile, in 1902, he had drafted a will excluding his wife from his estate and leaving everything to his son. The relationship was apparently off again; she is said to have burned the mementos of his mother. From 1903 to the end of his life he painted in his studio, working for a month in 1904 with mile Bernard, who stayed as a house guest. After his death it became a monument, Atelier Paul Czanne, or les Lauves.
Pyramid of Skulls, c. 1901, The dramatic resignation to death informs several still life paintings Czanne made in his final period between 1898 and 1905 which take the skulls as their subject. Today the skulls themselves remain in Czanne's studio in a suburb of Aix-en-Provence.
Paul Czanne
Legacy
After Czanne died in 1906, his paintings were exhibited in Paris in a large museum-like retrospective in September 1907. The 1907 Czanne retrospective at the Salon d'Automne greatly affected the direction that the avant-garde in Paris took, lending credence to his position as one of the most influential artists of the 19th century and to the advent of Cubism. Czanne's explorations of geometric simplification and optical phenomena inspired Picasso, Braque, Metzinger, Gleizes, Gris and others to experiment with ever more complex multiple views of the same subject and eventually to the fracturing of form. Czanne thus sparked one of the most revolutionary areas of artistic enquiry of the 20th century, one which was to affect profoundly the development of modern art. A prize in his memory, called the Czanne medal, is granted by the city of Aix en Provence, in France for special achievement in the arts. Czanne's painting The Boy in the Red Vest was stolen from a Swiss museum in 2008. It was recovered in a Serbian police raid in 2012.[31]
Madame Czanne (Hortense Fiquet, 18501922) in a Red Dress (1888-90), oil on canvas, 116.5 x 89.5 cm, The Metropolitan Museum of Art, New York
Paul Czanne
Gallery
Paintings
L'Estaque 18831885
Paul Czanne
Maison Maria on the way to the Chteau Noir 1895 Kimbell Art Museum, Fort Worth, Texas
Road Before the Mountains, Sainte-Victoire 18981902 Hermitage Museum, Saint Petersburg, Russia
Still Life, Drapery, Pitcher, and Fruit Bowl 18931894 Whitney Museum of American Art, New York City
Watercolours
Self-portrait 1895
River with the Bridge of the Three Sources 1906 Cincinnati Art Museum
Paul Czanne
10
Portrait of the Artist's Father Louis-Auguste Czanne, Reading 1866 National Gallery of Art, Washington, D.C.
Portrait of Paul Czanne's Son Pastel 18881890 The National Gallery of Art, Washington, D.C.
Paul Czanne
11
Notes
[1] J. Lindsay Czanne; his life and art, p.3 [2] J. Lindsay Czanne; his life and art, p.6 [5] A. Vollard First Impressions, p.16 [6] A. Vollard, First Impressions, p.14 [7] P. Machotka Narration and Vision, p.9 [9] J. Lindsay Czanne; his life and art, p.12 [10] Gowing 1988, p. 215 [11] P. Czanne Paul Czanne, letters, p.10 [12] J. Lindsay Czanne; his life and art, p.232 [13] Paul Czanne, Letters, edited by John Rewald, 1984. [14] Joris-Karl Huysmans, Trois peintres: Czanne, Tissot, Wagner, La Cravache, August 4, 1888. [15] Hans Sedlmayr, Art in Crisis: The Lost Center, London, 1957. (original German 1948) [16] Tomoki Akimaru, Czanne and the Steam Railway (1): A Transformation of Visual Perception in the 19th Century, 2012. (http:/ / tomokiakimaru. web. fc2. com/ cezanne_and_the_steam_railway_1. html) [17] Gowing 1988, p. 110 [20] Vollard, p.113114 [22] The scheme presented here is essentially that of the Encyclopdia Britannica. Some alternative names are mentioned. On the whole the various classifications tend to converge. [23] It is sometimes called "the Romantic Period", but Czanne was not primarily interested in Romanticism. The term here refers to personal disposition, rather than connection with a historical movement. [24] [25] [26] [27] [28] [30] Gowing 1988, p. 10. Gowing 1988, p. 104. Brion 1974, p. 26 Rosenblum 1989, p. 348 Brion 1974, p. 34 Merleau-Ponty 1965
References
Brion, Marcel (1974). Czanne. Thames and Hudson. ISBN0-500-86004-1. Chun, Young-Paik (2006). "Melancholia and Czanne's Portraits: Faces beyond the mirror". In Griselda Pollock (ed.). Psychoanalysis and the Image. Routledge. ISBN1-4051-3461-5. Czanne, Paul; John Rewald, mile Zola, and Marguerite Kay (1941). Paul Czanne, letters. B. Cassirer. ISBN0-87817-276-9. OCLC 1196743 (http://www.worldcat.org/oclc/1196743). Danchev, Alex (2012). Czanne: A Life. Profile Books (UK); Pantheon (US). ISBN978-1846681653. Gowing, Lawrence; Adriani, Gtz; Krumrine, Mary Louise; Lewis, Mary Tompkins; Patin, Sylvie; Rewald, John (1988). Czanne: The Early Years 18591872. Harry N. Abrams. Lehrer, Jonah (2007). "Paul Czanne, The Process of Sight". In Jonah Lehrer. Proust Was a Neuroscientist. Houghton Mifflin Harcourt. ISBN0-618-62010-9. Klingsor, Tristan (1923). Czanne. Paris: Rieder. Lindsay, Jack (1969). Czanne: His Life and Art. United States: New York Graphic Society. ISBN0-8212-0340-1. OCLC 18027 (http://www.worldcat.org/oclc/18027). Machotka, Pavel (1996). Czanne: Landscape into Art. United States: Yale University Press. ISBN0-300-06701-1. OCLC 34558348 (http://www.worldcat.org/oclc/34558348). Pissarro, Joachim (2005). Czanne & Pissarro Pioneering Modern Painting: 18651885. The Museum of Modern Art. ISBN0-87070-184-3. Rosenblum, Robert (1989). Paintings in the Muse d'Orsay. New York: Stewart, Tabori & Chang. ISBN 1-55670-099-7. Vollard, Ambroise (1984). Czanne. England: Courier Dover Publications. ISBN0-486-24729-5. OCLC 10725645 (http://www.worldcat.org/oclc/10725645).
Paul Czanne
12
External links
Artworks video (http://www.celalkaraman.net/guncel/paul-cezanne-google-logosu) Biography, Style and Artworks (http://www.artble.com/artists/paul_cezanne) National Gallery of Art, Czanne in Provence (http://www.nga.gov/exhibitions/2006/cezanne/index.shtm) Paul Czanne (http://www.moma.org/collection/artist.php?artist_id=1053) at the Museum of Modern Art Czanne at the WebMuseum (http://www.ibiblio.org/wm/paint/auth/cezanne/) Paul Cezanne studio (http://www.atelier-cezanne.com/aix-en-provence.html) The Murder c. 1867 (http://www.liverpoolmuseums.org.uk/walker/collections/19c/cezanne.aspx) Ecole Spciale de dessin (http://web.archive.org/web/20080602015004/http://www.cezanne-ecole.com/) Czanne's earliest works, from his time as a pupil at the art school of Aix-en-Provence (1859) (French) Map of Jas de Bouffan (http://www.nga.gov/exhibitions/2006/cezanne/mapb.shtm) smARThistory: Still Life with Apples, 18951898 (http://smarthistory.org/blog/39/ making-an-enhanced-podcast-with-camtasia/) www.paul-cezanne.org (http://www.paul-cezanne.org) Nearly 500 images of works by Paul Czanne Union List of Artist Names, Getty Vocabularies. (http://www.getty.edu/vow/ULANFullDisplay?find=paul+ cezanne&role=&nation=&prev_page=1&subjectid=500004793) ULAN Full Record Display for Paul Czanne. Getty Vocabulary Program, Getty Research Institute. Los Angeles, California.
Grafico Topico's Sue Smith reviews "Classic Cezanne" The art of Paul Cezanne Art Gallery of NSW 1998 (http://www.grafico-qld.com/content/classic-cezanne) Tomoki Akimaru, "Czanne and the Steam Railway (1)~(7)", 2012. (http://tomokiakimaru.web.fc2.com/ cezanne_and_the_steam_railway_1.html) Paul Cezanne (http://www.pubhist.com/person/287/paul-cezanne) at PubHist : Related navpages: {{Post-Impressionism}} {{Fauvism}} {{Western art movements}}
13
File:Paul Czanne, 1888-90, Madame Czanne (Hortense Fiquet, 18501922) in a Red Dress, oil on canvas, 116.5 x 89.5 cm, The Metropolitan Museum of Art, New York.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Paul_Czanne,_1888-90,_Madame_Czanne_(Hortense_Fiquet,_18501922)_in_a_Red_Dress,_oil_on_canvas,_116.5_x_89.5_cm,_The_Metropolitan_Museum_of_Art,_New License: Public Domain Contributors: Coldcreation File:Paul Czanne 052.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Paul_Czanne_052.jpg License: Public Domain Contributors: Boo-Boo Baroo, EDUCA33E File:Paul Cezanne, A Modern Olympia, c. 1873-1874.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Paul_Cezanne,_A_Modern_Olympia,_c._1873-1874.jpg License: Public Domain Contributors: Avatar, Luestling, Olivier2, Pimbrils, Ranveig, 1 anonymous edits File:Paul Czanne 115.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Paul_Czanne_115.jpg License: Public Domain Contributors: Aavindraa, Boo-Boo Baroo, Bukk, Diomede, EDUCA33E, Jmdesbois, Okki, Olivier2, Sailko, 1 anonymous edits File:Paul Czanne 090.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Paul_Czanne_090.jpg License: Public Domain Contributors: Boo-Boo Baroo, Bukk, EDUCA33E, Ionutzmovie, Olivier2 File:Paul Czanne 044.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Paul_Czanne_044.jpg License: Public Domain Contributors: Boo-Boo Baroo, Bukk, EDUCA33E, Irnie, Olivier2, Rlbberlin, Zolo File:Paul Czanne 083.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Paul_Czanne_083.jpg License: Public Domain Contributors: AndreasPraefcke, Boo-Boo Baroo, Bukk, Diomede, EDUCA33E, Jmdesbois, Lna, Olivier2, Wst File:Paul Czanne 014.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Paul_Czanne_014.jpg License: Public Domain Contributors: AndreasPraefcke, Bukk, EDUCA33E, Jastrow, Jynto, Skipjack, Zolo, 1 anonymous edits File:Paul Czanne 060.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Paul_Czanne_060.jpg License: Public Domain Contributors: AndreasPraefcke, Boo-Boo Baroo, EDUCA33E, Emijrp, Julmin, Luigi Chiesa, Mattes, Rlbberlin, Shakko, Wst, Zigeuner File:Paul Czanne 088.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Paul_Czanne_088.jpg License: Public Domain Contributors: Bukk, Civvi, EDUCA33E, G.dallorto, Ham, Shakko, Taragui, Wst
14
License
Creative Commons Attribution-Share Alike 3.0 Unported //creativecommons.org/licenses/by-sa/3.0/