PAUL CEZANNE paintings

Apples and Oranges	Cherries and Peaches	Mardi Gras	Poplar Trees	Still Life with Drapery	Still Life with Onions
The Blue Vase	The Bridge of Maincy near Melun	The Card Players	The House of Dr Gachet in Auvers	Three Bathers	Village Road

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Paul Cezanne

January 19, 1839 - October 22, 1906

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Biography

Paul Cézanne was a French artist, a 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. Cézanne can be said to form the bridge between late 19th century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. The line attributed to both Matisse and Picasso that Cézanne "...is the father of us all..." cannot be easily dismissed.

Cézanne's work demonstrates a mastery of design, colour, composition and draftsmanship. His often repetitive, sensitive, and exploratory brushstrokes are highly characteristic and clearly recognisable. Using planes of colour and small brushstokes that build up to form complex fields, at once a direct expression of the sensations of the observing eye, and an abstraction from observed nature, Cézanne's paintings convey intense study of his subjects, a searching gaze, and a dogged struggle to deal with the complexity of human visual perception.

Cézanne's paintings were shown in the first exhibition of the Salon des Refusés in 1863, which displayed works not accepted by the jury of the official Paris Salon. The Salon rejected Cézanne's submissions every year from 1864 to 1869.

Cézanne exhibited little in his lifetime and worked in increasing artistic isolation, remaining in the south of France, in his beloved Provence, far from Paris. He concentrated on a few subjects, and was equally proficient in each genre: still lifes, portraits, landscapes, and studies of bathers; for the last Cézanne was compelled to design from his imagination, due to a lack of available nude models. Like the landscapes, his portraits were drawn from that which was familiar, so that not only his wife and son, but local peasants, children, and his art dealer served as subjects. His still lifes are at once decorative in design, painted with thick, flat surfaces, yet with a weight reminiscent of Courbet.

Although religious images appeared less frequently in Cezanne's later work, he remained a devout Catholic, and said "When I judge art, I take my painting and put it next to a God-made object like a tree or flower. If it clashes, it is not art."

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