Cézanne, Paul - Pós-Impressionismo
Retratos / Portraits
Portrait of the Artist's Father - c. 1866
Oil on canvas
198.5 x 119.3 cm (78 1/8 x 47 in)
National Gallery of Art, Washington, D.C.
Self-Portrait with Rose Background - c. 1875
Oil on canvas
66 x 55 cm (26 x 21 5/8")
Private collection
Hortense Fiquet in a Striped Skirt - 1877-78
Oil on canvas
72.5 x 56 cm (28 1/2 x 22")
Museum of Fine Arts, Boston
Le paysan (Peasant), c. 1891
Oil on canvas
56 x 46 cm (22 x 18 1/8")
Private collection
Woman in a Green Hat (Madame Cézanne) - 1894-95
Oil on canvas
100.2 x 81.2 cm (39 1/2 x 32 in)
The Barnes Foundation, Merion, Pennsylvania
Seated Peasant, 1895-1900
Oil on canvas
21 1/2 x 17 3/4 in
Philadelphia Museum of Art
Young Italian Girl Resting on Her Elbow - c. 1900
Oil on canvas
92 x 73 cm (36 1/4 x 28 3/4 in)
Collection Dr. and Mrs. William Rosenthal, New York
Woman Seated in Blue, 1900-02
Oil on canvas
88.5 x 72 cm (34 3/4 x 28 3/8")
Hermitage Museum, St. Petersburg
Portrait of Vallier - 1906
Oil on canvas
65 x 54 cm (25 5/8 x 21 1/4 in)
Private collection
Banhistas / Bathers
Bathers at Rest - 1875-76
Oil on canvas
82 x 102.2 cm (32 1/4 x 39 7/8 in)
The Barnes Foundation, Merion, Pennsylvania
The Bather - 1885-1887
Oil on canvas
50 x 38 1/8 in
Museum of Modern Art, New York
Bathers - c. 1890-91
Oil on canvas
54.2 x 66.5 cm (21 3/8 x 26 1/8 in)
The Hermitage, St. Petersburg
Nudes in Landscape - 1900-05
Oil on canvas
132.4 x 219.1 cm (52 1/8 x 86 1/4 in)
The Barnes Foundation, Merion, Pennsylvania
Large Bathers - 1899-1906
Oil on canvas
208 x 249 cm (81 7/8 x 98 in)
Philadelphia Museum of Art
Naturezas Mortas / Still Lifes
Still Life with Compotier - 1879-1882
Oil on canvas
18 1/8 x 21 5/8"
Collection Mr. and Mrs. Rene Lecomte, Paris
Still Life with Peppermint Bottle, 1890-94
Oil on canvas
25 5/8 x 31 7/8 in
National Gallery of Art, Washington, D.C.
Still Life with Basket of Apples - 1890-94
Oil on canvas
24 3/8 x 31 in
The Art Institute of Chicago
Still Life With a Basket (Kitchen Table), c. 1890-95
Oil on canvas
Musée d'Orsay, Paris
Still Life with Water Jug, c. 1892-3
Oil on canvas
53 x 71.1 cm
Tate Gallery, London
Still Life with Plaster Cupid - 1895
Oil on canvas
27 1/2 x 22 1/2 in
Courtauld Institute of Art, London
Still Life with Onions and Bottle, 1895-1900
Oil on canvas
26 x 31 7/8 in
The Louvre, Paris
Apples and Oranges - c. 1899
Oil on canvas
74 x 93 cm (29 1/8 x 36 5/8 in)
Musee du Louvre, Galerie du Jeu de Paume, Paris
Still Life with Skull - 1895-1900
Oil on canvas
54.3 x 65 cm (21 3/8 x 25 5/8 in)
The Barnes Foundation, Merion, Pennsylvania
Pyramid of Skulls, c. 1901
Oil on canvas
37 x 45.5 cm (14 5/8 x 17 7/8")
Private collection
Paisagens / Landscapes
Houses Along a Road - c. 1881
Oil on canvas
60 x 73.5 cm (23 5/8 x 28 7/8 in)
The Hermitage, St. Petersburg
Route tournante à La Roche-Guyon (A Turn in the Road at La Roche-Guyon), 1885
Oil on canvas
64.2 x 80 cm (25 3/8 x 31 1/2")
Smith College Museum of Art, Northampton, MA
The Bay from L'Estaque - c. 1886
Oil on canvas
31 1/2 x 38 1/2 in
The Art Institute of Chicago
Mountains in Provence - 1886-90
Oil on canvas
63.5 x 79.4 cm (25 x 31 3/8")
National Gallery, London
The Great Pine - 1892-96
Oil on canvas
33 1/2 x 36 1/4 in
Museu de Arte, São Paulo, Brasil
Bibemus Quarry, c. 1895
Oil on canvas
65.1 x 81 cm (25 5/8 x 31 7/8 in)
Museum Folkwang, Essen
Foliage, 1895-1900
Watercolor and pencil on paper
44.8 x 56.8 cm (17 5/8 x 22 3/8 in)
The Museum of Modern Art, New York
Lake Annecy - 1896
Oil on Canvas
64.2 x 79.1 cm (25 1/4 x 31 1/8 in)
Courtauld Institute Galleries, London
Bibemus: le rocher rouge, c. 1897
Oil on canvas
91 x 66 cm (35 7/8 x 26 in)
Musée du Louvre, Paris
Houses on the Hill (River Bank), 1900-06
Oil on canvas
60.3 x 79.2 cm (23 3/4 x 31 3/8 in)
McNay Art Institute, San Antonio, TX
Bend in Forest Road, 1902-06
Oil on canvas
81.3 x 64.8 cm (32 x 25 1/2 in)
Private collection
Riverbanks - 1904-05
Oil on canvas
65 x 81 cm (25 1/4 x 31 7/8 in)
Private collection, Switzerland
Mont Sainte-Victoire Seen from Les Lauves - 1904-06
Oil on canvas
66 x 81.5 cm (26 x 32 1/8 in)
Private collection, Switzerland
....................................................................................................
Na tela "nus na paisagem" de 1900, um grupo de mulheres nuas relaxa no meio de um bosque, à beira de um lago. A sua pele capta a luz, reflectindo o azul da água e do céu. Os seus corpos estão estranhamente truncados e distorcidos. Em vez de usar modelos, Cézanne pintava de memória. Talvez estivesse menos interessado na reprodução fiel da cena do que no tema clássico dos banhistas em harmonia com a paisagem - um fascínio que prevaleceu durante 30 anos. cézanne era filho de um banqueiro de Aix-en-Provence e era. unamimemente considerado, um homem tímido e difícil. Embora tenha tido um sucesso tardio, a obra de Cézanne acabou por se tornar extremamente influente, recebendo muitos artistas que o visitavam em peregrinação. Largamente reconhecido como o "pai" da arte moderna devido a sua simplificação da forma, Cézanne abriu caminho para o Cubismo e a abstracção. Paul Cézanne nasceu en 19 de Janeiro de 1839 em Aix-en-Provence (FR) e morreu na mesma cidade em 22 de Outubro de 1906.
....................................................................................................
The French painter Paul Cézanne, who exhibited little in his lifetime and pursued his interests increasingly in artistic isolation, is regarded today as one of the great forerunners of modern painting, both for the way that he evolved of putting down on canvas exactly what his eye saw in nature and for the qualities of pictorial form that he achieved through a unique treatment of space, mass, and color. Cézanne was a contemporary of the impressionists, but he went beyond their interests in the individual brushstroke and the fall of light onto objects, to create, in his words, ``something more solid and durable, like the art of the museums. Cézanne was born at Aix-en-Provence in the south of France on Jan. 19, 1839. He went to school in Aix, forming a close friendship with the novelist Emile Zola. He also studied law there from 1859 to 1861, but at the same time he continued attending drawing classes. Against the implacable resistance of his father, he made up his mind that he wanted to paint and in 1861 joined Zola in Paris. His father's reluctant consent at that time brought him financial support and, later, a large inheritance on which he could live without difficulty. In Paris he met Camille Pissarro and came to know others of the impressionist group, with whom he would exhibit in 1874 and 1877. Cézanne, however, remained an outsider to their circle; from 1864 to 1869 he submitted his work to the official SALON and saw it consistently rejected. His paintings of 1865-70 form what is usually called his early ``romantic'' period. Extremely personal in character, it deals with bizarre subjects of violence and fantasy in harsh, somber colors and extremely heavy paintwork. Thereafter, as Cézanne rejected that kind of approach and worked his way out of the obsessions underlying it, his art is conveniently divided into three phases. In the early 1870s, through a mutually helpful association with Pissarro, with whom he painted outside Paris at Auvers, he assimilated the principles of color and lighting of Impressionism and loosened up his brushwork; yet he retained his own sense of mass and the interaction of planes, as in House of the Hanged Man (1873; Musee d'Orsay, Paris). In the late 1870s Cézanne entered the phase known as ``constructive,'' characterized by the grouping of parallel, hatched brushstrokes in formations that build up a sense of mass in themselves. He continued in this style until the early 1890s, when, in his series of paintings titled Card Players (1890-92), the upward curvature of the players' backs creates a sense of architectural solidity and thrust, and the intervals between figures and objects have the appearance of live cells of space and atmosphere. Finally, living as a solitary in Aix rather than alternating between the south and Paris, Cézanne moved into his late phase. Now he concentrated on a few basic subjects: still lifes of studio objects built around such recurring elements as apples, statuary, and tablecloths; studies of bathers, based upon the male model and drawing upon a combination of memory, earlier studies, and sources in the art of the past; and successive views of the Mont Sainte-Victoire, a nearby landmark, painted from his studio looking across the intervening valley. The landscapes of the final years, much affected by Cézanne's contemporaneous practice in watercolor, have a more transparent and unfinished look, while the last figure paintings are at once more somber and spiritual in mood. By the time of his death on Oct. 22, 1906, Cézanne's art had begun to be shown and seen across Europe, and it became a fundamental influence on the Fauves, the cubists, and virtually all advanced art of the early 20th century.
.........................................................................................................
Portrait of the Artist's Father - c. 1866
Oil on canvas
198.5 x 119.3 cm (78 1/8 x 47 in)
National Gallery of Art, Washington, D.C.
Self-Portrait with Rose Background - c. 1875
Oil on canvas
66 x 55 cm (26 x 21 5/8")
Private collection
Hortense Fiquet in a Striped Skirt - 1877-78
Oil on canvas
72.5 x 56 cm (28 1/2 x 22")
Museum of Fine Arts, Boston
Le paysan (Peasant), c. 1891
Oil on canvas
56 x 46 cm (22 x 18 1/8")
Private collection
Woman in a Green Hat (Madame Cézanne) - 1894-95
Oil on canvas
100.2 x 81.2 cm (39 1/2 x 32 in)
The Barnes Foundation, Merion, Pennsylvania
Seated Peasant, 1895-1900
Oil on canvas
21 1/2 x 17 3/4 in
Philadelphia Museum of Art
Young Italian Girl Resting on Her Elbow - c. 1900
Oil on canvas
92 x 73 cm (36 1/4 x 28 3/4 in)
Collection Dr. and Mrs. William Rosenthal, New York
Woman Seated in Blue, 1900-02
Oil on canvas
88.5 x 72 cm (34 3/4 x 28 3/8")
Hermitage Museum, St. Petersburg
Portrait of Vallier - 1906
Oil on canvas
65 x 54 cm (25 5/8 x 21 1/4 in)
Private collection
Banhistas / Bathers
Bathers at Rest - 1875-76
Oil on canvas
82 x 102.2 cm (32 1/4 x 39 7/8 in)
The Barnes Foundation, Merion, Pennsylvania
The Bather - 1885-1887
Oil on canvas
50 x 38 1/8 in
Museum of Modern Art, New York
Bathers - c. 1890-91
Oil on canvas
54.2 x 66.5 cm (21 3/8 x 26 1/8 in)
The Hermitage, St. Petersburg
Nudes in Landscape - 1900-05
Oil on canvas
132.4 x 219.1 cm (52 1/8 x 86 1/4 in)
The Barnes Foundation, Merion, Pennsylvania
Large Bathers - 1899-1906
Oil on canvas
208 x 249 cm (81 7/8 x 98 in)
Philadelphia Museum of Art
Naturezas Mortas / Still Lifes
Still Life with Compotier - 1879-1882
Oil on canvas
18 1/8 x 21 5/8"
Collection Mr. and Mrs. Rene Lecomte, Paris
Still Life with Peppermint Bottle, 1890-94
Oil on canvas
25 5/8 x 31 7/8 in
National Gallery of Art, Washington, D.C.
Still Life with Basket of Apples - 1890-94
Oil on canvas
24 3/8 x 31 in
The Art Institute of Chicago
Still Life With a Basket (Kitchen Table), c. 1890-95
Oil on canvas
Musée d'Orsay, Paris
Still Life with Water Jug, c. 1892-3
Oil on canvas
53 x 71.1 cm
Tate Gallery, London
Still Life with Plaster Cupid - 1895
Oil on canvas
27 1/2 x 22 1/2 in
Courtauld Institute of Art, London
Still Life with Onions and Bottle, 1895-1900
Oil on canvas
26 x 31 7/8 in
The Louvre, Paris
Apples and Oranges - c. 1899
Oil on canvas
74 x 93 cm (29 1/8 x 36 5/8 in)
Musee du Louvre, Galerie du Jeu de Paume, Paris
Still Life with Skull - 1895-1900
Oil on canvas
54.3 x 65 cm (21 3/8 x 25 5/8 in)
The Barnes Foundation, Merion, Pennsylvania
Pyramid of Skulls, c. 1901
Oil on canvas
37 x 45.5 cm (14 5/8 x 17 7/8")
Private collection
Paisagens / Landscapes
Houses Along a Road - c. 1881
Oil on canvas
60 x 73.5 cm (23 5/8 x 28 7/8 in)
The Hermitage, St. Petersburg
Route tournante à La Roche-Guyon (A Turn in the Road at La Roche-Guyon), 1885
Oil on canvas
64.2 x 80 cm (25 3/8 x 31 1/2")
Smith College Museum of Art, Northampton, MA
The Bay from L'Estaque - c. 1886
Oil on canvas
31 1/2 x 38 1/2 in
The Art Institute of Chicago
Mountains in Provence - 1886-90
Oil on canvas
63.5 x 79.4 cm (25 x 31 3/8")
National Gallery, London
The Great Pine - 1892-96
Oil on canvas
33 1/2 x 36 1/4 in
Museu de Arte, São Paulo, Brasil
Bibemus Quarry, c. 1895
Oil on canvas
65.1 x 81 cm (25 5/8 x 31 7/8 in)
Museum Folkwang, Essen
Foliage, 1895-1900
Watercolor and pencil on paper
44.8 x 56.8 cm (17 5/8 x 22 3/8 in)
The Museum of Modern Art, New York
Lake Annecy - 1896
Oil on Canvas
64.2 x 79.1 cm (25 1/4 x 31 1/8 in)
Courtauld Institute Galleries, London
Bibemus: le rocher rouge, c. 1897
Oil on canvas
91 x 66 cm (35 7/8 x 26 in)
Musée du Louvre, Paris
Houses on the Hill (River Bank), 1900-06
Oil on canvas
60.3 x 79.2 cm (23 3/4 x 31 3/8 in)
McNay Art Institute, San Antonio, TX
Bend in Forest Road, 1902-06
Oil on canvas
81.3 x 64.8 cm (32 x 25 1/2 in)
Private collection
Riverbanks - 1904-05
Oil on canvas
65 x 81 cm (25 1/4 x 31 7/8 in)
Private collection, Switzerland
Mont Sainte-Victoire Seen from Les Lauves - 1904-06
Oil on canvas
66 x 81.5 cm (26 x 32 1/8 in)
Private collection, Switzerland
....................................................................................................
Na tela "nus na paisagem" de 1900, um grupo de mulheres nuas relaxa no meio de um bosque, à beira de um lago. A sua pele capta a luz, reflectindo o azul da água e do céu. Os seus corpos estão estranhamente truncados e distorcidos. Em vez de usar modelos, Cézanne pintava de memória. Talvez estivesse menos interessado na reprodução fiel da cena do que no tema clássico dos banhistas em harmonia com a paisagem - um fascínio que prevaleceu durante 30 anos. cézanne era filho de um banqueiro de Aix-en-Provence e era. unamimemente considerado, um homem tímido e difícil. Embora tenha tido um sucesso tardio, a obra de Cézanne acabou por se tornar extremamente influente, recebendo muitos artistas que o visitavam em peregrinação. Largamente reconhecido como o "pai" da arte moderna devido a sua simplificação da forma, Cézanne abriu caminho para o Cubismo e a abstracção. Paul Cézanne nasceu en 19 de Janeiro de 1839 em Aix-en-Provence (FR) e morreu na mesma cidade em 22 de Outubro de 1906.
....................................................................................................
The French painter Paul Cézanne, who exhibited little in his lifetime and pursued his interests increasingly in artistic isolation, is regarded today as one of the great forerunners of modern painting, both for the way that he evolved of putting down on canvas exactly what his eye saw in nature and for the qualities of pictorial form that he achieved through a unique treatment of space, mass, and color. Cézanne was a contemporary of the impressionists, but he went beyond their interests in the individual brushstroke and the fall of light onto objects, to create, in his words, ``something more solid and durable, like the art of the museums. Cézanne was born at Aix-en-Provence in the south of France on Jan. 19, 1839. He went to school in Aix, forming a close friendship with the novelist Emile Zola. He also studied law there from 1859 to 1861, but at the same time he continued attending drawing classes. Against the implacable resistance of his father, he made up his mind that he wanted to paint and in 1861 joined Zola in Paris. His father's reluctant consent at that time brought him financial support and, later, a large inheritance on which he could live without difficulty. In Paris he met Camille Pissarro and came to know others of the impressionist group, with whom he would exhibit in 1874 and 1877. Cézanne, however, remained an outsider to their circle; from 1864 to 1869 he submitted his work to the official SALON and saw it consistently rejected. His paintings of 1865-70 form what is usually called his early ``romantic'' period. Extremely personal in character, it deals with bizarre subjects of violence and fantasy in harsh, somber colors and extremely heavy paintwork. Thereafter, as Cézanne rejected that kind of approach and worked his way out of the obsessions underlying it, his art is conveniently divided into three phases. In the early 1870s, through a mutually helpful association with Pissarro, with whom he painted outside Paris at Auvers, he assimilated the principles of color and lighting of Impressionism and loosened up his brushwork; yet he retained his own sense of mass and the interaction of planes, as in House of the Hanged Man (1873; Musee d'Orsay, Paris). In the late 1870s Cézanne entered the phase known as ``constructive,'' characterized by the grouping of parallel, hatched brushstrokes in formations that build up a sense of mass in themselves. He continued in this style until the early 1890s, when, in his series of paintings titled Card Players (1890-92), the upward curvature of the players' backs creates a sense of architectural solidity and thrust, and the intervals between figures and objects have the appearance of live cells of space and atmosphere. Finally, living as a solitary in Aix rather than alternating between the south and Paris, Cézanne moved into his late phase. Now he concentrated on a few basic subjects: still lifes of studio objects built around such recurring elements as apples, statuary, and tablecloths; studies of bathers, based upon the male model and drawing upon a combination of memory, earlier studies, and sources in the art of the past; and successive views of the Mont Sainte-Victoire, a nearby landmark, painted from his studio looking across the intervening valley. The landscapes of the final years, much affected by Cézanne's contemporaneous practice in watercolor, have a more transparent and unfinished look, while the last figure paintings are at once more somber and spiritual in mood. By the time of his death on Oct. 22, 1906, Cézanne's art had begun to be shown and seen across Europe, and it became a fundamental influence on the Fauves, the cubists, and virtually all advanced art of the early 20th century.
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This entry was posted
on Segunda-feira, Outubro 02, 2006 at 11:01 PM.
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11:16 AMCom Cézanne sinto alguma intimidade.
Muitas e muitas vezes olho para as pinturas dele.
Gosto de todos os banhistas, dos nus na paisagem, da rapariga apoiada no cotovelo, de algumas paisagens.
Assusto-me com aquele pinheiro, enfim...
Cézanne é um dos meus amados pintores.
Obrigada, JG.
4:53 PM
Será este o melhor pintor do século XX?... Há quem diga que um precursor será sempre uma versão atabalhoada de algo grandioso que veio a seguir, mas no caso do Cezanne, não sei...
Abraço!
E a oferta do Entrelinhas continua de pé... :)
5:28 PM
Ola JG!
...sem dúvida uma dos meus favoritos. Cezanne abriu as portas da modernidade na pintura, sulcando o caminho para artistas posteriores como Picasso. Eu, pessoalmente, prefiro Cezanne. Sem dúvida alguma!
Bjico ancho!
10:02 PM
Com Cèzanne sinto-me inundada de luz e ao mesmo tempo encontro o conforto do equilíbrio. Aliás era isso que ele buscava, uma fusão entre o classicismo e o impressionismo. Fátima Almeida
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