Paul Cézanne (1839-1906) Spatial structure The painter most responsible for freeing the medium from its representational role, allowing future artists to create works with their own intrinsic laws Implicit: no observance of reality but one’s own pictorial world. Painting is primarily about putting paint on canvas to create an arrangement of line and color. “I want to make of Impressionism something solid, like the art in the museums”

Cezanne, The Murder, 1868

Cezanne, The Eternal Feminine, 1877

Cezanne, The Temptation of St. Anthony, 1875

Cezanne, The Pastoral, 1870

Cezanne, Modern Olympia, 1869

Cezanne, The House of the Hanged Man, 1873 The House of the Hanged Man was one of three works exhibited by Cezanne at the first Impressionist exhibition in Paris in 1874. It is one of the most accomplished of Cezanne’s Impressionist paintings and has more than a passing resemblance to the work of Camille Pissarro, whom he met in the early 1860s and who had advised him to give up browns and earth colors and to paint with primary colors and complementaries. Dr Gachet, who was later Van Gogh’s doctor, and Pissarro encouraged Cezanne to work in the Pontoise region. As a result of his ‘conversion’ to Impressionism by Pissarro, Cezanne abandoned his former romantic-erotic phase and this painting marks the beginning of his alliance with the Impressionists. It was purchased at the first Impressionist exhibition for 300 francs by Count Doria, who acquired other Impressionist paintings at a time when few collectors appreciated them. In The House of the Hanged Man, as in subsequent works, Cezanne forcibly expresses his belief that the form of structures – trees, buildings, mountains or other components of the landscape, portraits or still-lifes – can be represented through the use of color. From this time on, Cezanne began to observe nature closely and to become sensitive to the effects of light on solid objects. He soon found that he was more interested in defining structure than merely superficial color effects. The house in this painting is heavily painted because, as he told Maurice Denis, “I cannot express what I want in one spontaneous stroke so I need to put on more and more paint”. In later life Cezanne was quoted as saying that his greatest revelation was that “sunlight cannot be reproduced, but that it must be represented by something else – by color”. It was by his personal development of this aspect of his brand of Impressionism that Cezanne was to make such a significant contribution to the art of the present century.

Paul Cézanne Mont Sainte-Victoire, 1900, o/c, 30 x 39 Geometry volume form

Paul Cézanne, Mt. St. Victoire, 1902, oil on canvas Cezanne’s geometric form and disjointed perspective made him an inspiration to Pablo Picasso, Cubism, and the abstract art of the 20th century Paul Cézanne, Mt. St. Victoire, 1902, oil on canvas

Paul Cézanne, Mt. St. Victoire, 1906, oil on canvas

Paul Cézanne, Mt. St. Victoire, 1885-87, oil on canvas, 25 x 32

Paul Cézanne, Mt. St. Victoire, 1902, oil on canvas

Paul Cézanne, Mt. St. Victoire, 1906, oil on canvas

1985-87 1906

Cezanne, The Bather, c. 1885

Renoir, The Large Bathers, 1887 Cezanne, The Large Bathers, 1906

Cezanne, Three Bathers, 1879-82 Bouguereau, Bathers, 1884

Cezanne, The Large Bather, 1906

Cezanne, Group of Bathers, 1890 Bazille, Summer Scene, 1869

Cezanne, Portrait of Ambroise Vollard, 1899

Tension and anxiety, spatial disorientation Paul Cézanne, Still Life with Plate of Cherries, 1885-87, oil on canvas, 22 x 27ª

Paul Cézanne Paul Cézanne, Still Life with Basket of Apples, 1890-94, oil on canvas, 24 x 31”

Paul Cézanne, Still Life with Apples and Oranges, 1895-1900, Oil on canvas, 36 x 42”

Cezanne’s geometric form and disjointed perspective made him an inspiration to Pablo Picasso, Cubism, and the abstract art of the 20th century