Still Life Paul Cezzanne Jr. High Fine Art Mrs. Estoch

Still Life with Peppermint Bottle

Paul Cezanne (1839-1906) French artist Post-Impressionists extended Impressionism while rejecting its limitations: they continued using vivid colors, thick application of paint, distinctive brush strokes, and real-life subject matter, but they were more inclined to emphasize geometric forms, to distort form for expressive effect, and to use unnatural or arbitrary colour.

Paul Cezanne- Still Life with a Curtain

Paul Cezanne (1839-1906) Father was a banker which gave him financial security and allowed him time to develop his talent as an artist At the age of ten, he entered St. Joseph School and began studying art under the instruction of a monk In 1852, at 13, Cézanne entered the Collège Bourbon. He studied art there for six years ( a scholar the last two)

Paul Cezanne- Still Life with Bread

Paul Cezanne (1839-1906) At his father’s wishes he then attended law school and there continued in drawing classes. Cézanne 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)

Still Life with a Ginger Jar and Eggplants, 1890-94

Paul Cezanne (1839-1906) 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. His still lifes are at once decorative in design, painted with thick, flat surfaces. The 'props' for his works are still to be found, as he left them, in his studio.

Paul Cezanne (1839-1906) Cezanne 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." Cèzanne believed that while he was painting, he was capturing a moment in time, that once passed, could not come back.

Still Life with Skull and Candlestick

Paul Cezanne (1839-1906) Cézanne gave up classic artistic elements such as pictorial arrangements, single view perspectives, and outlines that enclosed color in an attempt to get a "lived perspective," by capturing all the complexities that an eye observes. He wanted to see and sense the objects he was painting, rather than think about them. Ultimately, he wanted to get to the point where "sight" was also "touch." He would take hours sometimes to put down a single stroke because each stroke needed to contain "the air, the light, the object, the composition, the character, the outline, and the style." A still life took Cézanne one hundred working sessions while a portrait took him around one hundred and fifty sessions.