(left) Occupy Boston, October 11, 2011; (right) Honoré Daumier, The Uprising, 1860

Paul Cézanne & Georges Seurat Post-Impressionism

Paul Cézanne (French, 1839-1906), photo-portrait, 1861 (year of first stay in Paris) “The Master of Aix”

(left) Paul Cézanne, Self Portrait, 1878-80 (left) Paul Cézanne, Self Portrait, 1878-80. Compare with (right) Pablo Picasso, Portrait of Vollard, 1910 (Analytic Cubism) “What forces our interest is Cézanne’s Anxiety. That’s Cézanne’s lesson.” Pablo Picasso

"I had a dream the other day "I had a dream the other day. I had written a beautiful book, a wonderful book, which you had illustrated with beautiful, wonderful pictures. Both of our names shone in letters of gold on the first page and, inseparable to this fraternity of genius, passed on to posterity." Letter to Paul Cézanne from Emile Zola From Paris, early 1860’s

Paul Cézanne, Academic study: Male Nude, 1862

Paul Cézanne, Father of the Artist (Louis Auguste), 1866

Stock, caricature of Paul Cézanne with the two painting rejected by the Salon jury of 1870. (right) Portrait of Achille Emperaire, 1867-68, oil on canvas, 78 3/4 x 48 in., Musée d'Orsay, Paris. Intentionally lacked all the elements of charm, grace and finish appreciated by the jury.

Paul Cézanne, The Abduction, 1867

Paul Cézanne, The Murder, 1870

(left) Camille Pissarro (1830-1903), Louveciennes, 1872 (left) Camille Pissarro (1830-1903), Louveciennes, 1872. Compare with (right) Paul Cézanne, Louveciennes, 1872, 73 x 92 cm, oil on canvas Transformation of Cézanne’s style through the Impressionism of Pissarro Modernism developed through acts of exchange and discussions, rather than through isolated enterprises.

(left) Paul Cézanne, The Hanged Man's House, 1873, oil on canvas, 22 x 26”, Musée d'Orsay, Paris – breakthrough and beginning of mature style. (right) Camille Pissarro, Red Roofs: Auvers sur Oise, 1877

Paul Cézanne, The Bay from L’Estaque, 1885, 31x39”, Chicago Institute

Paul Cézanne, Mont Sainte-Victoire Seen from les Lauves 1902-6, oil on canvas, 25 x 32”

Auguste Renoir (left), Mont Sainte-Victoire, 1889 Auguste Renoir (left), Mont Sainte-Victoire, 1889. Compare with Paul Cézanne, Mont Sainte-Victoire, 1889. The artists painted these paintings together in Aix, en plein aire.

Paul Cézanne, Still Life with Basket of Apples, 1890-95, oil on canvas 24 x 31,” The Art Institute of Chicago

Paul Cézanne, Still Life with Plaster Cupid, oil on canvas, c Paul Cézanne, Still Life with Plaster Cupid, oil on canvas, c.1895  (Courtauld Gallery, London) http://vimeo.com/18214834

The Eiffel Tower, 1889, 9 ½ X 6”, Fine Arts Museums, San Francisco Georges Seurat (French, 1859-1891, lived 31 years) Neo-Impressionism (Divisionism, Pointillism, Scientific Impressionism, Chromo-luminism) Overheard at a Neo-Impressionist exhibition in 1894 : “It’s done mechanically?” “No, Monsieur, by hand.” The Eiffel Tower, 1889, 9 ½ X 6”, Fine Arts Museums, San Francisco

Georges Seurat, (left) Academic Study, c Georges Seurat, (left) Academic Study, c. 1875-1879, chalk drawing Seurat, Embroidery: The Artist’s Mother, 1882-83, conté crayon on ingres paper 12 x 9 “

Georges Seurat, A Sunday Afternoon on the Island of la Grande Jatte, 1884-86, o/c, 6’ 9” x 10’ Art Institute of Chicago. Artist was 25 years old

Detail of La Grande Jatte (dog next to monkey) showing Pointillist technique

Georges Seurat, Child in White, and Couple, preparatory drawings for La Grande Jatte,1884

Georges Seurat, oil studies for La Grande Jatte

Georges Seurat (1859-91) La Grande Jatte, 1884, compared with (below) Puvis de Chavannes (French Symbolist, 1824-98) The Sacred Grove, 1884, part of mural for the Lyons Museum of Fine Art, 181 x 419.” Seurat assisted Puvis de Chavannes on this work.

Seurat, La Grande Jatte compared with Pierro Della Francesca, The True Cross, 1466, early Italian Renaissance fresco

Paul Signac (French 1863-1935), Neo-Impressionism Against the Enamel of a Background Rhythmic with Beats and Angles, Tones and Tints: Portrait of M. Félix Fénéon in 1890, 1890, o/c, 29 x 36”

Paul Signac, The Gulf of Sainte Tropez, 1892 compared with Henri Matisse, Luxe, Calme, et Volupté, 1904 Signac and Matisse painted side by side in Sainte Tropez