1. Cezanne Post-Impressionism

2. Cezanne Father was stock broker Cezanne trained as lawyer, while attending drawing academy Studied in Paris, painted in Impressionists style, but was rejected at 1874 Impressionists exhibition Went back home (Aix-en -Provence) to continue painting in obscurity Impressionists used colour to dissolve form, He used patches of colour to build it up.

3. Cezanne as Impressionist He was largely untrained so his early work was crude compared to other Impressionists.

4. Cezanne as Post-Impressionist Cézanne's grasp of form and solid pictorial structures came to dominate his mature style. His overriding concern with form and structure set him apart from the Impressionists from the start.

5. Composition and Solid Form The subject of the work is less important than a well constructed design and solid forms.

6. Composition and Solid Form

7. The main objects are arranged roughly in a triangle or pyramid.

8. Composition and Solid Form He paints still-life, landscape, and the figure as if there is a permanent geometry (cones, cylinders, & spheres) under the surface.

9. Jug and Fruit1906

10. Squarish Patches Cezanne uses flat squarish patches of colour to serve two purposes: 1) To create a 2D surface for compositional unity, and 2) To suggest separate planes that shape 3D solidity and space.

11. Still-life with Onions1895

12. Painted over a long period of time ( often fruit rotted - replaced with wax fruit) Forms based on basic geometric forms - cylinder, cubes, cones, & spheres. Design most imp. - distorts for design - more imp. than imitation of objects.

13. Works like Still-Life with Onions are often seen from multiple perspectives.

14. Subject Form & composition, with colour used to achieve both Actual subject not as imp. as solid and unified qualities of work as whole

15. Perspective Not sitting in same position each time Influenced Cubism

17. Composition Objects, and direction of line are carefully placed for overall asymmetrical balance. He will even tilt objects to add to flow of composition.

18. Colour Warm hues of fruit contrast cool of surroundings. Warm colours advance and cool colours recede.

19. Still-life with Plaster Cast 1895

20. Subject  Domestic Still-life objects combined with dramatic baroque sculpture (art history)

21. Still-life with Plaster Cast 1895  Plaster cupid by Puget is a plaster copy (copy of a copy) & in the background is a painting of a copy of The Flayed Man (copy of copy of copy)

22. Still-life with Plaster Cast 1895  Tension between foreground and background  Which is real & which is illusion?

23. Still-life with Plaster Cast 1895  There is a tension between two dimensional qualities and three dimensional qualities.

24. Still-life with Plaster Cast 1895  Painting contains subtle shifts of perspective due to long period of painting  The artists position changes so perspective changes.

25. Still-life with Plaster Cast 1895  The apple placed in background floor is same scale as foreground apples.  Traditional scale & perspective are intentionally ignored in order to balance the composition.

26. Mont Sainte-Victoire, 1904

27. Mont Sainte-Victoire Part of a series painted more than 30 times The mountain dominates landscape

28. Mont Sainte-Victoire, 1904 Form - Distorted, reduced to pyramid shape (geometry)

29. Mont Sainte-Victoire, 1904 Perspective- wanted canvas to remain flat, so he didn't use traditional aerial perspective

30. Mont Sainte-Victoire, 1904 Space - depth achieve through contrast of warm & cool colour Compressed space - foreground, middle ground & background painted with same intensity, and similar squarish patches of colour Canvas maintains flat quality - sky seems as close as foreground

31. Mont Sainte-Victoire, 1904 Colour- Felt free to adjust relationships of colour (distort) for design sake. Modulated - colours and values distributed to produce visual balance