Doubtless there are things in nature which have not yet

been seen. If an artist discovers them, he opens

the way for his successors. -Paul Cezanne

Cezanne's Provencal Landscape, although

unfinished, exemplifies his devotion to the study of

nature. Even though his style of painting evolved over time,

nature remained constant throughout his work.

Paul Cezanne, Provencal Landscape c. 1887 - 1888, oil on canvas, 81.2 x 65.7 cm

Paul Cezanne, Provencal Landscape c. 1887 - 1888, oil on canvas, 81.2 x 65.7 cm

Ellie Thiele, Chelsea Fierst & Bridget Charlton

Introduction to CezanneIntroduction to Cezanne

The Bridge Cezanne, the impressionistDeveloping a mature styleNature as an inspiration

He sought to be a worthy interpreter of the beauty he saw in the Provencal Landscape“Painters must devote themselves entirely to the study of nature and try to produce pictures which will be an education” -Paul Cezanne

The Bridge Cezanne, the impressionistDeveloping a mature styleNature as an inspiration

He sought to be a worthy interpreter of the beauty he saw in the Provencal Landscape“Painters must devote themselves entirely to the study of nature and try to produce pictures which will be an education” -Paul Cezanne

“The decade was a turbulent one personally for Cezanne: his father died, his mother’s health

began to fail, and he broke off relations with his closest friend, Zola. Despite the emotional

upheaval, the paintings from this period are suggestive of the artist’s continuing aspiration,

in his own words, ‘to make of impressionism something solid and enduring, like the art in

museums.’”

“The decade was a turbulent one personally for Cezanne: his father died, his mother’s health

began to fail, and he broke off relations with his closest friend, Zola. Despite the emotional

upheaval, the paintings from this period are suggestive of the artist’s continuing aspiration,

in his own words, ‘to make of impressionism something solid and enduring, like the art in

museums.’”

SubjectSubject

Provencal Landscapec. 1887Oil on Canvas31 7/8 x 25 5/8 in.mature period

Aix-en-ProvenceAix-en-Provence Southern France Known for its lush

countryside Location of many of

Cezanne’s paintings Cezanne left a

lasting impression in this area Atelier Cezanne Hotel Cezanne

Southern France Known for its lush

countryside Location of many of

Cezanne’s paintings Cezanne left a

lasting impression in this area Atelier Cezanne Hotel Cezanne

"When I was in Aix, I thought I would be better off elsewhere. Now that I'm here, I regret Aix... when one is born there, that's it, nothing else appeals."

- Cezanne in Letter to Philippe Solari, Tailloires, July 23,1896

Located in the cultural and history city center

the first boutique hotel in Aix-en-Provence

“Strong in Colour and in Composition” just like Cezanne himself

Located in the cultural and history city center

the first boutique hotel in Aix-en-Provence

“Strong in Colour and in Composition” just like Cezanne himself

Hotel Cezanne, Aix en Provence Atelier Cezanne, Aix en Provence

The studio at Les Lauves Shows the many focuses of Cezanne Could see mount saint- Victoire from the window and often painted it from there

Jas de BouffanJas de Bouffan

The Cezanne family estate - Located near Aix-en-Provence 37 acres

One of the most significant Provencal sites for Cezanne used it as a summer residence in his early years

Purchased in 1859 Moved the Jas de Bouffan permanently in 1970

Cezanne frequently painted on the grounds of the estate The manor itself was the subject of many of his works

The Cezanne family estate - Located near Aix-en-Provence 37 acres

One of the most significant Provencal sites for Cezanne used it as a summer residence in his early years

Purchased in 1859 Moved the Jas de Bouffan permanently in 1970

Cezanne frequently painted on the grounds of the estate The manor itself was the subject of many of his works

Paul Cezanne, The House of the Jas de Bouffan c. 1874, oil on canvas Paul Cezanne, Jas de Bouffan, The Pool c. 1876, oil on canvas

Landscape Probably located on or

near the Jas to Bouffan Trees are the focal point "Do you remember the

pine tree on the bank of the Arc, which bent its shaggy head over the wide pool extending at its feet? That pine, whose foliage shielded our bodies from the heat of the sun? Ah! May the gods protect it from the fatal stroke of the wood-cutter's axe.” - Cezanne in a letter to Zola, 1858

Landscape Probably located on or

near the Jas to Bouffan Trees are the focal point "Do you remember the

pine tree on the bank of the Arc, which bent its shaggy head over the wide pool extending at its feet? That pine, whose foliage shielded our bodies from the heat of the sun? Ah! May the gods protect it from the fatal stroke of the wood-cutter's axe.” - Cezanne in a letter to Zola, 1858

Cezanne’s Tree MotifCezanne’s Tree Motif

Used as both traditional framing images as well as the principal subject

Particularly fascinated with large pines and chestnut trees

Used as both traditional framing images as well as the principal subject

Particularly fascinated with large pines and chestnut trees

Paul Cezanne, The Aqueduct, c. 1885 -90, oil on canvasPaul Cezanne, The Large Pine, c. 1889, oil on canvas

Possible result of the Mistras Writhing trees

“Van Gogh admires the coloristic precision in Cezanne's canvases…he also suggests that, if Cezanne's touch sometimes seems awkward, this is because of the mistral, which makes his

canvases shake as he paints on them.”

Possible result of the Mistras Writhing trees

“Van Gogh admires the coloristic precision in Cezanne's canvases…he also suggests that, if Cezanne's touch sometimes seems awkward, this is because of the mistral, which makes his

canvases shake as he paints on them.”

Vincent van Gogh, Olive Trees with Yellow Sky and Sun, 1889Vincent van Gogh, Olive Trees with Yellow Sky and Sun, 1889

CompositionComposition

Provencal Landscapec. 1887Oil on Canvas31 7/8 x 25 5/8 in.mature period

“Beginning around 1880, Cézanne moved beyond the flickering brushwork characteristic of impressionism to his more mature style, which is notable for its structured application of paint in the form of dense, parallel brush strokes. The patches of color rendered in this way unite his compositions through an overall surface pattern, a tapestry-like effect.”

ComparisonComparison

Paul Cezanne, Provencal Landscape, c. 1887

Camille Pissarro, Rue des Voisins, 1871

People:People:

Emile Zola Gustave Courbet Edouard Manet Camille Pissarro Nicolas Poussin

Emile Zola Gustave Courbet Edouard Manet Camille Pissarro Nicolas Poussin

Research info:Katsushika HokusaiSouth Wind, Clear Sky

From the series Thirty-Six Views of Mt. Fuji: Color Woodblock Print

Research info:Katsushika HokusaiSouth Wind, Clear Sky

From the series Thirty-Six Views of Mt. Fuji: Color Woodblock Print

Research Info: Early CezanneResearch Info: Early Cezanne

Paul Cezanne, The Railway Cutting, 1870, oil on canvas

Research Info: Cezanne’s Mature Period (c.1877 - 1895)

Research Info: Cezanne’s Mature Period (c.1877 - 1895)

Paul Cezanne, The Gulf of Marseille Seen from L’Estaque, c. 1885 Paul Cezanne, Montagne Sainte-Victoire, c. 1887

Paul Cezanne, Montagne Sainte-Victoire Seen from Les Lauves, 1902-04 Paul Cezanne, Chateau Noir,1900-04

ConclusionConclusion Cezanne attempted to bridge the natural

and artistic worlds the brush strokes and colors are meant to

be interdependent on one another Late career, he used color in short strokes or

in almost mosaic patches During WWI Gwendoline Davies visited the

Berneheim-Jeune Gallery in France In February 1918 she purchased Cezanne’s

Provencal Landscape, and Midday, L'Estaque

Cezanne attempted to bridge the natural and artistic worlds

the brush strokes and colors are meant to be interdependent on one another

Late career, he used color in short strokes or in almost mosaic patches

During WWI Gwendoline Davies visited the Berneheim-Jeune Gallery in France

In February 1918 she purchased Cezanne’s Provencal Landscape, and Midday, L'Estaque

Websites: http://www.dl.ket.org/webmuseum/wm/paint/auth/cezanne/land/index.htm http://cezanne.hotelaix.com/index_uk.php http://www.atelier-cezanne.com/anglais/surlespas.htm http://www.artnet.com/magazineus/features/tuchman/tuchman9-29-05_detail.asp?picnum=5 http://www.nga.gov/exhibitions/2006/cezanne/motif2.shtm http://www.frenchentree.com/france-provence-living/DisplayArticle.asp?ID=17217 http://www.geschichteinchronologie.ch/eu/F/EncJud_Dreyfus-affaire-1894-1906-d/012-Emile-Zola-

portrait.jpg http://www.expo-cezanne.com/2.cfm http://www.pbs.org/cezanne/the_life_of_paul_cezanne.htmlBooks: Fiero, Gloria. The Humanistic Tradition vol. 2. New York:The McGraw-Hill Companies, 2006. Reff, Theodore. “Painting and Theory in the Final Decade.” The Late Work. New York: The

Museum of Medern Art, 1977.

Fiero, Gloria. The Humanistic Tradition vol. 2. New York:The McGraw-Hill

Websites: http://www.dl.ket.org/webmuseum/wm/paint/auth/cezanne/land/index.htm http://cezanne.hotelaix.com/index_uk.php http://www.atelier-cezanne.com/anglais/surlespas.htm http://www.artnet.com/magazineus/features/tuchman/tuchman9-29-05_detail.asp?picnum=5 http://www.nga.gov/exhibitions/2006/cezanne/motif2.shtm http://www.frenchentree.com/france-provence-living/DisplayArticle.asp?ID=17217 http://www.geschichteinchronologie.ch/eu/F/EncJud_Dreyfus-affaire-1894-1906-d/012-Emile-Zola-

portrait.jpg http://www.expo-cezanne.com/2.cfm http://www.pbs.org/cezanne/the_life_of_paul_cezanne.htmlBooks: Fiero, Gloria. The Humanistic Tradition vol. 2. New York:The McGraw-Hill Companies, 2006. Reff, Theodore. “Painting and Theory in the Final Decade.” The Late Work. New York: The

Museum of Medern Art, 1977.

Fiero, Gloria. The Humanistic Tradition vol. 2. New York:The McGraw-Hill

Sources:Sources: