French Post-Impressionist Painter, 1839-1906 During the second half of the 19th century French impressionism created a dramatic break with the art of the past. In conception and appearance the style was radically new and, although it initially inspired public ridicule, it soon affected nearly every ambitious artist in western Europe. The new vision emerged during the 1870s, chiefly in the art of Claude Monet, Auguste Renoir, and Camille Pissarro. For each of these artists impressionism was an illusionistic style which differed from the tradition of Renaissance illusionism in its greater emphasis upon vibrant, natural color and on an immediate confrontation with the phenomena of the visible world. As the style developed during the 1880s, however, it increasingly became characterized by paintings which were flat rather than illusionistic. In other words, the impressionists insistence upon a direct application of pigment to canvas resulted in surfaces which declared themselves first of all as surfaces - and, consequently, in paintings which declared themselves first of all as paintings rather than as windows which looked out upon the natural world. The tendency toward flatness persisted into the last years of the 19th century, its pervasiveness giving the impression that illusionistic space - fought for, won, and defended since the very beginning of the Renaissance - had finally been sacrificed by the medium of painting. Paul C??zanne worked within and finally emerged from this trend. As a painter, he matured slowly, his greatest works coming during the last 25 years of his life. During this period he scored a remarkable and heroic achievement: he restored to painting the space and volume that had seemingly been lost to it. But he did it in a totally unprecedented way: not by return to the illusionism of the past but by the creation of a spatial illusionism that did not violate flatness. C??zanne was born on Jan. 19, 1839, in Aix-en-Provence. His father, Philippe Auguste, was the cofounder of a banking firm which prospered throughout the artist life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance. In 1852 C??zanne entered the Coll??ge Bourbon, where he met and became friends with Émile Zola. This friendship was decisive for both men: with youthful romanticism they envisioned successful careers in the Paris art world, C??zanne as a painter and Zola as a writer. Consequently, C??zanne began to study painting and drawing at the École des Beaux-Arts in Aix in 1856. His father opposed the pursuit of an artistic career, and in 1858 he persuaded C??zanne to enter law school at the University of Aix. Although C??zanne continued his law studies for several years, he was simultaneously enrolled in the School of Design in Aix, where he remained until 1861. In 1861 C??zanne finally convinced his father to allow him to go to Paris. He planned to join Zola there and to enroll in the École des Beaux-Arts. But his application was rejected and, although he had gained inspiration from visits to the Louvre, particularly from the study of Diego Vel??zquez and Caravaggio, C??zanne experienced self-doubt and returned to Aix within the year. He entered his father banking house but continued to study at the School of Design. The remainder of the decade was a period of flux and uncertainty for C??zanne. His attempt to work in his father business was abortive, and he returned to Paris in 1862 and stayed for a year and a half. During this period he met Monet and Pissarro and became acquainted with the revolutionary work of Gustave Courbet and Édouard Manet. C??zanne also admired the fiery romanticism of Eug??ne Delacroix paintings. But he was never entirely comfortable with Parisian life and periodically returned to Aix, where he could work in relative isolation. He retreated there, for instance, during the Franco-Prussian War (1870-1871).  Related Paintings of Paul Cezanne :. | the boy in the red waistcoat | St. Victor Hill | St Victor Hill | Le Chateau Noir | Junges italienisches Madchen |
Related Artists:
Jules Elie Delaunay
Nantes 1828 - Paris 1891. French Neoclassical Painter. Studied under Hippolyte Flandrin. French Neoclassical Painter. Studied under Hippolyte Flandrin. French painter. He entered the Ecole des Beaux-Arts in Paris on 7 April 1848, where he was a pupil of Joachim Sotta (1810-77), Hippolyte Flandrin and Louis Lamothe (1822-69). He became a disciple of Flandrin, and, though making his debut in the Salon in 1853 with the Saltworkers of Guerande (Nantes, Mus. B.-A.), he soon concentrated on history painting. In 1856 he won the Prix de Rome with the Return of the Young Tobias (Paris, Ecole N. Sup. B.-A.) and left Paris to study at the Academie de France in Rome. His work is imbued with a deep religious sentiment cast in the restrained, controlled style and formal repertoire of Neo-classicism. From early in his career he produced many easel and wall paintings on religious subjects, such as Jesus Healing the Lepers (1850; Le Croisic,). In 1854 he received a commission to produce four fresco decorations for the church of the monastery of the Visitation-Ste-Marie in Nantes, which he completed the following year. In 1865 he returned to the monastery to decorate the chapel of St-Francois de Sales with scenes from that saint's life.
Charles Howard Hodges
(1764, Portsmouth - July 24, Amsterdam), was a British painter active in the Netherlands during the French occupation of 18th and early 19th century. Charles Howard Hodges had visited Amsterdam in 1788; after a two-year stay in Dublin, he moved with his family to The Hague in 1792. In Amsterdam, he worked as an artist, specialized in the mezzotint technique and pastel. In 1797, he and his family moved to Amsterdam, where he lived with his teacher Johann Friedrich August Tischbein at the Prinsengracht Ne 205. There, he became a famous painter of portraits; he painted over 700 portraits of the rich and famous of that time. He was also an engraver, printer, art dealer and a member of the Amsterdam art club Felix Meritis. He is well-known for the fact that he painted all the leaders of the Netherlands during the Napoleonic Period, -a turbulent period in Dutch history, since the Netherlands went through 5 different political systems: stadtholder Willem V of the Republic of the United Netherlands, Grand Pensionary Rutger Jan Schimmelpenninck of the Batavian Republic, King Louis Bonaparte (King of Holland), Emperor Napoleon Bonaparte and king William I of the Netherlands. The only known portrait of Sebald Justinus Brugmans was made by him. A design for the honorary cross of the Order of the Union was rejected by Louis Bonaparte. Hodges advised the Dutch government in 1815 with the return of thousands of works of art, which were confiscated by the French in 1795 from several collections, including the Gallery of Prince William V (the first museum open to the public in the Netherlands), and the several collections of the previous stadtholders. Not all the stolen art was returned from Paris, and it is said that several pieces are still held in the Louvre up to this day. Most of the over 700 portraits by Hodges are made in the early 19th century, the earlier works in pastel, and later work in oil paint. Several of these portraits can be found in the Rijksmuseum in Amsterdam, in museums and castles and in royal and private collections. Charles Howard Hodges was father and teacher to James Newman Hodges, een lesser painter who worked in the Rijksmuseum when it was still located in the Trippenhuis in Amsterdam.
Hippolyte Berteaux
(1843 - 1928)