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 :. | weg te gaan | Village Road Near Auvers | Summer | Les Foueurs de Cartes | Jas de Bouffan |
Related Artists:
Morgan, Evelyn De
English, 1855-1919 Painter, wife of William De Morgan. She was a pupil of her uncle, the painter Roddam Spencer Stanhope. In 1873-5 she attended the Slade School of Art, London. While there, she was awarded a Slade scholarship entitling her to financial assistance for three years. The scholarship required that she draw in charcoal from the nude, but she eventually declined it because she did not wish to continue working in this technique, although she excelled in it. She was influenced by the work of the Pre-Raphaelite artists and became a follower of Burne-Jones. In 1877 she first exhibited at the Grosvenor Gallery, London, and continued to show there thereafter. From 1875 she spent several winters in Florence working and studying; some of her work is reminiscent of Botticelli, possibly because of her visits to Florence. She often depicted women in unfamiliar ways though in a manner more in tune with a female perspective.
RIBALTA, Francisco
Spanish Baroque Era Painter, ca.1565-1628 He was the most distinguished artist working in Valencia in the early 17th century. His move towards naturalism at an early date was significant for the history of Spanish painting as well as being very influential. His documented mature works after about 1620 show a change of vision, and they are also of the highest quality. The religious paintings are depicted with more pronounced realism, and his deeply felt spiritual belief is expressed in a direct and very immediate way. In 1607 Ribalta supported other leading Valencian painters in a move to form the Colegio de Pintores (College of Painters) to safeguard the interests of the profession. The expulsion of the Moriscos in 1609 and the death in 1611 of the Patriarch Archbishop Juan de Ribera, Ribalta's most important patron, led to an economic crisis and spiritual void in Valencia that had an effect on his activity, since thereafter commissions came more rarely, and his work became more introspective. During 1616 and 1617 the idea of forming the Colegio de Pintores was revived, and Ribalta took an active role in the management and signed the petition to Philip III seeking support for the Colegio.
Otto Hesselbom
painted The Forest in 1897