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 :. | Cruchon et Compotier | Landschaft mit Brunnen | farms | Bridge at Cereteil | Foliage |
Related Artists:
helga ancher
född 19 augusti 1883 i Skagen, död 18 mars 1964 i Skagen, var en dansk konstnär (målare). Helga Ancher var dotter till konstnärerna Anna och Michael Ancher och förekommer som barn ofta som motiv i föräldrarnas målningar. Helga kom sedermera själv att utbilda sig till målare och studerade bland annat på Konstakademien i Köpenhamn samt i Tyskland, Frankrike och Italien. Även om hon aldrig blev blev lika känd för sin konst som sina föräldrar har en del av hennes tavlor kommit att betinga höga värden på auktioner. Föräldrarnas hem i Skagen lät Helga Ancher efter moderns död 1935 bevara i det skick det hade då och skänkte sedermera detta till en stiftelse, vilken 1967 kunde öppna konstnärsbostaden som museum.
Ker xavier roussel
French Nabi Painter, 1867-1944 was a French painter associated with Les Nabis. Born François Xavier Roussel in Lorry-les-Metz, Moselle, at age fifteen he studied at the Lycee Condorcet in Paris; alongside his friend Édouard Vuillard, he also studied at the studio of painter Diogene Maillart. In 1888 he enrolled in the École des Beaux-Arts, and soon began frequenting the Academie Julian where Maurice Denis and other students formed the group Les Nabis. He is best known for paintings of French landscapes usually depicting women, children, nymphs and fauns in bucolic settings. In 1899, Roussel, Vuillard, and another close friend, Pierre Bonnard, traveled to Lake Como, Venice and Milan. In 1926 Ker-Xavier Roussel won the Carnegie Prize for art. Ker-Xavier Roussel died in 1944 at his home in L'Étang-la-Ville, Yvelines. Roussel is mentioned in Gertrude Stein's Autobiography of Alice B. Toklas, chapter 3. There she recounts an exchange he had with Theodore Duret in Vollard's shop at an uncertain date after 1904.
Mose Bianchi
(Monza, 1840-1904) was an Italian painter. The family moved from Monza to Milan and Bianchi enrolled at the Brera Academy. Having interrupted his studies to serve in the second war of independence, he returned to attend the school of painting directed by Giuseppe Bertini. The award of a grant in 1867 enabled him to visit Venice and then Paris in 1869. He took part with some success at the Brera exhibitions and the Vienna Exhibition of 1873. It was in this period that he began to paint genre scenes in 18th-century settings and numerous portraits, soon becoming one of the artists most in demand with the Milanese middle classes. He returned to Venice in 1879 and visited Chioggia for the first time. Both places were to be featured also in later years in a series of intense views exhibited at exhibitions in Milan and Venice alongside genre scenes, views of Milan and landscapes of the countryside around Gignese.