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 :. | Mountains in Provence | Woman with Coffee Pot (mk09) | hat man | Portrait of Ambroise Vollard | Peaches and Pears By Paul Cezanne |
Related Artists:
Johan Hendrik Weissenbruch
Dutch Painter, 1824-1903 Painter, cousin of Jan Weissenbruch. He referred to himself and signed his work as Jan Hendrik Weissenbruch. From 1840 he attended drawing lessons with the Norwegian painter Johannes Lew, and from 1846 he was taught by Bartholomeus J. van Hove at the Koninklijke Academie van Beeldende Kunsten in The Hague. His early paintings clearly show the influence of van Hove and Andreas Schelfhout, although it is uncertain whether he was actually taught by the latter. His father, an avid collector, owned works by both artists.
Lorenzo di Alessandro da Sanseverino
Italian Early Renaissance Painter, active 1468-1503
Emanuel Leutze
historical painter, born in Gmund, Wurtemberg, 24 May, 1816; died in Washington, DC 18 July, 1868.American painter of German birth. When he was nine, Leutze's family emigrated to America and settled in Philadelphia. In 1834 he began to study art with the draughtsman John Rubens Smith (1775-1849). Leutze developed his skills as a portrait painter by taking likenesses to be engraved for publication in the National Portrait Gallery of Distinguished Americans and then working as an itinerant painter. He also experimented with imaginative compositions, such as the Poet's Dream (Philadelphia, PA Acad. F.A.). Philadelphia patrons sponsored his study in Europe, and in 1841 he enrolled at the Kenigliche Kunstakademie in Desseldorf. Although attempts at history painting won approval in Germany and in the USA, Leutze left the academy in 1843. He travelled for two years in Germany and Italy, during which time he became convinced of the importance of freedom and democracy,