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 :. | Cherries and Peaches | Temptation of ST.Anthony | Still Life with Apples and Oranges | Die Pappeln | Schwarz Pang plans to increase the snow slope |
Related Artists:
Charlotte Wahlstrom
painted Lake landscape at dusk in 1887
Therese Schwartze
(December 20, 1852, Amsterdam - December 23, 1918, Amsterdam) was a Dutch portrait painter. Therese was the daughter of Johan Georg Schwartze (1814 - 1874), from whom she received her first training, before studying for a year under Gabriel Max and Franz von Lenbach in Munich. In 1879 she went to Paris to continue her studies under Jean-Jacques Henner. Her portraits are remarkable for excellent character drawing, breadth and vigour of handling and rich quality of pigment. She was one of the few women painters who had been honoured by an invitation to contribute their portraits to the hall of painters at the Uffizi Gallery in Florence. Some of her best pictures, notably a portrait of Piet J Joubert, and Three Inmates of the Orphanage at Amsterdam, are at the Rijksmuseum, and one entitled The Orphan at the Boyman Museum in Rotterdam.
Sir edwin landseer,ra
1802-1873 Painter, draughtsman, sculptor and etcher, brother of (3) Charles Landseer. He became the best-known member of the family and was one of the most highly respected and popular British painters of the 19th century. He was first trained by his father, who taught him etching, and he then studied with Benjamin Robert Haydon and at the Royal Academy Schools in London. Precociously gifted, he drew competently from childhood and in 1813 he won the Silver Palette for draughtsmanship at the Society of Arts. In 1815 he exhibited at the Royal Academy for the first time, showing some drawings of a mule and of the heads of dogs. From an early age he was a frequent visitor to the menagerie in Exeter Change in the Strand, London, where he drew lions, monkeys and other animals.