Cezanne

Student’s Name Instructor’s Name Course Code Date Research Outline Topic: Cezanne General Purpose: An argumentative essay Specific Purpose: To argue that Cezanne had ideologies which he always depicted in most of his artwork throughout his career. Thesis: In the course of his works Cezanne drive was the ideologies he believed in which continuously raise debates from various artists, critics of his art and lovers of art over the years. Introduction Cezanne was an artist who had a vision although most critics of his works feel he did not. He had aspirations of being a painter from an early stage in his life. In the course of his paintings, he depicted ideologies that aroused debates, inspired various prominent artists and given rise to the modern day art. Although his beliefs may seem vague, he represented them in his art, and anyone who has an eye for it can relate. Evidences. Art is supposed to compile the wholesome nature of the outside world entirely. Making perfect art requires a specific geometric formula. Nature is definitive and can be reduced to something Ideology is imagination. Conclusion Restatement of Thesis The significance of Cezanne’s ideologies to modern day artists and how it has inspired them in their endeavors. Further questions on the future of arts based on the previous influences of the legendary artist Cezanne.  Cezanne Introduction Paul Cezanne was an impressionist artist who was born in Aix France during the 18th century. He was born to a wealthy father who was not only a lawyer but a banker. His father insisted that Cezanne follow his footsteps. However, Cezanne had his dreams and aspirations thus he completely disagreed with his father. His rejection of his father's wishes led to an immensely problematic relationship between the two. Despite the unsettled relationship, Cezanne solely depended on his family financially until his father's death. At the time of Cezanne's existence, there was a technological revolution and extensive range scientific discoveries. However, Cezanne did not give much thought to these innovations as he sourced his inspirations from nature. Cezanne mostly taught himself how to paint. He enrolled himself in an art school in his native town where he attended evening classes. Later he moved to Paris where tried to join the prestigious Ecole de beaux arts but was unsuccessful twice. He ended up learning the art of painting by copying works of Titians, Reubens, and Michelangelo which often looked at when he visited the Musee de louvre. He subsequently joined a studio where aspiring artists could draw from a live model at a slight monthly fee. It was in this studio where he met some of the most prominent artists who were struggling at the time: Claude Monet, Auguste Renoir, and Camille Pissarro. These painters later joined his impressionist movement. Cezanne came up with different ideologies that explained most of his art. He believed that art was not just a brush with paint, but it possessed a deeper meaning and relation to nature. I will explore some of his ideologies which have been continuously debated by critics, artists, and lovers of art over the years. The main argument constitutes the different ideologies of Cezanne that made his art the best in the world: Art is supposed to compile the wholesome nature of the outside world entirely. Making perfect art requires a specific geometric formula. Nature is definitive and can be reduced to something Ideology is imagination Evidences Art is supposed to compile the wholesome nature of the outside world entirely. Cezanne believed that art should always portray every aspect of nature. He felt that painting objects should be for their sake and he followed this element in his works (Harrison, Charles). However, artists sometimes paint to display their feelings at that moment surrounding the object. Although this principle was crucial for Cezanne's art, I feel that it's not applicable in all forms of art. Sometimes art is just about relieving frustrations and circling the feelings of an artist. Cezanne failed to look at art from other perspectives by focusing only on the object he painted. Moreover, he believed that even a flake of white snow if appropriately inculcated in a piece of painting manifested a specific aspect of the surrounding of the painted object. He felt that his art should capture even the smallest things in the object environment and he incorporated various colors in his canvas to display the different nitty gritty. Cezanne's painting was meant to capture the sight of an object and its odor. He allowed nothing to veer off his perception. This belief led him to continuously paint a picture for days if not months just to ensure every point was captured. However, according to critics, this aspect made his art appear messy, and it seemed as though his works were just a trial and error endeavor. At one point in his career, he claimed he could even see the scent of his paintings. He explained this claim in his theory of vision where he mentioned that seeing does not only pertain the visible account of an object but also constitutes the blind experience of something invisible corresponding to the object that meets the eye. I believe that this aspect of his imagination was among the reasons his art was fantastic. Trying to capture the fragrance of a painting almost always brings the true identity of a picture and gives it meaning. Cezanne was an artist who put this idea into action thus revolutionizing art. While traveling with Madame Cezanne, he stopped to observe a motif at a point in their journey. It took him more than a few hours to perceive and take in all its angles shifting from one location to another. In his observation he believed that nature could completely manifest itself to him, justify its existence and then provide him with a sensation which he could paint. Although some would refer to this behavior as absurd, Cezanne brought out the essence of a painting by inculcating these sensations in his pictures. This factor is one of the reasons his art arouses feelings among art lovers today. During his free hours, he explained these ideologies to his young friend Emile Bernard who was an art critic. Emile describes Cezanne as a softly spoken painter who loved reading and possessed an immense attention to detail while performing his works (Harrison, Charles). Cezanne believed that every move of the paintbrush was supposed to bring out even the smallest unnoticeable aspect of nature. He spent months on his paintings to ensure he portrayed the slightest trait of any objects he painted. Cezanne encourages artists today to be more attentive to detail if they are to succeed in painting. Making perfect art requires a specific geometric formula. In his dialogues with Bernard, Cezanne expressed his intentions of wanting a formula for art just as the Masters did. The Masters utilized first-rate sections, musical implications and sacred geometry of hexagon, circle, Pentagon and much more. In his paintings, Cezanne aimed to establish art that lay on a two-dimension plane (Geist, Sidney). He ensured that the picture did not go beyond the canvas. Though this idea portrays some order in painting, it is often a limiting factor. Sometimes drawings may go beyond a canvas for their true essence to be manifested. I believe that the art should be about expressing the meaning of a portrait and should not be limited. Furthermore, Cezanne made sure that the colors in his paintings and the volume of the structure moderated. He did everything with careful contemplation unbeknown to some of the critics who believed that Cezanne's works had no order or formula. His introduction of watercolors in painting made art beautiful. The array of colors in his art has made people fall in love with his art. Cezanne constantly reminded young Bernard that there exist no such things as line or modeling and that only contrasts existed. He achieved the said contrast in his painting of an apple which he did later in his artistic career. He had a very regular schedule which included going to paint his motif aware from the hassle of Paris, unlike his counterparts. In his painting of Mont Sainte Victoire, a repeated continuously triangular pattern is visible; there is one triangle at the center and two more on the sides. This model is popularly known as a monohedral pentagon (Bate, Michèle). Just as he distorted the perception of most of his paintings, he changed the Pentagon to come up with his geometric formula. Although misrepresented, Cezanne has brought a different technique to art. Many artists have followed this strategy to come up with some of the best portraits in the world. Many have also marveled at his imagination and ability to come up with a method used in drawing for centuries. Nature is definitive and can be reduced to something. According to Cezanne everything in nature could be reduced to something (Chun, Young-Paik). He believed he could express the underlying elements and truths of life in a single painting. However, one viewpoint could not do justice to nature. He proves this ideology in his picture of the ridges of Monte Sainte Victoire located near his place of birth. Despite its importance to him, Cezanne painted it and cloaked it with uncertainties. He reduced it to a series of impressions which confused most critics later by creating numerous paintings of the mountain, sketches and its watercolors. Despite his prowess, I believe art should show the importance of a place or event to a painter. Cezanne disregarded this aspect and only concentrated on cloaking the mountain without revealing its importance to him. Moreover, critics feel his works are just makeshift and do not capture nature. They are just figments of his imagination and have a very distant attachment to life. In most of his works, the mountain is hardly visible in the background (TAMBLING, Jeremy). He created so many pieces of this hill which were untitled and unsigned. Some critics claim that he was just attempting to paint the Mountain hence the many parts. Collectors date Cezanne's works by relating them one another as it is relatively hard to define the scale of his art. Cezanne included all the elements of nature including trees, farm fields, and aqueduct. He reduced this mountain to a picture that some critics claim cannot be understood. However, the inculcating all his viewpoints in this painting is what makes it a masterpiece. It is what makes his art breathtaking and inspiring to people. Despite his shortcomings, I believe that Cezanne, in his distorted way brought out the aspect that nature is definitive and can sometimes it's possible to condense it to something. Ideology is imagination. Cezzane uses the painting “Still Life With Apples” to demonstrate the tranquility of life. The edges of the fruits and bowls also appear to be shifting. His use of optics to reduce naturally occurring forms to their geometric essentials made his work stand out from his counterparts. He uses his imagination to create a picture that depicts the different angles of how life is seen (TAMBLING, Jeremy). Moreover, the image manifests Cezanne’s intangible experience. He uses figments of his imagination to come up with art that relates differently to different people. I believe his use of various color layers makes him master of perspective. Although this principle made him achieve little public success, it was until his death that this painting and his other work began to influence young artists including Pablo Picasso. Conclusion. For years we have seen via Cezanne's eyes through his followers. His ideologies inspire by most of the famous artists including Picasso. Evolution of modern art is a result of Cezanne's ideas (Geist, Sidney). However, to see him only as the man behind contemporary painting would be to undermine his works significantly. He brought about the change in the way people visualize nature. He believed the surrounding could inspire love and affection, and to transfer it to a canvas would be like having the scripture laid in front of you. He proved his importance to art by giving rise and meaning to the impressionist colors. Cezanne has invoked visual language in today’s painters and continually inspires them with his art. In his distorted way, he also preserved the geometric style of the masters. If artists continuously look and perceive art like Cezanne, there will be a revolution in the world of art. Artwork will be living in canvas. Indeed, Cezanne left a legacy in the world art, and he will continue being a legend. Work Cited. 2017, http://rupkatha.com/V2/n1/Derridatruthinpainting.pdf. Bate, Michèle. "THE PHENOMENOLOGIST AS ART CRITIC: MERLEAU-PONTY AND CÉZANNE." The British Journal Of Aesthetics, vol 14, no. 4, 1974, pp. 344-350. Oxford University Press (OUP), doi:10.1093/bjaesthetics/14.4.344. Bertall. "Impressionism In France." The American Art Review, vol 1, no. 1, 1879, p. 33. JSTOR, doi:10.2307/20559568. Chun, Y. (2002). Looking at Cezanne through his own eyes. Art History, 25(3), 392-397. http://dx.doi.org/10.1111/1467-8365.00330 Geist, Sidney. "CÉZANNE: CARELESS, MAKESHIFT, ETC.." Source: Notes In The History Of Art, vol 20, no. 2, 2001, pp. 37-39. University Of Chicago Press, doi:10.1086/sou.20.2.23206803. Harrison, Charles. "Cezanne: Fantasy And Imagination." Modernism/Modernity, vol 4, no. 3, 1997, pp. 1-18. Johns Hopkins University Press, doi:10.1353/mod.1997.0054. "Masterpieces Of Impressionism And Post-Impressionism: The Annenberg Collection." Choice Reviews Online, vol 47, no. 11, 2010, pp. 47-6054-47-6054. American Library Association, doi:10.5860/choice.47-6054. "Paul Cézanne Biography, Art, And Analysis Of Works." The Art Story, 2017, http://www.theartstory.org/artist-Cezanne-paul.htm. Harrison, Charles. "Cezanne: Fantasy And Imagination." Modernism/Modernity, vol 4, no. 3, 1997, pp. 1-18. Johns Hopkins University Press, doi:10.1353/mod.1997.0054. Surname 9