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The artists'
artist - his life

in paintings
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AM Cezanne

DORLING KINDERSLEY
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 Contents

How to use
this book

This series presents both

the life and works of each

artist within the cultural,

social, and political context
of their time. To make the
books easy to consult, they

are divided into three areas Childhood and beyond, Cezanne is a dauber'
identifiable by side bands: the formative years
yellow for the pages 8 Growing up in 42 Meeting with
devoted to the life and Aix-en-Provence Hortense Fiquet
works of the artist, light
10 Interior with Two 44 1870: the outbreak of
'q blue for the historical and Women and a Child the Franco-Prussian war
cultural background, and 12 Napoleon III 46 House of the Hanged Man
pink for the analysis of
crowned emperor 48 and the war
Artists
major works. Each spread 14 The dream of painting 50 Meeting with
focuses on a specific theme, 16 Portrait of Louis- Pissarro at
with an introductory text Auguste Cezanne Auvers-sur-Oise
and several annotated 18 Friendship with 52 The Third Republic
illustrations. The index Emile Zola and the Commune
section is also illustrated
20 Official culture: 54 L'Estaque
and gives background the academies and 56 Three Bathers
information on key figures
the Salons 58 1874: "The
and the location of the
22 1861:Cezanne in Paris first impression"
artist's works.
24 The Orgy 60 Portrait of
26 1863: the Salon Victor Chocquet
des Refuses 62 The cafes and
28 AchilleEmperaire modern life

30 The grandiose projects 64 Madame Cezanne

of Napoleon III in a Red Armchair
32 Nadar and the birth 66 The last appearance
of photography with the Impressionists
34 Overture to 68 Meeting Joris-Karl
Tannhauser Huysmans
36 Daumierand 70 Still life

caricature 72 Biscuits and Fruit Bowl

38 Cezanne and Flaubert 74 Degas and the
immediacy of
photography
Page 2: Cezanne,
Self Portrait on Pink
Background, c.1875,
Private Collection, Pans.
 1880-1890 1
1 -U
1890-1906
\ am I

Artistic maturity The cone, the cylinder,

and the sphere
78 New sensations 106 The first one-man show 134 Index of places
80 Self Portrait 108 The Orient and the ancient 138 Index of people
with Hat 110 Still Life with
82 Difficulties with his Plaster Cupid
father and marriage 112 The Card-
to Hortense players
84 Chestnuts and Farm at 114 Woman with a Coffeepot
the Jas de Bouffan 116 "Death is no
86 The break with longer absolute":
Emile Zola the cinematograph
88 Harlequin 118 Portrait of
90 Symbolist painters Gustave Geffroy
92 The experience of Renoir 120 1905 annus mirabilis.
94 The Universal Einstein and the
Exhibitions theory of relativity
96 Kitchen Table 122 Ambroise Vollard
98 The rise of 124 The Fauves
capitalism 126 Les Grandes Baigneuses
and images 128 The final muse:
of socialism Mont Sainte-Victoire
100 The Blue Vase 130 1907: A great
102 A final flowering: commemorative
the Bathers exhibition
 1839-1870

(
 Childhood and beyond,
the formative years
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 839-1870

Growing up in

Aix-en-Provence

1 aul Cezanne was born on January 1 9, 1 839 Before the war, Aix-

Aix-en-Provence, a small town in the south of France. His en-Provence was still a
in
small southern town on
father's family was almost certainly of Italian origin, in France to
the margins of progress.
seek their fortune. His father was perhaps from a Piedmontese Time had stood still for

village or perhaps, as Ambroise Vollard, his collector and many years and life was
biographer, has suggested, from the small town of Cesena in calm and untroubled.
The seasons came
Romagna. At all events, by the early 1800s the Cezannes were
round in their regular
settled in Aix. Paul's father Louis-Auguste became a hat trader;
rhythm with the
the felt industry was, at this time, flourishing in Aix and he made same patterns.

enough money to start up a bank in 1848, the Banque Cezanne et

Cabassol. Paul spent his childhood in Aix with his parents and
sisters. He attended the local primary school and in 1852 went to

^^^^^^^^ the College Bourbon to complete his

4&< 'B/V/l! stLJ dies. He was educated in the

feT] 1 atmosphere of a comfortable bourgeois

*
j|£ |
environment. By all accounts Louis-Auguste
ft was a good father even if he insisted on
asserting the full weight of his parental
authority, occasionally putting obstacles in

the way as Paul gradually became aware of

his artistic vocation. The family's financial

security enabled him to paint without

having to rely on selling his work.

Photograph of
Louis-Auguste Cezanne.
His modest origins,

his marriage to a

working-class girl, plus

the illegitimacy of his
first two children were
sufficient reasons for
Photograph of Marie
Aix society to keep
Cezanne, c.1861. Paul
Louis-Auguste at a
was his mother's
distance. This had an
favorite child and she
effect on Paul, who was
encouraged him in
proud and sensitive,
his painting. His sister
and it deepened
Marie was their father's
his tendency to
favorite - he loved her
withdraw into himself.
peaceful, calm qualities.
 Francois-Manus
Granet Rome: the
Basilica of Constantine,

the Arch of Thus, and

Santa Francesco
Romana, c.1820, Musee
Granet, Aix-en-Provence.
This painter from Aix,
a friend of Ingres, left

his fortune and his

collections to the

museum in his native

city. In 1861 part of the

museum was dedicated
entirely to his work.

Cezanne would have

known these views,

painted by Granet in

Italy, and their free,

spontaneous style.

Cezanne, Chestnuts
and Farm at the Jas de
Bouffan, c.1884, Norton
Simon Art Foundation,

Pasadena (California). In

1859, Cezanne's father

purchased a country
house for the summer,
the Jas de Bouffan. The
large house can be seen
in many of Cezanne's

paintings, with its row

of chestnut trees, the

fountain with the

dolphin, the stone
lions, and walled areas.
 839-1870

Interior with Two Women and a Child

Painted in about 1860, this demonstrates Cezanne's
technique, acquired during his studies The
in Aix.

subject may have come from the women's

magazines to which his sisters subscribed. Today
it hangs in the Pushkin Museum in Moscow.

10
 839- 1870
Large, round brushes The use of color K
r
are used to superimpose seems to be limited s.

shades of color on one here as the bituminous m

?3
another from light to preparation immediately
dark; the canvas is subdues the tones. m
prepared with a shaded However, it is easy to m
C/5
background. The dark identify the three basic

tones express the colors (magenta red,

troubled personality primary blue, and

of the artist at a lemon yellow), in the
very early stage. child's dress, in the

bodice and the skirt of

the woman. Even though

the theme was probably
taken from a newspaper,
Cezanne imbues it with
a certain dramatic tone.

In this and in other

early paintings, Cezanne
used a palette knife and
large rounded brushes:
the brushes obliged him
to structure the canvas

in terms of volumes,
which simplifies
the design.
 1839-1870
This painting shows
Napoleon III Napoleon on the battlefield

at Sedan on November 7,

crowned emperor 1852. With the consent of

the French people (the
army, the bourgeoisie, the
clergy, and the peasants),
Louis Napoleon declared
himself emperor, taking on
the name of Napoleon III.

lifter the revolutions of 1789 and 1830,

France became the natural focus for all the revolutionary
movements in Europe. Even the uprising of 1848 became
increasingly radical and the repercussions were felt in riots in

Germany and revolts against the Bourbon monarchy in Italy.

In France opposition to the monarchy, led by republicans and

socialists, forced Louis Philippe to abdicate on February 28, 1848.

However, once the republic was declared, the temporary

government did not provide the real solution to the country's

social problems. Introducing universal male suffrage took the

electoral numbers to nine million, but the results did not fulfil

the democratic ideals of those who had promoted it. Conservative

forces held sway over the greater part of the Parisian population,
determined to defend the ideal of a republic founded on the
reorganization of working practices. In Paris, after a period of
revolt, the bourgeoisie and public opinion tried to re-establish
order with a presidential regime. In the presidential elections of

December 10, 1848, Napoleon I's nephew, Louis Bonaparte, was

elected president of the French republic, having gained the
support of conservatives, moderates, and the peasant masses
still attached to the memory of his great predecessor.

This illustration
depicts a scene from

the Franco-Prussian
war. In foreign policy
Napoleon III set himself

the target of restoring to

France the greatness of
the era of Napoleon I.

However, the formation

of a parallel strong

national state in

Germany led Prussia,

the guiding force, into

war with France, whose
second empire was
plunged into defeat

and civil war.

12
 1839-1870

Giuseppe de Nittis,

Boulevard Haussmann,
Private Collection, Milan.

Napoleon III was firmly I>

W **"
1
behind the development
of the economy and of

industry, responding

to political demands
and the rise of an
increasingly wealthy
^kt ^M
bourgeoisie.

»1 JN ^
mm

The presence of the

bust of Napoleon I (on

the left) in this portrait

of Napoleon III explicitly

indicates his desire to

continue the glorious

Napoleonic tradition
half a century earlier,

and to restore to the

French a sense of
pride in belonging
to a great power.

13

^j»toT5
 1839-1870 / • /

.
'. / -
&. /,.:.r,~ /,.

The dream of painting ,/,.../. ,Ai ',. .

.-.» <> I J y,- /...

«fi ,

/-.. ... "">

.

/t
A

lifter gaining excellent marks in nis

diploma, Cezanne remained obedient to his father's wishes and

joined the Faculty of Jurisprudence at the University of Aix.
However, the course did not engage him in the least and letters
from this time make bitter allusions to it. Cezanne spent only
what time was strictly necessary on his legal studies, in order to
devote asmuch time as possible to writing and drawing. Painting
appealed to him more and more and he began to realize that this
was his true vocation. In parallel with his university studies, he
decided to pursue a course at the Ecole Gratuite de Dessin (Free
Drawing School). Cezanne took lessons in life

drawing, painting in oils and the faithful

rendering of measurement and proportion, and

t courses

of nature,
in academic drawing. The only subject
not taught at the Aix school was the study
even though
museum had acquired a superb collection of
canvases painted from nature and donated
in 1849 the city

by Francois-Marius Granet. The artist had

also donated innumerable watercolors,
demonstrating an elegant freedom of
execution that could hardly fail to touch the
young Cezanne.

Cezanne, Male Nude, Cezanne, Male

1862, Musee Granet, Nude, c.1865, Fitzwilliam

Aix-en-Provence. The Museum, Cambridge.

artist made this drawing Drawn at the Academie
at the Aix drawing Suisse in Paris, this nude
school. In it he reveals differs considerably
great mastery of the from the earlier one
technique of academic and reveals a decided
drawing and a personality. The body
light touch. here is compact,
heavier, going against

the academic norms of

harmony and grace
learned at the
school in Aix.

14
 ;,. /•.-.«-/.

1839- 1870
Cezanne, Spring,
1860-62, Musee du
Petit Palais, Pans. The
panels depicting the
Seasons were placed in

the entrance hall of the

Jas de Bouffan. In these
early works, made before
his departure for Paris, he
seems to be reproducing
Renaissance paintings.

W/1 =-*-** ••$.•

;

These ink sketches

were made by Cezanne

in a diary of lessons

at the Faculty of
Jurisprudence, in about
1859. On December 7,

1858 Cezanne wrote to

his friend Emile Zola:
"I've taken a fairly

tortuous route for the

law. Saying "I've taken" Cezanne, Autumn,
is wrong: they have 1860-62, Musee du
obliged me to take it! Petit Palais, Pans. The
That horrible law; well-defined layout, the
ensnared in its circum- precise contours, and
locution, it will make the elongated arms
my life awful for at explain the ironically
least three years!". placed "Ingres"
signature. Ingres was
the obligatory model
on academic courses.

15
 1839-1870

Portrait of Louis-Auguste Cezanne

Executed in 1866 and now in the National Gallery
of Art in Washington, this painting ironically
depicts the artist's father reading the daily
paper "L'Evenemenf . a newspaper Louis-
Auguste detested because of its liberal ideas.

In agreeing to pose for his son, he seems to

have already accepted Pauls artistic ambitions.

16
 839-1870
From the legs and Cezanne, Sugar
the large shoes, the Bowl, Pears, and
planes of the painting Blue Cup, 1866, Musee
push upwards culmin- Granet, Arx-en-Provence.
ating in the small still Using a palette knife to
life on the right, partially spread color, Cezanne
hidden by the father's juxtaposes thick, irreg-
"throne". This detail, ular dabs to create the

with few variations, fruit and porcelain, in

takes up the Sugar a spontaneous arrange-

Bowl, Pears, and Blue ment where color is

Cup painted by Paul distributed in wide

Cezanne in the zones of whites, blacks,

same year. and browns which

then merge inextricably.

The figure of

Louis-Auguste is

completely immersed
in the brightness of the
flowered material and
the contrast with the
black of the hat and
coat confirm Cezanne's
own saying: "Contrasts

do not arise from white

or black but from
colored sensation".

Cezanne, Portrait
ofAchille Emperaire,
1869-70, Musee
d'Orsay, Pans. In

order to create a

certain monumentality
around the subject of
the portrait, Cezanne
used the motif of the
armchair once more.
"With the air of the
pope on the throne"
attributed to Emperaire

in a letter to Zola from

Antoine Guillemet. This
characteristic can also

be seen in the portrait

J of Louis-Auguste.
 1839-1870

Friendship with Emile Zola

c,'ezanne and Zola met at the College

Bourbon in Aix, which they both attended in 1852. Genuine
friendship quickly united them. Curiously, in the earlyyears, it was
Zolawho gained the better marks for drawing and the young
Cezanne who displayed a remarkable talent for writing. Both were
driven by strong romantic impulses, learning the poetry of Victor
Hugo and reading Alfred de Musset. Paris-born but educated in
Aix, Zolawas fatherless, and Cezanne, the elder by a year,
protected him like an elder brother during their school years. It

almost seemed like a sign of destiny when Emile gave Paul a

basket of apples to thank him for having defended him during a
fight at school, anticipating the future artist's favorite theme for

still lifes. The correspondence

between the two artists, however,
reveals a changeable and delicate
relationship. Zola was a more
worldly and sociable character, Cezanne, Chateau
while Cezanne was reserved and Medan, 1879-81,
even tormented. On rare social Kunsthaus, Zurich.
Cezanne frequently
appearances, Cezanne concealed
visited Zola at Medan,
profound shyness behind a gruff where he would borrow
and unfriendly exterior. Nana, Emile's boat, and

This letter sent by

the young Cezanne to
Zola captures happy
times spent together in

the countryside around

Aix during the holidays.

18
 1839- 1870
( fczanne, Paul Alexis
Reading a Manuscript
to Zola, 1869 70,

Private Collection,

Switzerland. Left
unfinished by the artist,

this work lay forgotten

for years in the loft at

Zola's house at Medan

on the Seine. Paul Alexis

was a follower of, and

then secretary to, Zola,

collaborating with him

in drawing up the
collection Les Soirees

de Medan, inspired

by meetings between
the intellectuals and
artists of the age.

Edouard Manet,
Portrait of Zola,

1868, Musee d'Orsay,

Paris. Zola perceived a
sensation of unity and
force in the paintings
of Manet, an artist

he loved "by instinct"

and to whom he
dedicated many of

his critical studies.

go to the little island

of Platias on the Seine

Here he was able to
paint in peace, away
from everyone,
appreciating the lovely
views over the village.

19
 1839-1870

Official culture
the academies
and the Salons

lhe Salon catalogues of this era reveal a

disconcerting conservatism in officially approved artistic trends.
The subject of a painting (which had to correspond to the values
of an increasingly demanding bourgeoisie) was of greater
importance than the artistic elements of which it was composed.
Color effects were appreciated more than harmony in itself and
those who did not bow before these principles had to battle with
three enemies: the public, the critics, and the official artists.
Models posed in studios where the light source came through the
windows, and painters, in order to depict volume, used a gradual
transition from light to shade. Academy students drew by studying
ancient statues, adding shadows to obtain varying intensities of
chiaroscuro. Having learned this method, they then applied it to
everything. The public was so used to seeing things represented
in this way that they had forgotten that in the open air it is not
possible to discern gradations of light and shade. In this regard
Edouard Manet and his followers achieved a very real revolution
with their discovery that when looking at nature in natural daylight

you do not observe single objects, but a mixture of tones which

merge before the eye, or rather, in the mind.

Jean-Leon Gerome,
Phryne before the Areo-
pagus, 1861, Kunsthalle,
Hamburg. Not a single

detail is neglected,
the smooth pictorial
surfaces guiding a taste
for art that does not
want to be challenged.

20
 1839-1870
MHHHB

Alexandre Cabanel,
Birth of Venus, 1862,

Musee d'Orsay, Paris.

This painting, shown at

the official Salon of 1863,

earned the praise of
critics and the public
alike, winning the Legion
d'honneur for the artist

and admission to the

Institut des Beaux-Arts.

The picture was bought
by Napoleon III for

its evident sensuality,

disguised under the
pretext of mythology.

George Bernard O'Neil, Jean-Louis-Ernest

Public Opinion, 1863, City Meissonier, The

Art Gallery, Leeds. This Siege of Paris, 1870,
painting is a comment Musee d'Orsay, Paris.

on the obtuseness of the Meissonier was one

public who, when visiting of the most important
exhibitions, want to see interpreters of the

their own taste confirmed. exploits of Napoleon III.

21
 1839-1870

1861: Cezanne in Paris

A, iter lengthy discussions with his

who was probably unconvinced that his son had talent, Paul
father,

moved to Paris. Zola had been entreating him to come to the big
city and was eagerly awaiting him. However, despite the walks, the
visits to the Louvre (where he could admire, among others,
Caravaggio, Velazquez, and Veronese), to the Salons, and time
spent with his friend, Cezanne became bored. Rejected by the
Ecole des Beaux-Arts, his father's preferred school, he attended
the Academie Suisse, a liberal atelier where models of both sexes
would pose for the artists for a modest sum. Work was neither
checked nor corrected. In a letter to Numa Coste, his companion
at the drawing academy at Aix, he wrote: "I work calmly, I eat,

and I sleep". The Paris trip was important for the young artist,

however, as he became acquainted with Camille Pissarro, ten

years his senior, who constantly encouraged him and was
conscious of the development of his artistic technique.

* **
f) ""^^JS8fl£29» _^%>
Cezanne, The
Abduction, 1867,
Fitzwilliam Museum,
Cambridge. This canvas
is strongly characterized

by the romantic
influence of Delacroix.
'~~4r^m$x ^2^^^hV9 Before it passed into
the hands of collectors,
belonged to Emile

mm
it

'.•; * 3QHE Zola who, considering

his naturalistic ideas,

perhaps did not

^FJSH '^ appreciate these

romantic excesses.

aH P^^ES^ mint a- w

22
 1839-1870
t—
Cezanne, Medea, Cezanne, Portrait of dedicating to him an
-n
after Delacroix, 1880-85, Delacroix, 1870-71, Apotheosis of Delacroix, m
Kunsthaus, Zurich. This Mus£e Calvet, Avignon. the artist ascending to >-

work was inspired by a Since the early 1860s the heaven of the great O
celebrated painting by Cezanne had harboured masters watched by his =
Delacroix where a real passion for faithful followers. The TO
Medea, rejected by Eugene Delacroix, project was not however
Jason, takes her revenge constantly quoting him destined to go beyond
by killing their two sons. and copying him, even the sketch stage.

Cezanne's relationship
with Paris was always to »A
remain difficult and in

many circumstances it

reminded Paul of his

doubts and uncertainties -

concerning his artistic

talent. Pictured here is

the church of Sacre Cezanne, The Negro

Coeurand the Scipio, 1867, Museu
monumental stair. de Arte, Sao Paulo.
The "negro Scipio"

was a model at the

Academie Suisse. He
is shown here leaning

forward, perhaps caught

in a moment of sadness

or fatigue. Pissarro
praised the painting as

a "masterpiece of art".
 1839-1870

The Orgy
This work was executed between 1867 and 1872,
a period when, Zola noted, Cezanne "was dreaming
up immense pictures". It was originally entitled The
Feast by Cezanne, but was rechristened The Orgy
by the critics. It is now in a private collection.

24
 839-1870
The statue at the
top on the left and
the columns, used by
Veronese as theatrical

stage wings, are Stylized

by Cezanne and are
only made perceptible
by immersing the entire
scene in a blue sky,
which makes the work
look like one great

wave of color.

Paolo Caliari, known The influence

as Veronese, Marriage at of Veronese and
Carta, 1563, Louvre, his theatrical "great

Paris. Cezanne admired machines" is clear

the work of Veronese, here from Marriage

an exceptional colonst at Cana, which the

and an extraordinary Veneto artist painted

inventor of painted in 1563. Cezanne

architecture, capable had often studied and
of making the smallest copied the work during
details enchanting. visits to the Louvre.

The grouping of

figures in the fore-

ground shows for the

first time the artist's

desire to project his

own interior conflict

on to the imaginary

scene, giving form to

the lacerating contra-
dictions feeding his

own interior battles.

25
 1839-1870

1863: the Salon

des Refuses

T, .he paintings that appeared at the Paris

Salons represented only a small number of the works presented

for appraisal by an extremely rigorous jury, who set out to uphold
the supremacy of academic rule. In 1863 the jury was particularly
harsh, rejecting over half of the 500 works presented. Discontent
among the eliminated artists was so strong that the government
and the authorities offered them exhibition space on the
Champs-Elysees, where the public could examine their work. The
so-called Salon des Refuses rapidly acquired the status of a
Edouard Manet,
Dejeuner sur I'Herbe, protest statement against the official institutions, a place where
1863, Musee d'Orsay, artists in conflict with the authorities could be seen and where
Paris. The inspiration the public could go, whether in order to sneer or to enrich their
for this work came
own ideas. This "anti-Salon", which opened on May 15, a fortnight
from a contemporary
experience: seeing
after the official one, attracted crowds of Parisians who flocked
bathers by the Seine, there in droves, sometimes as many as 400 people a day. The most
in the suburban village important painting shown as regards artistic innovation, outrage
of Argenteuil. The artist
to morals and public taste, as well as undoubtedly for the
realized the painter's
subversive power of its modern and open-minded language, was
dream: placing figures
on a natural scale Edouard Manet's Dejeuner sur I'Herbe, which the artist had
in a landscape. originally entitled The Bathe.

26
 1839-1870
Marcantonio Edouard Manet >
Raimondi, Olympia, 1865, Musee
after
s
Raphael, Judgment of d'Orsay, Paris. Inspired
g
Paris, The Metropolitan by Titian's Venus of o
cz
Museum of Art, New Urbmo, this painting

York. Many of Manet's rejects the call of o

works, if not directly ancient masters, and
based on the greats of depicts a woman who,
the past, were inspired to the public, was none
by his travel experiences, other than a prostitute
by reproductions, and with an impudent gaze.
by old prints.

Manet's Olympia in

a caricature by Cham,
which appeared in "Le
Charivari" in May 1865.

James McNeill
Whistler, The White Girl,

1862, National Gallery

of Art, Washington.
When Whistler's

painting was shown at

the Salon, an American

critic noted that the
woman "is standing
on a wolfskin rug, one
does not know why".

-rftfifct-.
 839-1870

Achille Emperaire
This canvas, painted between 1869 and 1870, is a
portrait of Achille Emperaire, a native of Aix,
Cezanne's senior, and, like him, a painter. It is

now in the Musee d'Orsay in Paris.

28
 39-1870
( f'vrinrif makes
the out-of-proportion
body of the dwarf into
a monumental figure,

who reigns over a back-

ground that can also be
seen in other paintings,
in the portrait of his
father the artist used

the same flowered

cover for the armchair.

This caricature by
Album Stock, represents

Paul Cezanne and two

of his paintings, refused

by the Salon of 1870.

Cezanne told the

journalist, Stock, "I,

I dare, dear Monsieur

Stock, I da re... I

have the courage

of my opinions".

Cezanne, Achille Cezanne, Achille

Emperaire, 1869-70, Emperaire, 1869-70,
Kupferstichkabinett, Musee du Louvre, Paris.
Basel. "A burning soul Despite his deformity
with nerves of steel, Emperaire had "a
an iron pride in a mis- magnificent cavalier's
shapen body, a flame head": a high domed
of genius in a crooked forehead and long hair,

hearth", thus Cezanne so that the artist found

remembered Emperaire. expression through
the handsome face

and the long, thin,

tapering hands.
 1839-1870

The grandiose projects

of Napoleon III

N
1 lapoleon III decided to stimulate the
French economy in order to satisfy the growing needs of the
haute bourgeoisie as well as to improve the living conditions of
the working class. The process of industrialization involved the
whole of France: ports were built, as well as canals and railways,
new mines were opened up and the building trade expanded. The
expansion resulted in giving the French bourgeoisie an absolutely
pre-eminent role in the economy, and the mass of the proletariat
began to demand their rights. The worker's right to strike was
granted in 1864 and there was an increasing call to form workers'
associations founded on self government and individual liberty.
To marginalize possible social conflict, Napoleon III decided he
The Champs-Elysees
needed to establish the basis for a great French colonial empire.
in the mid-19th century
So during his reign France consolidated rule over Algeria,
in an engraving by
conquered new bases in Senegal and Somalia, and started Champin, Pushkin
the colonization of Indochina. This ambitious foreign policy Museum, Moscow.
had the primary object of regaining supremacy for France in The long boulevards
criss-crossed in star-
Europe. However, when expansion was confronted by strong,
shaped ronde-points
compact national states, the strategy weakened rather than creating charming
strengthened the personal power of Napoleon III. perspective views.

Camille Pissarro,
Avenue de I'Opero,

1898, Pushkin Museum,

Moscow. L'Avenue de
I'Opera, opened up as
part of Georges-Eugene
Haussmann's imposing
transformations, was
one of the most
frequently recurring
scenes in Impressionist

painting. Cezanne,
however, never really

succeeded in putting

down roots in the ville

lumiere and was to find

himself increasingly at
ease away from the city.
 1839-1870
Haussmann and the quarters of the city, opening up
Ville Lumiere: grand boulevards, building wide
squares and creating new
Napoleon III wanted to turn Paris suburbs. Another important
into a modern, grandiose capital, problem of public order was
as envisaged by Bonaparte. To this solved at the same time: the layout
end Georges-Eugene Haussmann, allowed for strict, rapid military

prefect from 1853 to 1869, control in the event of uprisings.

demolished the old medieval Paris became the "ville lumiere".

Cezanne, The Wine

Depot Seen from rue
Jussieu, 1872, Private
Collection. For some
time Cezanne lived in

a modest apartment at
Haussmann was seen 45 rue Jussieu. The Paris
as the "artist-demolisher", he saw and experienced
the first to carve out the was not the Paris of
ancient past from the his artist friends, who
center of a big city and painted picturesque
design new quarters views of the city center
for the future. thronging with people.
 1839-1870

Nadar and the birth

of photography

Ihe identity of the true father of

photography has long been the subject of heated debate among
students of the subject. However, the official presentation of
1839 claims that Daguerre was the first to develop an effective
photographic method. Gaspard-Felix Tournachon, better known
by his pseudonym of Nadar, was considered one of the most
eccentric figures in the field of photography, and he also exerted
a considerable influence on painting in the second half of the
19th century. His personality is manifest in caricatures for
Nadar, Pantheon,
journals and magazines, which immediately reveal a lively critical
1854. With the artistic

and literary climate in spirit and keen observation. In 1854, he opened a studio at 113
Paris in mind, Nadar rue Saint-Lazare, Paris, dedicating himself in the main to the type
was initially drawn to
of portrait produced by making the most of the light conditions
photography as a way of
in his studio. Using a radiant light source, facial expressions
producing a lithograph

in which he could bring were modelled by shadow, an effect highlighted by the complete
together the faces of absence of any painted background. Nadar also took several
270 famous personalities.
aerial pictures, photographing parts of Paris from a hot-air
To create this work he
balloon. Artists were able to discern asymmetries, oblique lines,
produced countless
portraits, drawings,
and partial views in the aerial images, a new way of seeing

and caricatures. and perceiving reality.

32
 1839-1870

Edouard Manet, This intense portrait

Concert in the Tuileries of Ernestine, Nadar's wife,

Gardens, 1862, National dates to about 1900. A

Gallery, London. The striking feature of the

blurring and unusual photographic method

cropping of the figures is the ability to produce
in Manet's painting a faithful image, and at

creates a feeling of the same time convey

movement, rather like expressive force. The result

a snapshot composition. in this case is touching.

The first Impressionist Taken by Nadar, this

exhibition was held photograph portrays the

in 1874 at number chemist Eugene Chevreul,

35, Boulevard des aged 100. He wrote an

Capucines, in the rooms important text on the
of Nadar's old studio behaviour of color which
(shown here in a provided a theoretical
photo from 1860). base for Impressionism.

33
 839-1870

Overture to Tannhauser
This canvas, painted in about 1869 and inspired
by Wagner's music, was given to his sister Rose,
who may have posed for the painting. It stayed
with her until it was sold to Ambroise Vollard
and is now in the Hermitage in St Petersburg.

The subject of

Tannhauser comes
from the legends of
Christian Germany
and takes the theme
of redemption through

love. Tannhauser,
cavalier and poet, is

caught in the nets of

Venus and condemned
to eternal punishment,

from which not even

the Pope will absolve
him; he is saved by
the love of Elizabeth
who dies in order
to save him.

34
 1839-1870

Cezanne shows us a

woman mending and a

woman playing, perhaps
dreaming of an artist's

life. Like Elizabeth and

Venus, each is absorbed
in her own world, so
close and yet so distant,

each giving the other

space for her own
individual talent.

35
 1839-1870

Daumier
and caricature

laul Cezanne declared: "Though very Subjects who posed

for a photographic
young when confronted with reality, I was passionate about
portrait had to remain
Daumier". Born in Marseille the son of a glazier, Honore Daumier
still for at least 20
moved to Paris with his family in 1816. Like Cezanne, he attended minutes. In 1840
the Academie Suisse and at the beginning of his career was mainly Daumier published
preoccupied with lithography and drawing. Initially he collaborated a series of lithographs

ridiculing the lengthy

on "La Caricature", but the ferocious political attacks to which his
posing time, titling one
pencil gave voice in the magazine provoked immediate of them Patience is

condemnation, which would contribute to its closure. The challenge a virtue in asses.

to censorship however immediately began again with a new

publication called "Le Charivari", in which Daumier published a
series of incisive political and social caricatures. The young artist

displayed sureness of hand, liveliness of line and, according to the

prevailing fashionable science, precision in physiognomy. Seeing his

intense figures, no bigger than a fist, Balzac, literary editor on the

magazine for which Daumier was the illustrator, spoke of him as a
"new bourgeois Michelangelo" in Paris. Echoes of Michelangelo
come from the plastic force, moral passion, realism, and vision.

Honore Daumier,
Nadar elevates
Photography to

the Status of an Art,

1862, Museum of

Fine Arts, Boston.

Daumier published
this lithograph in which
Nadar is at work in a

hot-air balloon: every

building carries the

word "Photography".

Jules Cheret, Poster

for a Palais de Glace,

1894, Bibliotheque des
Arts Decoratifs, Paris.

Cheret's posters reveal

his compositional

dynamism and brilliant

combinations of color.
 839-1870

Posters Honore Daumier, Honore Daumier,

The Chess Players, The Print Lovers,
The numerous technological Musee du Petit Palais, Boymans-van
innovations of the 19th century Paris. As can be seen Beuningen Museum,
ran parallel to the emergence of elsewhere, Daumier Rotterdam. These
the publicity poster: in particular chose to show the figures, perhaps real

the introduction of new figures in three-quarter people, with their

length, enabling him to intent absorbed
techniques like lithography and
pay attention to gesture gaze, represent
especially chromolithography
and facial expression. universal figures.
(1836), producing a color print
through an impression on stone
sheets and different inking. After
the first chromolithographic
experiments using two colors, the
artist Jules Cheret (1836-1932)
perfected the techniques,
producing a series of color posters
in 1866. Large posters, known as
affiches, were characterized by
attractive illustration and original,

show lettering. As society became

more industrialized, it was
increasingly important that the
poster be brief and psychologically
persuasive: the text concise and
the design captivating.
 1839-1870

Cezanne and Flaubert

c 'laude Monet described Cezanne

"the Flaubert of painting". In fact the artist was so fascinated by
as
Taken by Nadar in

1870, this photo of

the writer that he identified him with a color, somewhere is

Gustave Flaubert, who

between the red and blue that characterize Old Woman with a
described by Maxime
Rosary. Both men had experienced lengthy and tormented du Camp was "young,
creative periods and held similar artistic theories. Like Cezanne very tall, very robust,

in painting (especially in his early work), Flaubert tended to with large prominent
eyes, full eyelids,
repress the "romantic" tendencies in his temperament, trying in
plump cheeks, coarse,
his novels to combine, the realistic and the imaginative. Similarly,
drooping moustaches,
Cezanne was inspired by orgiastic themes (The Orgy), images of and lively coloring".

seduction (Afternoon in Naples), and demoniacal images (The

Cezanne, Afternoon
Temptations of St Anthony, 1870, Fondation E. G. Buhrle, Zurich).
in Naples, 1875-77,
All themes characteristic of Flaubert's novels, and all showing National Gallery of
Cezanne's close proximity to the writer. Flaubert felt the crisis of Australia, Canberra. As
bourgeois society traumatically, the defeat of individual values elsewhere the painter
uses the typical trap-
and the degradation caused by conformity, more so than Cezanne,
pings of seduction in
who right from the beginning preferred to withdraw in solitude.
an image which seems
This disgust was to get the better of the analytical scruples that to be "drenched
increasingly characterized Cezanne's paintings. with perfumes".

38
 839- 1870
Ce/anne, The
Strangled Woman,
( 1872, Musee d'Orsay,
Paris. This may be a

depiction of a terrifying
real event. It appears
that Cezanne wanted
to punish a certain type

of woman different

from the controlled,

middle-class women
seen in Overture
to Tannhduser.

Cezanne, Old
Woman with a Rosary,
1895-96, National
Gallery, London.
Cezanne wrote in a

letter: "when I painted

my old woman with a
rosary, I saw a Flaubert

color. This grand blue

russet seduced me,
sang to me in my soul".

Balzac and The Unknown

Masterpiece

This celebrated novel by Honore de

Balzac was better known to artists

than to the general public: to

Matisse, and to Picasso who in 1931

illustrated an edition, and above all

to Cezanne, who was so affected by

it that he identified himself with

the figure of Frenhofer who, in his

"perennial search for reality, fell

into darkest obscurity". Frenhofer,

the most well-known French

painter of the 1600s, worked for

years on a canvas without ever

managing to finish it. Commenting
on the novel, Picasso wrote: "There
are so many different realities, and
in wanting to embrace them all, you
fall into the darkness".
 1870-1880

O)

12
Br.
ur\'
Cezanne is a dauber"
 1870-1880

Meeting with
Hortense Fiquet

lifter a period of isolation at Aix,

Cezanne returned to Paris in the winter of 1869. It was roughly at

this time that he met Hortense Fiquet, a young model, 19 years

old, from Sauligny in the Jura. Hortense was tall and lovely, brown-
haired, with big dark eyes and clear skin and Cezanne, 12 years

her senior, fell in love. They decided to live together in secret,

keeping their relationship hidden. Even after the birth of their
son Paul they kept the news from the family and above all from
Cezanne's father Louis-Auguste, who would never have accepted Cezanne, Studies and
Portraits of the Artist's
a union between his son and a girl without a dowry. These changes
Son, 1878, Albertina,
in Paul Cezanne's life remained in the private sphere and did not Vienna. Little Paul was
affect his art or his relationships with old friends. It appears that born on January 4, 1872.

Hortense was, in Cezanne's own words, frivolous and a little Among the numerous
portraits Cezanne made
superficial, she "only loved Paris and lemonade". She was,
of his son, few are as
however, an available and patient model, frequently pictured in a
touching and revealing
wide variety of poses, increasingly abstract and remote, with of the joy the child

extremely modern effects of studied, formal simplicity. gave him.

Cezanne, Girl Hortense may have

with Loosened Hair, posed, is one of the
1873-74, Private rare studies in oils for
Collection. This small future compositions
portrait, for which with groups of bathers.

42
 870- 1880
Cezanne, Portrait
of the Artist's Son,
1883-85, Musee
National de I'Orangene,
Paris. Until 1880
Cezanne only drew
pencil sketches of his

son, unable to force

the boy to sit for long
periods. From 1880
onwards however,
Paul appears in some
oil paintings and in

1888 he posed dressed

as Harlequin in the
celebrated Mardi Cras,
now in the Pushkin
Museum in Moscow.

Cezanne, Madame
Cezanne in the

Conservatory, 1891-92,
The Metropolitan
Museum of Art,
New York. Hortense
sat regularly for her

husband. Twenty-four
painted portraits are
known of her (mainly

three-quarter length)
and dozens of drawings

This is one of the most

famous pictures of

Hortense. Background
and foreground are
unified by the curve
of the trunk and the
arms. The painting,
which was never
finished, expresses

grace and elegance

with originality.
 1870- 1880

1870: the outbreak of the

Franco-Prussian war

A
lifter the failure of the liberal and A descendant of an

old aristocratic family

democratic revolution of 1848, the need to unify the German
belonging to the landed
states was rendered even more pressing. In the second half of
Prussian nobility, Otto
the century industrial growth turned Germany into the most von Bismarck (pictured
economically developed country on the Continent. The process above) had a profound
of unifying the German states followed the Prussian model: it was sense of the importance
of the state and the
in fact directed from Prussia by Kaiser Wilhelm I and by his
clear intention of
energetic and authoritarian chancellor, Prince Otto von Bismarck,
making Germany
via a series of swift wars and annexations. After a successful great and powerful.
battle for the expulsion of Austria from Germany (the Hapsburgs
had always been an obstacle to the unification of the German
states) Prussia saw her power increase considerably. The France
of Napoleon III watched with misgiving as a powerful German
On September 4, 1870
confederation driven by Prussia began to form in the heart of
the French population
continental Europe. France also saw that a consequence of called for the abdication

unificationwas the presence of a very dangerous neighbor on of Napoleon III, after

her eastern border. On his side, Bismarck regarded war with the defeat at Sedan. The
illustration shows the
France as inevitable but sought to make France appear as the
crowd invading the
aggressor, even introducing conscription in the name of German Chamber, calling foi
nationalism and obtaining the necessary internal consent. In the proclamation

1870, Napoleon III fell into the trap - in an atmosphere of high of a Republic.

tension created by the nationalist opposition - and on July 19, he

This cartoon
declared war on Prussia.
shows brigands
and Napoleon III

trying to keep the

temporal power
of Pius IX upright.

44
 1870- 1880

The Prussian army,

better equipped and
organized, defeated the
French army at Sedan
on September 2, 1870;
French troops and
Napoleon III were
forced to surrender.

Pierre Puvis

de Chavannes, The
Balloon, 1871, Musee
d'Orsay, Paris.

_ The war left artists

^ with a profound
sense of sadness
and loneliness.

45
 1870-1880

House of the Hanged Man

Cezanne produced this painting in about 1873 and
presented it at the first Impressionist exhibition in

1874. It is considered a key work in his artistic

career. Thanks to the bequest by Comte Isaac de

Camondo, it is now in the Musee d'Orsay in Paris.

The view of Auvers

is just visible between

the two houses in the
foreground and, as
though through the
eye of a needle, the

viewer's gaze is drawn

towards the village

in the background.
Three parallel planes
mark the foreground,
middle ground, and
background, the planes
unified by the even
distribution of light.

46
 1870-1880
rhe wall on the left s
>
holds the gaze of the
viewer, unlike most m
TO
Impressionist paintings -a
where the sped tn
eye is drawn to the m /
background through
the use of perspective.

-
zx
1

~v>-2k:J^^.v
^^^NT^ ~^
\jbJ^M ^^ki /" V
Jfc

|t^- "
.-l^P Wj*p~~~ J'^ 1

mV i

m \ 'if mrf*****
"jBi , .

^^^ w TpKtf'
JB2wi ;

f ib *
IjSHj iEl^r/'!u>
\ ll^^B

wSSU* ^^H^^SSB
^^•^^»
^I^^W
Camille Pissarro,
The Hermitage road at
Pontoise, 1874, Private
Collection. Pissarro

taught Cezanne that

it was not necessary to

dwell upon linear forms,

because they could be

rendered by another
means: through color.

The thick, grainy

spread of paint demon-

strates his intention

to create solid forms.

The cabin on the right

seems almost incidental,

in contrast with the

red and black roofs
of the village in

the background.

47
 1870- 1880

Artists and the war

R,eactions of artists to the Franco-

Prussian war varied at the time. Manet, Degas, and Renoir
enrolled in the army. Pissarro stayed in Louveciennes until the

Claude Monet, Prussian forces arrived, then escaped to England, as did Monet.
Care Saint-Lazare, Cezanne left Paris and after a brief period spent in Aix-en-
1877, National Gallery,
Provence, he moved to I'Estaque near Marseille with Hortense
London. This painting
may have been
and his young son Paul. On January 5, 1871, the Prussians began
influenced by a Turner bombarding Paris. The atmosphere in the capital became tense:
painting, Rain, Steam food reserves were running out and hunger and epidemics were
and Speed. The Great Manet wrote that in the absence
taking hold. In a letter to his wife,
Western Railway, which
of food theywere eating cats, mice, and dogs and only a few
Monet had seen during
his exile in London. fortunates were able to get hold of horse meat. In London
meanwhile, Monet and Pissarro met up frequently and the
experience was to be fruitful to both.
English painting, especially the work of
J.M.W. Turner and John Constable, was to

have a significant influence on their art.

Also in London at this time was Paul

Durand-Ruel, an important collector and
who opened up a gallery in New
art dealer

Bond Street with a substantial collection

of paintings by French artists.

Claude Monet, The over the flat countryside,

river loan atZaandan, by the canals and river

c.1871, Private Collection. traffic and by the towns

Before his final return with houses which
to France from England, appeared to be con-
Monet went to the structed right on the
Netherlands, attracted water. After this "nordic"
by the picturesque experience, the lumin-
windmills and by the osity in his paintings

hugeness of the sky grew more intense.

48
 1870-1880

Camille Pissarro,
Field at Hampton
Court, 1891, National

Gallery of Art,
Washington. Pissarro
said: "Monet and I were
full of enthusiasm. We
worked from nature...
but also went to
the museums".

Claude Monet, The where he arrived just

Thames and the Houses after the outbreak of

of Parliament, National war in 1870. The foggy
Gallery, London. This skies of London were the
was painted in 1871 subject of a number of

while Monet was a studies on subsequent

refugee in England, trips to English soil.

49
 1870-1880

Meeting Pissarro
atAuvers-sur-Oise

^•—'fSjSgj

iluvers-sur-Oise is a small village Vincent van Gogh,

(WA miles) from Paris, now famous Cornfield under a

30 kilometers as the place
StormySky, Van Gogh
where Vincent van Gogh committed suicide. Surrounded by hills
Museum, Amsterdam.
and valleys, Auvers gave painters the opportunity for reflection On July 27, 1890
and painting en plein air. Cezanne moved here with his family and Vincent shot himself

stayed as a guest of Dr Paul-Ferdinand Gachet, a homeopathic in a cornfield at

Auvers, about two

doctor, art lover, and friend of Pissarro. Dr Gachet loved
months after his arrival.
entertaining friends, and the two men held long conversations
about art. The doctor also provided visiting artists with the

equipment necessary for producing etchings (slabs, press, and

copperplates), which Cezanne was to try out here for the first and
only time in his life. Auvers was a turning point for the artist:

in close contact with Pissarro, Cezanne abandoned fantastic, Camille Pissarro,

The Red Roofs, 1877,
visionary themes and gloomy views
Musee d'Orsay, Paris.
of Paris, and his color range became Where Pissarro de-
lighter and brighter. His palette lineated forms with brief

knives were no longer large and brushstrokes, capturing

atmospheric vibration,
squared but thin and flexible, so
Cezanne "constructed"
that he was able to paint using little
and moulded the
dabs and touches of color, with landscape with
wonderfully harmonious results. dense, mellow color.

Camille Pissarro,
Portrait of the Artist,

1873, Musee d'Orsay,

Paris. Cezanne felt

affectionate esteem
for Pissarro.

50
 1870- 1880
t—
Camille Pissarro, solely en plan air"

HoQifrosl, 18/4, Pissarro wrote to his

n
Musee d'Orsay, Paris. son explaining the >
In a letter to his friend nature of their work: o
Zola, Cezanne told him "Everyone took the ^
that the countryside was idea to heart that
O
"1
indeed extraordinary. they must preserve the /

see superb things and 1 only thing that counts,

need to decide to paint one's own sensation".

Cezanne, View of
Auvers-sur-Oise, 1873,
The Art Institute of

Chicago. Cezanne was

not concerned with
reproducing the land-
scape with precision,
but translated the
sensations which he
derived from the place
into an artistic image.
 870-1880
The Burning of Paris,

The Third Republic 24-25 May

watercolor,
1871,

Musee

and the Commune Carnavalet, Paris.

Supporters of the
Commune shot the
archbishop of Paris
along with other
hostages, and before
submitting to Thiers
they set fire to symbols

1 ews Napoleon of bourgeois power like

1 of the defeat of III had
the Stock Exchange and
barely reached Paris, when the Republican opposition
the Palais des Tuilenes.
proclaimed a republic and formed a government of national
defence in an attempt to salvage the provinces and the capital.
The new republic was however quickly forced to call for
armistice: a national assembly elected by universal suffrage
Sabatier, The
decided to ask for peace and formed a new government headed Column in Place
byAdolphe Thiers. On May 10, 1870 France gained peace but had Vendome, Brought
to cede Alsace and part of Lorraine to Prussia as well as pay a Down on 16 May
heavy war indemnity. Meanwhile the collapse of the Second 1871, Musee d'Art

et d'Histoire, Saint-
Empire spurred the population of Paris into extreme
Denis. The destruction
revolutionary fervour. Their aim, promoted by Blanqui and of the column had
Proudhon, was to substitute a centralized state with a federation symbolic significance.

of communes based on popular self government. The Parisian

population elected a new city administration, the Commune, with
legislative and executive power and formed commissions elected
directly by the workers. The civil war between the insurgents and
the conservative government went on for another two months
and was carried out with pitiless harshness, but still more
ferocious in the end was the repression of Thiers.

Edouard Manet,
Civil War, 1871, The
Art Institute of Chicago.

Confronted with the

violence of the class
war, modern Europe
was overtaken by a

wave of horror that

led the international

organization of
working men to

attempt to destroy
the bourgeois state.

52
 1870-1880

Edouard Manet, The

Barricade, 1871, Pushkin
Museum, Moscow.
Manet's experiences
of living through the

siege of Paris became

a source of inspiration
for the painter and
he produced several
lithographs, among
them this one,
engraved on the
battle site itself.
 1870-1880

L'Estaque

*
.„

of Marseille
J-J'Estaque
and Cezanne stayed there
is a fishing village in the bay
at various times in his life.
* v
In September 1870, during the Franco-Prussian war, Cezanne took
refuge there with Hortense and his son Paul. "During the war I

worked a lot from nature at l'Estaque. divided my time between

I
4
3fc
the countryside and the studio", he was later to relate to Vollard.
The little village made a fascinating subject and he increasingly
pursued a style using extremely elegant construction and
geometric experimentation, tending to exclude volume. Cezanne
produced 27 canvases inspired by l'Estaque, with its buildings
of brick, tiles, and cement, their pointed chimneys revealing
pre-Cubist glimpses and even Braque-like portraits. In a letter to Cezanne, The Bridge
atMaincy, 1879-80,
Pissarro in 1876, the painter
Musee d'Orsay, Pans.
described the countryside as a This is one of the
playing card with its "red roofs pictures regarded as

against a blue sea. ... The sun here "constructive" by critics,

in which long wide

is so tremendous that it seems to
brushstrokes weave
me as if the objects are silhouetted in and out forming
not only in black and white but in a sensual and
blue, red, brown, and violet". subtle composition.

Georges Braque,
Viaduct at l'Estaque,
c.1908, The Minneapolis
Art Museum. Cezanne's
example of simplification

was much followed.

54
 1870- 1880
Cezanne, Roof',
at I'Estaque, 1878-82,
Museum Boymans-van
Beumngen, Rotterdam.
This delicate watercolor,
with its harmonious
colors, looks over a

iv, panorama of roofs,

permitting a glimpse
in the background,
k
opposite the bay, of the
mountain chain which
rises south of Marseille.
Watercolor is the
medium that most
faithfully translates

the emotion of
the moment.

Paul Klee, The Niesen,

1915, Kunstmuseum,
Bern. Klee makes use
of a Cezanne-style motif

in this composition,
making the foreground
and the Bernese
mountain geometric.

Cezanne, The Sea

at I'Estaque, 1878-79,
Musee Picasso, Paris.

The horizon dissolves

on the left, making the

line between sky and
sea indistinguishable.

55
 1870-1880

Three Bathers
This painting dates from about 1875. For many
years prior to being placed in a private collection,

it belonged to the sculptor Henry Moore. Three

women shown around a fountain, two
are of
them playing games with the spray.

56
 870- 1880

W^* >^i r •-*'

^^

Henry Moore,
I1L V

77?ree

Bathers, after Cezanne,

1978, The Henry Moore

Adolphe-William
Bouguereau,
of Venus, 1879,
Birth

Musee
n
RJ

Foundation, Hertford- d'Orsay, Paris. At about

shire. The sculptor the time that Cezanne
produced these small produced his Bathers,

sculptures taking the Bouguereau created

three bathers as the this mythological work, a
starting point. theme dear to the Salon.

"To me it's marvel-

lous, monumental",
Moore said. "It's only

about a foot square,

but for me, it has all

the monumentality
of the bigger ones of

Cezanne.... Perhaps
another reason why I

fell for it is that the type

of woman he portrays is

the same kind as I like."

57
 1870-1880

1874: "The first impression"

studio in
Q n April 15, 1874, in

the Boulevard des Capucines provided by the photo-

the rooms of an old

grapher Nadar, an exhibition of work by young emerging artists

opened, with a total of 163 works. Among the other artists were
Pierre-Auguste Edgar Degas, Berthe Morisot, Claude Monet, Camille Pissarro,
Renoir, The Balcony, Pierre-Auguste Renoir, and Alfred Sisley. These and other artists
1874, Courtauld Institute
had formed a cooperative the year before, modelled on the
Galleries, London. This
statute of a union of basket makers that Camille Pissarro had
painting was sold for

the modest sum of 425 studied at Pontoise. The definition was simple: Societe anonyme
francs, vital however des artistes, peintres, sculpteurs, graveurs. At the 1874 exhibition,
because Pierre-Auguste the group was nicknamed "Impressionists", a term they rejected
desperately needed to
however, because it was coined by the art critic Leroy, who used
pay the rent. His brother
posed for the picture
it intending to ridicule their new, disturbing pictorial language.
with a new model, Nini. The exhibition lasted a month and in Paris the joke went around
that the painting method consisted of
loading up a gun with various tubes of
paint, and then shooting at the canvas,

finishing off with a signature. The critics

were harsh in their judgments and refused

to take the exhibition seriously.

Edouard Manet, commented that the

Berthe Morisot with a entire Impressionist
Bunch of Violets, 1873, exhibition looked
Whitney Collection, New like the product of
York. Berthe Morisot's a "cross-eyed mind".
old teacher, Guichard,

58
 1870- 1880

Claude Monet,
Impression: Sunrise,
1872, Musee Marmottan,
Paris. Monet wanted
to give the name
Impression to this view
of Le Havre, with the

sun gleaming through

the vapours of the mist,
and the masts of boats

in the foreground.

Claude Monet,
Boulevard des
Capucines, 1873,
William Rockhill Nelson
Gallery of Art, Kansas
City.

landscape
Joseph Vincent, 1
artist and
Academy professor,

commented: "So I

look like them when

I go walking in the
Boulevard des
Capucines? . . . Hell

and damnation!"

59
 1870-1880

Portrait of Victor Chocquet

Painted in 1877, this portrait is now in the
Columbus Museum of Art in Ohio. It shows
Victor Chocquet, an employee at the Ministry of
Finance in Paris, sitting at ease, in a comfortable
chair, his rich collection of paintings visible over
his shoulder. Cezanne painted various portraits

of Chocquet, always with a hallucinatory quality

about them, and numerous drawings.

60
 1870- 1880
Chocquet had the
spirh of the authentic

collector who prefers

to make his own

discoveries, guided

only by his own taste

and pleasure. He shared

with Cezanne a love for
Delacroix. Over time he
succeeded in acquiring
a good collection of

his works.

Pierre-Auguste Renoir, psychological depth.

Victor Chocquet, 1875, Renoir was close to
Stiftung Oskar Reinhart, Chocquet because of
Winterthur. In a luminous his sincerity and warmth
range of bright colors, and painted two portraits

enriched by the japon- of him, as well as one of

isme of the upholstery, his wife who posed by

Victor Chocquet's face a wall with a painting

emerges, showing great by Delacroix.

Cezanne, Victor blocks of pigment in

Chocquet, 1877, a structure in which the

Paul Mellon Collection, face and space combine.
Upperville (Virginia). In Renoir introduced
this portrait, produced Cezanne to Chocquet
in the same year as the who bought a painting

one now in Columbus, and declared, "How well

Ohio, Cezanne used the that will go between a

same technique: little Delacroix and a Courbet!"

61
 .

1870-1880

The cafes and

modern life

ii fter 1866, the Cafe Guerbois, at 1 1 rue

de Batignolles became the regular meeting place for painters,
writers, and intellectuals interested in new currents of thinking. Edgar Degas, The

Cezanne, like Pissarro, went there intermittently when visiting Cafe de la Nouvelle-

Athenes, 1878. Less

Paris from the south. Every Thursday, meetings were held there
noisy than the Guerbois,
but at any time of day groups of artists could be found engaged in
the Nouvelle-Athenes
vigorous debate. Years later Claude Monet recalled those in place Pigalle was
meetings: "Nothing could have been more interesting ... we kept famous for its ceiling,

on which was painted

alert, we were encouraged in sincere, objective study, it kept us
an enormous dead rat
full of enthusiasm which, for weeks and weeks, kept us going until
an idea was realized. People emerged strengthened, their Gustave Caillebotte,
purpose firm, their thinking sharper and Place d'Europe on a

clearer". The artists were immersed in a

Rainy Day, 1877, The
Art Institute of Chicago.
magnificent and sumptuous ville lumiere,
This is an immediately
a city "full of dreams" come true: the lively and effective
solid buildings, the stations for transport, picture of the city, seen

the great edifices for learning, treatment, from a particular angle

on the wet street, the

recreation. The teeming life of fin de
people on the right and
siecle Paris was for many artists (but
the passers-by further
never Cezanne) a recurring theme back shown at the
in their pictures. same moment.

Edgar Degas,
Le cafe-concert Les
Ambassadeurs, 1875-77,
Musee des Beaux-Arts,
Lyon. Degas often went
to the cafe-concerts of

the capital between

Montmartre and the
Champs-Elysees; they
were the subject of

numerous paintings.

62
 1870- 1880
A drawing of the

Cafe Guerbois by Manet

from 1869, now in the
Fogg Art Museum in
Cambridge (Mass.).

The Guerbois was a

meeting place in the
suburbs, with a garden
and an arbour. It was
not a smart place but
many artists lived

in the area.

Edouard Manet,
At the Cafe. Manet was
the intellectual leader of
the group. At meetings
Cezanne liked to show
off his rough ways,
almost as though
challenging the elegant
manners of the others.

Henri de Toulouse-
Lautrec, L'Almee,

panel for the booth

at La Goulue, 1895,
Musee d'Orsay, Paris. The
realistic characterization

of the faces is achieved

here with a great
fluency of line in

the construction, both

in the figures and in

the surroundings.

The nighttime Paris off Henri

de Toulouse-Lautrec

Henri de Toulouse-Lautrec came

from a family of ancient nobility and
from infancy he drew as a hobby. He
was a lucid witness to the teeming
world of the metropolis, from cabaret
shows to the brothels of Montmartre,
the artists' quarter and art galleries.
A draughtsman of great talent, he
often painted Paris nightlife, showing
the splendors, the misery, and the
ambiguities in passionate pictures of
actresses, dancers, scoundrels, and
eentlemen in search of adventure.

63
 870-1880

Madame Cezanne in a Red Armchair

Hortense Fiquet was one of Cezanne's favorite
models and he painted her in a number of
portraits. This is without doubt among his most
emblematic portraits. Painted in 1877, it is now
in the Museum of Fine Arts in Boston.

64
 1870- 1880
Hortense is shown Pablo Picasso, Seated s
>
here with a thoughtful Woman, 1909, Private C/9

expression: the eyes, Collection. Picasso saw en

rendered with little numerous works by
dabs, shine and stand Cezanne when he m
out in the magnificent visited the collector tn
OO
oval face. Hortense Vollard in Paris, and he
posed patiently for was enchanted by them.
her husband, who In the angle of the arms
needed an average and in the hairstyle,
of 150 sittings to this portrait perhaps
complete a portrait. shows something
of Hortense.

/V 1
A
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K JSk
«
1
Using the horizontal
lines of the dress, which
contrast with the green

band high on the wall

and with the red of

the armchair, Cezanne
created an architectonic
structure that rejected

depth of field and

created a strange
unifying of planes.

65
 1870-1880

The last appearance

with the Impressionists

In the early part of April 1877, the

Impressionists organized an exhibition in an apartment in rue Le
Monet showed around 30 paintings and Cezanne, for
Peletier.

whom one of the best rooms had been reserved, showed 17,
among them a portrait of Victor Chocquet. More people were
interested than at the previous exhibition and initially the
reception seemed less mocking. The art critic Georges Riviere
published a journal in defence of the painters for the duration of

the public exhibition called "L'Impressioniste, Journal d'Art",

writing most of the articles himself, assisted occasionally by
Renoir. Riviere stated that the artists had adopted the name of
"Impressionists" to make it clear that in their exhibition there
would be no paintings on historical or biblical, oriental or generic

themes. None of this prevented

MM
Pierre-Auguste Renoir,
the public and critics from being
Donee at the Moulin de
sceptical. Even Zola reviewed the la Galette, 1876, Musee
show, singling out the figure of d'Orsay, Paris. The

Monet for praise and adding, oddly, luminosity, the sensuality,

and feeling of pleasure at

"I would like to mention Cezanne
the Moulin, were revived
after him, he is certainly the
by his son Jean, who made
greatest colorist in the group". it the subject of a film.

Pierre-Auguste Renoir,
The Swing, 1876, Musee
d'Orsay, Paris. This pretty
scene is a free exercise

in placing a figure in

a landscape.

66
 1870- 1880

£ ,J
9 '-'1* Cezanne, The Sea
at I'Estaque, 1876, Rau
=
TJ
m
Foundation for the Third >
World, Zurich. Even this

painting, shown at the ==

exhibition, did not o

TO
evoke much interest
go
and was defined as
a maladroit work, or

"strange". However,
Riviere, Cezanne's
staunch defender,
underlined the
eccentricity at the

heart of Impressionist
production: "It is of

extraordinary greatness
and inaudible calm;
this scene goes past,

it would seem, in

the memory, leafing

through one's life".

Cezanne, Portrait
of Victor Chocquet,
1876-77, Private
Collection, New
York. Of all the works
presented by Cezanne
(oils and watercolors,
for the most part '

landscapes and still

lifes), this was the one

that had the most
disconcerting effect.
Degas commented:
"The portrait of a

madman made by
i
a madman". But the
sarcasm does not >
overshadow the
passion of this portrait,
W j

painted in small dabs:

on the skin, on the
beard, on the hair,

greens, yellows, and

'
-"•Sit--,
reds mix together
in every direction
illuminating the physio- * if-
gnomy almost to the
point of incandescence.

'

P
MM
^Hp
^—U
- ''§!''
miL*";j*"S^
 1870-1880

Meeting
Joris-Karl Huysmans

"A
il revelatory colorist... an

artist with diseased retinas who, in his exasperated visual Photograph of

perceptions, discovered the first signs of a new art; so might we Joris-Karl Huysmans.
The interest of
sum up this too-neglected painter, Cezanne". This is how the art
intellectuals and critics
critic and author Huysmans defined Cezanne, whom he met for
in art corresponded
the first time in Zola's house at Medan. Cezanne spent the to the new shape of

summer there along with Paul Alexis, Numa Coste, and other the market, no longer

intellectuals of the time. Huysmans was initially unenthusiastic monopolized by the

Academy or the Salons.
about Cezanne's paintings, so much so that when he subsequently
described the reviews of the Salons for the magazine Le Voltaire,
he made no reference to Paul. It was Pissarro who entreated him
to re-evaluate the artist, whom he had always supported and
admired, and to take an interest in him. The writer praised
Impressionist painting, declaring that with them "art has been
turned upside down, freed from the This photograph

T shows Emile Zola at

slaver\ of the official institutions".
work. It was thanks
However, at first he considered Cezanne's to Zola that Huysmans
art to be too irresolute and at times became an art critic for

"monstrous" to be of real interest. It is the journal Le Voltaire.

His articles tended to
curious that at this time Huysmans always
unmask the false glories
referred to the artist in the past (Cezanne
of the Salons and even
was only 40), as though he considered him offer acute observations

already consigned to history; on the Impressionists.

This photograph is

of Charles Baudelaire,

whom Cezanne admired.

Baudelaire was not only
a great poet, but also a

great critic, and student

of aesthetic, perhaps
the greatest of his time.
1870- 1880
Cezanne, Curtain,
Jug, and Compotier,
1893-94, Private
Collection. On the
subject of still life,

Huysmans wrote: "And

now hitherto absent
truths can be glimpsed,
tones as strange as they
are real, patches of a
singular authenticity".

Cezanne, Chateau
Medan, 1879-81,
Kunsthaus, Zurich. Later
Huysmans began to

appreciate the "sketched

landscapes, attempts
driven into limbo...,
for the glory of the eyes,

with the heat of Dela-

croix but without study

or delicacy of hand".

69
 870-1880

Still life

Ihe writer Virginia Woolf called Virginia Woolf

Cezanne's still lifes extremely simple, and yet highly complex. She is one of the most
important writers
regarded them as masterpieces. "What can six apples not be?
of the 20th century
There is a relationship between each of them, and the color and characterized (like
the volume. The longer you look at them the more the apples seem Cezanne) by an iron

tobecome redder and rounder and greener and heavier ... The discipline with language,

capable of reaching the

pigment itself seems to challenge us, touch some nerve in us, it
fascinating balance
stimulates, excites ... it arouses in us words that we didn't even
between intellectual
know existed, it suggests forms where before we saw nothing clarity, intensity

but emptiness", she wrote. Her of affections, and

comments followed an exhibition in stylistic mastery.

London organized by Roger Fry,

which included 21 paintings
Camille Pissarro,
by Cezanne. His still lifes were Still Life with Pears in
in fact far more than simple, a Basket, 1873, Scheuer
direct representations of lifeless Collection, Germany. It

objects, the apples appearing to is likely that Pissarro was

inspired by the still lifes
slide towards the spectator as
of Cezanne but his own
though at any moment they might lifelong interest lay in

emerge from the painting. painting en plein air.

Pablo Picasso, Bread

and Compotier with
Fruit on a Table, 1908,

Kunstmuseum, Zurich.
To the new generation
of painters, especially

Picasso and Braque,

Cezanne was a liberating

force, the man who freed

painting from convention.

70
 1870-1880

Cezanne, Still

Life with Blue Pot,

1900-06, J. Paul

Getty Museum, Malibu.

In his later years

Cezanne produced
some still lifes in

watercolor, which
were exceptional
for their size and
luminosity. This is

one of the most

representative of
his later style.

Cezanne, Still

Life with Soup Tureen,

c.1877, Musee d'Orsay,
Paris. This was one of
the first works in which
Cezanne abandoned the
atmospheric colors of
Impressionism in order
to bring out the intensity

of "local" tone.

71
 1870-1880

Biscuits and Fruit Bowl

This canvas, which dates from about 1877, was
the prototype for many future still lifes. Cezanne
would later use the same motifs - fruit, tables, and
chairs - in more turbulent compositions. Today
the picture is in a private collection in Japan.

The apples, the

compotier, and the plate
of biscuits are placed on
a large cloth, rumpled
and disturbed, which
almost threatens to
swallow up some of the

apples and agitates the

entire work. The brush-
strokes are rigorous and
faultless: precise, meth-
odical and compact,
imbuing the cloth with

the dominant colors,

the blue-violet and the
yellow of the wallpaper.

72
 1870- 1880
The wallpaper with its

olive-yellow background is

patterned in wide diamond

shapes with blue cross
motifs at the four corners.
This geometric structure,
visible in other canvases,

is used by Cezanne to
give force and incisiveness

to the composition.

Cezanne, Still
.

Life with Compotier,

1880, Museum
of Modern Art, New
York. This still life, one
t^fr'Si----.
of the artist's favorite

subjects, belonged
a time to the painter
for
y!L .

Gauguin and was to

be the "protagonist"
Hl^ta^k^^-
of a picture by Maurice

Denis of 1900, which was

dedicated to Cezanne.

(^^^^ M s.

|^^^^?v
w«^^^- • V
P^ -4 1
Cezanne, Apples,
1877-78, Fitzwilliam
Museum, Cambridge.
Apples make their first

appearance around the

1870s. Missing in earlier

still lifes, from this point

on they become a

recurring subject. The

writer Huysmans exalted

these "brutal apples,

rough, constructed with
a palette knife, shaped
by the oscillation of the

thumb" characterized
by "furious impasto
of vermilion, yellow,

green, and blue".

 870-1880

Degas and the immediacy

of photography

Ihe first photographers tried to perfect

techniques for reproducing natural colors, just as they hoped to
resolve the problem of capturing moving objects. Daguerre, for
instance, declared in 1844 that he was able to photograph
galloping horses and birds in flight, but the technique that really
made these results possible was only really established from
1870 onwards. Between 1870 and 1880 therefore, an extremely
important leap occurred: it became possible to photograph
rapidly moving objects, freezing them in poses that not only
represented a challenge to convention, but also went beyond the
visual possibilities of the unassisted eye. "Instantaneous"
photography (that is, filming moving bodies) was frequently used
by the painter Edgar Degas, who thus opened up a new way of
depicting urban society. Like those of his Impressionist
colleagues, Degas' letters maintain an ambiguous silence on the
subject of photography. But the testimony of friends and
colleagues confirms that he was extremely interested in

photography and made great use of it. According to Paul Valery,

Degas was among the first painters to realize what photography
could teach the artist.

Andre Disderi,

cartes-de-visite of

people dressed in

costume for the ballet

Pierode' Medici, am.

74
 1870- 1880
Carte-de-visite Cezanne, Portrait of
photograph of the Artist, 1895, Private
Edgar Degas, c.1862. Collection. Cezanne
Compared with Degas' also made great use

self portrait you can see of photography,

the same hairstyle and which allowed him to

the same buttoning overcome the problem

of the waistcoat. of lengthy posing for

self portraits. This is

Degas, Self Portrait, his only self portrait in

1862. Degas may have watercolors. Cezanne

painted this from a regarded himself as ugly
photograph or some and unattractive, often
faithful reproduction rough and ordinary
because the inversions where Manet and
common to self portraits Degas were elegant.
by mirror are missing.

Instantaneous
photography was
an enormous help to
caricaturists like Nadar
and Gustave Dore, who
used both camera and
pencil together. The
results were often closer

to photography than
traditional forms
of caricature. A love-hate relationship urbane Parisian society. Between
between Degas and Cezanne the two a polite contempt soon
emerged, which led to each
Edgar Degas, Foyer
de Danse a I'Opera,
Unlike Paul Cezanne, Degas, ignoring the work of the other.

1872, Musee d'Orsay,

descended from an aristocratic It wasn't until 1895 that

Paris. Degas loved Breton family, was a man of the Degas "discovered" Cezanne, the
analyzing the bodies of world, actively involved with the occasion was a one-man show
the girls in balletic poses. Impressionists, and a member of organized by Ambroise Vollard.

75
 *W&

<*£

m
 Artistic maturity

m *'

iyi

v-

1 f ^*
 880-1890

New sensations

the same
w,
subjects: portraits,
hy did Cezanne continually return to
still lifes, landscapes? Perhaps
these subjects in particular were not at the heart of it, but rather, Odilon Redon,

he wanted to get away from simple imitation of nature. The With Closed Eyes, 1890,
Musee d'Orsay, Paris.
figurative results may seem incongruous, but his was a mental
For a long time Redon,
vision, It was thanks to Cezanne, in a number of
"pure" painting.
who was more or less
ways, that art graduallybecame more conceptual. It was probably contemporary with
no accident that in the early 1880s a writer like Huysmans should the Impressionists,

start work on his new novel A Rebours {Against Nature), a remained in complete
isolation as a result
treasure trove of dreams and allusions. The poet Charles
of his mysterious
Baudelaire, attempting to aim at pure poetry, described the and unsettling art,

"temple of nature" as a "forest of symbols" and corres- unrelated as it was

pondences. Many aspiring painters set out to look for new to Impressionism or

state-sanctioned art.
dimensions, travelling in search of realities distanced from their
own time and space. In these closing decades of the century, the
artist concentrated increasingly on the language of painting
which, through relationships between colors, volumes, and the
various parts of the composition, sought to achieve a solid,
unchanging order, free from the deception of optical vision.

Paul Signac, The

Road at Gennevilliers,

1883, Musee d'Orsay,

Pans. On June 9, 1884,
Signac and a group of
other artists founded
the Societe des
Independants, a
permanent institution

formed to suppress

abuses of power by the

Salon jury, and intent

on putting all artists

freely on show.

78
 1880- 1890
Paul Signac, The
Seine at Herblay, 1889,
Musee d'Orsay, Paris.
Between Seurat and
Signac a firm friendship
sprang up. Both shared
Chevreul's ideas on the
behavior of color in

visual perception, and

both sought chromatic
harmony. Pissarro was
inspired by the theories

of the two young artists

which finally allowed him

to channel his sensations.

Georges Seurat,
Sunday at the Crande-

Jatte, 1884-86, The

Art Institute of Chicago.

Seurat eliminated the

superfluous, insisting
on color and on
geometrical structure,
without yielding to
the fascination of
the perceptions.

Massimo Campigli,
Homage to Seurat.

Campigli produced this

homage as evidence
of his French training.

Pointillism

In his book On the Law of

Simultaneous Contrast of Colors,
published in 1839, Eugene Chevreul
stated that complementary colors,
such as blue and orange or red and
green, become more vivid and
intensify in turns if juxtaposed,
while if mixed they are neutralized.
The value of color is therefore
not an absolute but depends on
the rapport with other colors.
Pointillism, a painting technique

developed by Seurat, consisted of

juxtaposing on the canvas
miniscule dabs of pure color that
"recompose themselves" when
viewed from a distance.

79
 1880-1890

Self Portrait with Hat

This is one of Cezanne's most surprising self

portraits. It is well known, having formed part

of important collections and been shown in

numerous exhibitions. Painted between 1879 and

1882, it is now on display in the Kunstmuseum, Bern.
 1880- 1890

Cezanne, Portrait The gaze that

of Joachim Casquet, Cezanne turns on

1896-97, Narodni himself is one of the

Galerie, Prague. most disconcerting

Cezanne subsequently of his entire oeuvre.
painted other portraits Of his 46 self portraits,

in which volume was 26 were in oils and 20

increasingly simplified, on paper. The frequency
pushing himself, as in of the subject seemed
this portrait of his friend to be the result of

Gasquet, towards daring his shyness, which

examples of posture, made him incapable
completely off-balance of working with
in distorted perspective. professional models.

81
 880-1890
#*.* *r.
Difficulties with his father
and marriage to Hortense

A
lifter Paris, when Cezanne decided to

move back to the south in order to enjoy the "most complete

tranquillity", the conflict with his father gradually intensified.

Louis-Auguste continued to criticize the passivity and the

"""/Zi*
continual hesitations of his son. A strong and determined man
himself, who had created a fortune from nothing, he could no One of Paul

longer tolerate Paul's denial, even when confronted with Cezanne's last letters to

his son Paul, dated July

evidence of the existence of Hortense and Paul's son by her. To
29, 1906. The boy felt
punish him, he decided to make him a minimal allowance,
genuine affection for his
appropriate to a single man. Paul was forced to turn to Zola, who father and was of great

promised to help him out for as long as was necessary. It was support to him in the
stages of his
only after the continued insistence of his mother, who took her last life.

son's side, that Louis-Auguste decided to help Paul and make

him a monthly allowance to support the whole family. In his

later years the banker, increasingly weak and in ill health,

made a fair portion of his fortune available to his children.
By now wearied, he reluctantly agreed to the marriage
between his son and Hortense, of whom he did not have a
very high opinion. The wedding took place on April 28, 1886
in Aix-en-Provence with
the whole family present.
Louis-Auguste died a few
months later, on October
23 at the age of 88.

Cezanne, Madame
Cezanne, 1888-90,
Musee d'Orsay, Paris. It

was Paul's sister Marie

who brought about the

reconciliation between
father and son. She was
aware of the existence
of an illegitimate son

and, although she was

not fond of Hortense,
as a good Catholic
she believed marriage
would bring Paul back
to the true path.

82
 1880-1890
Cezanne, Gardanne, c;
-n
1885-86, The Brooklyn
Museum, New York. >
Situated 15 kilometers o
(9 miles) from Aix, ==

this city, like I'Estaque,

o
TO
served as a refuge for PS
C/2
Paul's family, rejected

and shunned by
his elderly father

Louis-Auguste.

Cezanne, Boy
Resting, c.1890, Armand
Hammer Museum of Art

and Cultural Center, Los

Angeles. At the time of

this portrait the young
Paul was about 20 years
old. Shy and reserved
in character, like his

mother, he patiently
posed for his father

from a young age.

In a letter to Zola
in 1878 Cezanne said
of his father: "He has
heard from several
people that I have a
child and tries to take
me by surprise in

every way possible...

I add nothing else...

appearances deceive,
you may take me
at my word".
 1880-1890

Chestnuts and Farm at the Jas

fl P R
The "
tree ,ined driveway behind the Jas de Bouffan was
ff n 1 1 f\
enclosed in a circle of chestnut trees. Painted between
1885 and 1887 at the family home, this picture is now in

the Pushkin Museum, Moscow, and is one of the most

mature examples of a landscape.

Cezanne, Chestnut (Meyer Schapiro)

Trees at the Jas de which permit a glimpse
Bouffan, 1885-86, The of the outline of Mont
Minneapolis Institute of Sainte-Victoire in the
Art. As in Muslim art, background, a site
we find "ornamental so dearly loved
and complicated lines, by the artist.

evanescent, in filigree"

84
 1880-1890

The oil paint is perfectly mastered his

spread on in layers, tools and is using color

waves that do not seem with an audacity that
to follow any pattern. just a short time ago
The brushstrokes are so one could not have
quick they make it clear imagined he possessed.
that the artist has now

--^ -

I
The geometry of the
buildings of the Jasde
Bouffan is seen through
"the side wings" of the
trees which, following

the line of the wall,

lead the eye to

the farmhouse in

the background.

85
 880-1890

The break with Emile Zola

c,'laude Lantier was a painter who, Theophile Silvestre

lacking creative power, was unable to realize his dreams and supplied a physical
description of the Emile
ambitions, was reduced to bankruptcy and then to suicide,
Zola, pictured below, as
subjugated by the chaos of genius and madness that had taken hold short, robust in body,
of his mind. This is the plot of the novel that Emile Zola published and very energetic.

in 1886 with the title L'Oeuvre, in which boyhood memories were

revived, his friendship with the Impressionists, the Salons, the first

experiments en plein air, and a dense web of autobiographical

details confirming Zola's intention of using contemporaries and
friends as inspiration. Cezanne read the novel and painfully
perceived that Zola intended Claude Lantier to be a portrait of
himself. The painter, despite his shabby and unassuming
appearance, had in reality great refinement of thought and spirit
and could not fail to understand that the friendship was ending.
The "aborted genius", as Zola described Lantier-Cezanne,
responded with a cordial but cool letter: "1 thank the author of the
Rougon-Macquart for this kind token of remembrance, and I ask
him to permit me to clasp his hand while dreaming of years gone
by. Paul Cezanne". The two men never met again.

Cezanne, Paul
Alexis Reading to

Zola, c.1869, Museu

de Arte, Sao Paulo.
After the break between
Cezanne and Zola,

Vollard went to see

Zola, who clearly

expressed his
opinion of his friend:
a talented individual

without willpower.

86
 1880-1890
Cezanne, The Black
Clock, c.1870, Private

Collection. The picture

of the clock without

hands was one of many

works by the artist that

Zola possessed. He kept

them however "under
triple lock" in the attic

at Medan "away from

evil eyes".

Zola as art critic principles, and the official artists, Cezanne, House
champions of an art which was with Red Roof, 1887-90,
Emile Zola worked for the pub- merely "an amputated corpse". He Private Collection. For

lishers Hachette, where he met followed the Impressionists in some years Cezanne

because he sought new had lived in the south,

the critic Duranty, and began to particular
preferring a detached
write literary reviews for the expressive forms. He never seems
life, utterly different
paper "L'Evenement" and then in to have grasped the real motives of
from (and not easy
1866 art criticism.lt was soon Cezanne, however: "He had the
to reconcile with) the
clear that he had a sharp attitude spark. But if he had the genius of a worldliness and luxury
both towards the Salon jury, whom great painter, he lacked the to which Zola and his

he denounced as lacking in willpower to become one". wife were accustomed.

 1880-1890

Harlequin
In about 1888, Cezanne, having concentrated on
still lifes, landscapes, and portraits for more
than 20 years, returned to painting figures in

movement with this Harlequin. The work is now

in the National Gallery of Art in Washington.

88
 1880-1890
Cezanne, Mardi Gras, r:
>
1888, Pushkin Museum,
—i
Moscow. Cezanne was m
fascinated by figures T3
from the Commedia m
dell'Arte. Here he en
tyj
depicts his son Paul
in Harlequin costume
and his friend Louis

Guillaume as Pierrot.

Cezanne, Harlequin,
c.1888, The Art Institute

of Chicago. This is

one of Cezanne's

most complex figure

drawings. It may have V

been modelled on a

puppet or a mannequin.

The technical Cezanne, Studies for

virtuosity of the Mardi Gras, Departement
drawing can be des Arts Craphiques,
seen in the diamond- Musee du Louvre, Paris.
patterned costume in These are drawings of

bright, fiery red, which his son Paul: the mobility

contrasts with the white of expression and the
baton. It is one of his intensity of gaze were
strangest pictures and to dissolve in the

was to have the most painting of Harlequin.

striking effect on new
generations of artists.

89
 1880-1890

Symbolist painters

D,
'tiring the 1880s and 1890s,
Impressionist naturalism reached a crisis point. Artists and
public alike felt the need to react to growing positivist
materialism with a formal expression that tried to recover the
romantic leanings of the early 19th century. Symbolism sought a
synthesis among all methods of artistic expression, from painting
to poetry, from music to literature. Even though these new
studies involved the whole of Europe, the leading role once again
Emile Bernard,
Still Life with Jug and fell to France where the aesthetic debate spread to magazines, to
Apples, 1887, Musee literary and philosophical texts, and to groups of artists. The
d'Orsay, Paris. Like figurehead of the movement in painting was Gauguin, who,
Gauguin, Bernard had a
according to Maurice Denis, was to artists in 1890 what Manet had
sinuous and decorative
been in 1870. Seeking seclusion and a more primitive subject
way with lines (he was
also in fact a very able matter, Gauguin established a base at Pont-Aven in southern
designer of textiles Brittany. In the raw purity of the Breton environment, he
and glass), unlike the
from from
encouraged his followers to paint not real life but
violent contrasts which
memory. The result was an essential ideal that took shape through
characterized the work
of Vincent van Gogh at
the careful study of form and color. Color became the means by
about the same time. which a symbolic value was conferred on images.

Paul Gauguin, Still

Life with Japanese print

Museum of Modern
Art, Teheran.

90
 1880-1890
Emile Bernard,
Bathers with Red Cow,
1889, Musee d'Orsay,
Paris. Together with
Louis Anquetin, Emile
Bernard developed a
style of art known as
Cloisonnism in which
pure colors were placed
close together and
articulated by clearly

defined contours. The

technique is particularly

associated with the

Pont-Aven School.

Paul Gauguin,
Breton Calvary: The
Green Christ, 1889,

Musees Royaux des

Beaux-Arts, Brussels.
Gauguin modelled this

painting on a stone

Pieta next to the church

at Nizon in Pont-Aven,
relocating it the coast
of Le Pouldu.

Exoticism and primitivism

In the course of the 19th century

the massive European colonial
expansion reached a peak. After
Japan, it was the turn of Asia.

Africa, and .America. Fashions like

japonisme were indicative of

Europe's encounter with other
cultures. At the same time artists

sought their own ancient roots,

their origins, by retreating into

their own artistic cultures. In this

way exoticism and primitivism

were born. They were not only
questions of taste but. as with
Gauguin, brought about a search
for a "lost paradise", unifying
art and life.
 1880-1890

The experience of Renoir

1863, but it was later,

c 'ezanne and Renoir became friends
as older men, that the bond between
in

them
was strengthened. Returning from a trip to Italy, Renoir visited
Marseille and, struck by the landscape, decided to stay on longer
in order to paint enplein air. His earlier certainties, those of his
youth, were increasingly being questioned, and he admired the
isolation of Cezanne and like him wanted to paint in a more solid

style. He sensed he still had a great deal to learn and started

producing landscapes, which for him had unusual asperity: the

brushstrokes became more constructive and less of a simple
"impression". He too began to feel the crisis of Impressionism,
and in a letter to Vollard he declared that he no longer knew how
to paint or draw. This was why he had gone to Italy, to re-learn: "In

Paris you have to be content with

little .... Raphael, who did not work
outdoors, had however studied the
sun, because his frescoes are full
Cezanne, Mont
of it. By looking at the exterior
Sainte-Victoire,
I have ended up not paying
1888-89, Museum
attention to the little details that of Art, Baltimore.

extinguish the sun instead of The mountain was

exalting it". In an unchanging Cezanne's "little

sensation" and
setting, drenched in sunlight,
he painted it "from
Renoir created more imposing and the inside" so that
constructed canvases. volumes emerge.

Pierre-Auguste
Renoir, Self Portrait,

1889, Sterling and

Francine Clark Art
Institute, Williamstown.

92
1880-1890
Cezanne, The Bay
of Marseille seen from
I'Estaque, 1886, The Art

Institute of Chicago. For

Renoir the contact with
Cezanne was definitive.

Perhaps he would have

shared the view of
Meyer Schapiro on
these works, that they
exuded: "A marvellously
tranquil force... the

deep sensation of

the Mediterranean".

Pierre-Auguste
Renoir, Mont Sainte-
Victoire, Yale University

Art Gallery, New

Haven. Compared with
Cezanne, Renoir was
sensitive to an "external"
vision as can be seen in

the effects of the atmos-

pheric light and the
surfaces of objects.
 880-1890

The Universal
Exhibitions

Irogress in the fields of engineering and Henri Gervex,

architecture could be followed through the Universal The Debate of the Jury,

presented at the Paris

Exhibitions that took place in Europe in the second half of
Exhibition of 1889. By
the 19th century. They were recurring celebratory events, the end of the 19th
held on symbolically important dates, which turned into century, aspiring to the

occasions when attention could be devoted to the interweaving new and modern began
about a new
to bring
of technology and science, architecture, and art. The exhibitions
aesthetic throughout
were devised to disseminate new ideas in all fields. In fact
Europe, which saw
the real protagonist was architecture: iron and glass were formal qualities even
the new materials used, which cut down on building time and in industrial products.

meant that structures could be re-used.

The temporary nature of the Exhibition
buildings and their siting in urban
city centers were common to all

exhibitions. The public flocked to these

events, obliging the organizers to create
increasingly functional infrastructures
such as hotels, railways, and
underground trains, and to improve
internal services. However, the increase
in workload and costs quickly showed the
advantage of museums over exhibitions.

Palais de I'Exposition

Universelle in Vienna,
1873. The layout of the
exhibition in Vienna
broke with the tradition
of using a single building.

It used different pavilions

spread over increasingly
large surface areas.
 i88 °- i89
^i^4^^^fF ^ife :,
:
•
°

^^f-';^-' ^rMh^iM
Thebu.ldmgof
v^^*fei^v_ "T^Sfe^Sfe^
^-•-'•.
::
:

th(j ' it,H [ow(ir for

f0 the

B5M^wiM8ij^raHCfe^5^ '3^- •

%i Exposition Universelle
in
Univer<
1889 commemorated
the first centenary of the

storming of the Bastille. o

The tower is made
entirely of iron and
dominates the capital.

The first Great

Exhibition in America
was held in New York

in 1853. This etching

shows the Machinery

Building at the 1876
International Exhibition

in Philadelphia.

View of the Universal

Exhibition of 1867 at

the Champ de Mars in

Paris, Private Collection.

The French exhibitions

placed more emphasis

on the arts than those
held in other countries.

95
 1880-1890

Kitchen Table
Painted in about 1889, this canvas is now in the
Musee d'Orsay in Paris. It is one of the few
signed by Cezanne, in blue at the bottom right-
hand corner, and is one of the richest in terms
of figurative elements arranged in space.

The blue-purple
ginger jar with its string

holder is an object that

Cezanne used frequently.

When Joachim Casquet

saw this still life in the
artist's studio, he
mistook the willow
strands for decoration.
Other familiar elements
are the sugar bowl, the
"tablecloth of fresh

snow", the apples,

and pears.

96
 1880- 1890

Nothing is left to Pablo Picasso, Bread

chance in the placing and Compotier with
of the objects, arranged Fruit on a Table, 1908,

at different angles, like Kunstmuseum, Basel.

this large wicker basket Picasso paid tribute

containing seven pears. to the "disquiet" of

It appears to lean out Cezanne, to whom

from the back right he owed a great deal

corner of the table. in his early career.

Cezanne rejected

traditional unitary

perspective and
maintained a multiplicity
of viewpoints. This jug

is not seen from the

same viewing point as
the objects around it.

97

v
 1880-1890

The rise of capitalism

and images of socialism

Irom the second half of the 19th century,

modern industrial capitalism - albeit in different forms - was
established in countries such as Britain, France, Germany, Russia,
the United States, and Japan. Particularly in the 1880s and 1890s,
capitalism could avail itself of new sources of energy such as
electricity, new raw materials such as petroleum, and new
techniques derived from progress in scientific research.
improvements - through the use of machines and
Agricultural
- and advances in medicine - especially in disease
fertilisers
Claude Monet,
prevention - resulted in population growth, which itself The Garden at Saint-
increased the availability of a workforce for industrial production. Andresse, 1867, The

Capitalist expansion and the concentration of production Metropolitan Museum

of Art, New York. Many
facilities, created on the one hand an increasingly prosperous
writers analyzed the
middle class, and on the other noticeably increased the mass of crisis of the haute
the industrial proletariat. Throughout bourgeoisie and

Europe, after the Paris Commune and the the aristocracy, who
up to that point had
collapse of the First International in 1876,
imposed their own
the position of the socialist parties
style and values on
became increasingly significant. 19th-century society.

Honore Daumier,
The Washerwoman,
1863, Musee du Louvre,
Paris. The subject matter
shows Daumier's need
to depict the present.
 1880-1890

Constantin Meunier,
Removal of a Broken
Crucible, Glass Factory

at Val Saint-Lambert,
c.1 884, Musee Constantin
Meunier, Musees
Royaux des Beaux-Arts
de Belgique, Brussels.

In this work, Meunier

glorifies manual labor
in his treatment
of a scene previously
considered "vulgar".

Pierre-Auguste
Renoir, On the Terrace,
1881, The Art Institute

of Chicago. This picture

was painted on the

Fournaise restaurant
terrace at Chatou; the

model was the actress

Jeanne Darland, of the

Comedie Francaise.

Robert Koeler,
The Socialist, Kunst-

historisches Museum,
Berlin. Despite
internal contradictions,

the socialist parties

experienced tumultuous
growth and their

organization grew in

strength and influence.

99
 880- 1890

The Blue Vase

Painted between 1889 and 1890, this painting
isnow in the Musee d'Orsay in Paris. It is

among Cezanne's most original still lifes and is

also one of the most well known.

100
 1880-1890
Not easily identified,

the bunch of flowers

seems to consist of

deep purple irises

surrounded by small
yellow flowers, cyclamen,
and geraniums. Unlike
many of his colleagues,

Cezanne never showed

great interest in

painting flowers.

The blue vase,

silhouetted against

the white plate,

seems to be lit by a

beam coming from the

viewer's direction. It

almost blends in with

the blue of the wall.
Because of this frontal

light, the effect becomes

intense, almost ghostly.

Henri Matisse, The

Blue Window, 1913,
Museum of Modern Art,

New York. Years later

the almost shadow-free

objects in Cezanne's
work inspired Matisse
to produce this picture,

created in a moment
of particular spirituality

and mysticism.

Although Cezanne
arranges the objects
with meticulous care,
it is not the objects
themselves that he
is interested in. His
fascination is with form,
shape, and color, and
the relationship between
the various elements.
 1880-1890

A final flowering:

the Bathers

T Ihroughout his life Cezanne sketched

male nudes in his notebooks, but it wasn't until later life that his

approach to depicting the human body reached full maturity. In

pictures on the subject it is clear that the artist wanted to keep
fresh in the memory his academic studies and the work of the
ancient masters, their sculptures, and their models. Copying
Classical sculptures was a fundamental training for the painter,
much more so than life drawing, which however, Cezanne was to Cezanne, Bellona

set aside fairly quickly. In his treatment of male bathers, more (after Rubens), 1879-82,
Private Collection.
so than with female bathers, the compositions remain fairly
Cezanne had always
constant; the male subjects appear more conventional and been struck by this

distant, even if at this stage Cezanne was trying to give greater ability to render the

depth to the surrounding space and more twisting of the body

with the raised arm,
mobility to the figures. The subject matter
a particularly expressive
was perhaps suggested by memories of
pose, strong and
the time when Paul and his friend Zola full of dignity.

used to spend their summer holidays

swimming and relaxing in the beautiful
countryside of Provence.

Cezanne, Bather
and Rocks, c. 1867-69,
The Chrysler Museum,
Norfolk (Virginia).

102
 1880-1890
Cezanne, The Large
Bather, c.1885, Museum
of Modern Art, New
York. With this picture

the artist overturned

tradition, creating an
absorbed expression
in the face and the
eyes, so that the bather
appears totally wrapped
up in his own thoughts.

Cezanne, Bathers,
c.1890, Musee d'Orsay,
Paris. Set in an almost
timeless dimension,
this is one of his most
emblematic canvases,
in which the bathers
interact with great

mobility - the young

man on the right, full of

vitality, is responding to
the man who is waving
his arms on the other
side of the bank.

^Mru* Pablo Picasso,

w Acrobat and Young

Tumbler, 1905, Pushkin
Museum, Moscow.
V Cezanne's exhortation
to treat nature
I
ii
t
\mMt
"according to the
cylinder, the sphere,

the cone" has already

borne fruit in this

work, in the solid,

m^K^
"V 1 almost stonelike
carved figures.

^k

& T
103
 /V
/
fl /

tt»
The cone, the cylinder
and the sphere
 1890-1906
Cezanne, Portrait
The first one-man show of the Artist, 1878-80,
Phillips Collection,

Washington. This canvas

was part of Vollard's

enormous collection:

the dealer had excellent

business sense and
from the very beginning
preferred work by
young artists at low

A, fter the death of Pere Tanguy in 1894,

prices. Vollard

no hurry to sell
was
and did
in

all his property was sold at auction, including six paintings by

not hesitate to reinvest
Cezanne. Tanguy had been Cezanne's only dealer and Pissarro capital immediately.

decided to introduce the young Ambroise Vollard to his friend

Paul. Vollard had a gallery in rue Laffitte, where the majority of
Parisian galleries were sited. He lacked confidence in his own
taste, but he listened to advice and had the sense to follow the
wise counsel of Pissarro and Degas. For 20 years Cezanne had Maurice Denis,
been living a reclusive life, absent from Paris exhibitions and Homage to Cezanne,
Pissarro encouraged Vollard to get in touch with him. Cezanne 1900, Musee d'Orsay,
Paris. This painting
sent him 150 pictures and the one-man exhibition opened in the
moved Cezanne
autumn of 1895. Former painting colleagues and avant-garde
immensely. The
artists, unlike the critics, hailed him as a master. As Pissarro meaning is clear: the
wrote: "The only ones who do not feel this fascination are increasing numbers of

precisely those artists and dealers who, by their mistakes, have followers who saw in

him the advent of a new

amply demonstrated an absence of sensitivity. As Renoir very
era in art compensated
rightly said, these paintings have aje ne sais quoi similar to things for the absence of
from Pompeii, so threadbare and so marvellous!". official recognition.

Cezanne, Four invitation to one of his

Bathers, 1879-82, Cezanne exhibitions. He
Museum Boymans-van later organized a series of
Beuningen, Rotterdam. important exhibitions for
Vollard used this drawing van Gogh, Picasso, Matisse,
to illustrate the Gauguin, and others.

106
 890- 1906
Vincent van Gogh, started out as a paint

Portrait of P^re Tanguy, trader and protector

1887-88, Private ol artists. He was very
Collection. The taken with Cezanne
legendary Tanguy and became his dealer.

,
^ppr-wM

Pablo Picasso, mood, with his

Portrait of Vollard, forehead prominent

1915, Pushkin Museum, and his gaze downcast.
Moscow. Like Cezanne Vollard organized the

(see pp. 122-123) and first exhibition of the

others, Picasso painted young Picasso in 1901.

Vollard in sombre
 1890-1906

The Orient and

the ancient

In the closing decades of the 19th

century, oriental art began to appear in Europe and was a source
of inspiration to many artists who, thanks to the Universal
Exhibition of 1867, had come into contact with Japanese art. The
fashion for japonisme spread throughout France. Items began to
appear in the ateliers where artists collected porcelain, prints,

costumes, and kimonos, which appeared as details or often as

key features in their paintings. Underlying this interest was
not fashion as such but an exact formal study that inspired
original viewpoints and compositions; the absence of western
perspective favored flat, decorative surfaces with overlapping
figures and objects. Cezanne was not greatly attracted by oriental
art, which found no echoes in his imagination. And Renoir, who
preferred to study the oriental subjects of Delacroix, was the
same. Georges Riviere defined Cezanne as a "Greek of the golden
age" emphasizing in his biographical notes how his early visits to

the Louvre had contributed to strengthening that love for Classical

art which would never be denied. "In the mind of the young
painter" Riviere said, "a general theory of art was forming, of an
unassailable logic, solidly grounded in the study of the ancients."

Piero della

Francesca, View of
Arezzo, detail from
Stories of the Cross,

c.1452-65, San
Francesco, Arezzo.
The houses in

Cezanne's views
of I'Estaque recall

the work of this

earlier master.

Cezanne, Dying
Slave, after
Michelangelo,
c.1900, Philadelphia

Museum of Art.

108
 1890- 1906
Cezanne, Mont
Sainte-Victoire Seen
from Les Lauves,
1902-06, The Nelson-
Atkins Museum of Art,

Kansas City. Cezanne

rf\ preferred contours that

were not clear-cut,

indistinct, that high-

but

lighted his difficult and

perpetual study of color.
He aimed to harmonize
the exterior world and
his state of mind to

the point where they

became as one.

Katsushika Hokusai,
A Pleasant Breeze and
a Limpid Joy, c.1830. The
prints of Hokusai made
the rounds of artists

who were immediately

enthusiastic. Pissarro

in particular, was always

interested in the graphic
arts, and appreciated
the technical aspects.

James Abbot McNeill collect blue and white

Whistler, The Princess in porcelain and Japanese
the Country of Porcelain, costumes, which he
1865, Smithsonian bought in a shop in the
Institution, Freer Gallery rue de Rivoli. The shop
of Art, Washington. belonged to a couple
Fascinated from the called Desoye and was
beginning by Japanese set up after their return

art, Whistler began to from a long trip to Japan.

109
 1890-1906

Still Life with Plaster Cupid

The statuette, the artist's own property, is of
uncertain origin and today can no longer be traced.
It did not appear in the sales which took place after
his death. The painting, executed from 1894 to 1895,
is now in the Nationalmuseum in Stockholm.

"He [Cezanne]
brought out three
still lifes.... Warm,
profound, alive, they
burst forth like magic
wall panels yet were
deeply rooted in

everyday reality"

(Joachim Gasquet).

10
 1890-1906
6'*

Cezanne, Plaster
Cupid, 1890-1904,
one drawing and
two watercolors.
The drawing does not
seem to be a study for

the painting but is an

"unfinished" work. The
watercolors are interes-
ting for the study of the

twisting of the cherub.

Cezanne, Plaster
Cupid, c.1895,
Courtauld Institute

Galleries, London.
In this composition,
Cezanne chooses
a vertical format

that emphasizes
the statuette.

Cezanne, Still

Life with Apples

and Oranges, Musee
d'Orsay, Paris. In most
of his still lifes Cezanne
used a white cloth to
give sculptural form to
the composition. Here,
he also used a rich

damask as a backdrop.

Ill
 1890-1906

The Cardplayers

c.'ezanne created the series of

Cardplayers paintings between about 1890 and 1896 and it is

fascinating because he seems to want to reduce the scene to a Cezanne, Peasant

still life. The characters depicted are enigmatic, reminiscent of in a Blue Smock, 1892
or 1897, Kimbell Art
masks, they do not communicate with the viewer, offering very
Museum, Fort Worth,
little expression and a rigid pose. It is almost as though the
Texas. Of uncertain
painter, in depicting the cardplayers, has no access to their interior date, this canvas
life. They represent perhaps the clearest and most mature confirms Cezanne's

example of Cezanne's originality, which is completely distinct habit of using as

models the peasants
from the treatment given to the same subjects in the past by other
who worked the
artists. Previously, figures like these had appeared in scenes of
land around the
social life, of relaxation or depicting a simple hobby; or in scenes Jas de Bouffan.
of greed, deceit, or anxiety. Not one of these aspects is manifest
in this picture: the players are completely immersed in the
cards and display no emotion whatsoever. The whole
painting contrasts with the reality of a Provencal card
game which is convivial and noisy. Cezanne, using his
own style, transforms this typically lively moment
into an intellectual experience.

Cezanne, Smoker, Cezanne, Cardplayers,

1891-92, Stadtische 1890-92, Private
Kunsthalle, Mannheim. Collection. The drawing
The color modulation is brought to life by the
in this work is extremely use of chiaroscuro. Light
refined, with subtle and shade oscillate from
harmonies from the foreground to the
blue to mauve. background in a total

dissolving of space.

112
 890-1906

Cezanne, Card-
players, 1893-96,

Musee d'Orsay, Paris.

In a letter that Cezanne
wrote to Paul Alexis,

the artist acknowledged

that he never brought
models together at the
same time, preferring

to arrange them in a

scheme after studying

the details.

Cezanne, Card-
players, 1892, The
Metropolitan Museum
of Art, New York. Roger
Fry said of the group:

"(this) gives us so

extraordinary a sense
of monumental gravity

and resistance - of

something that has

found its centre and
can never be moved".

113
 890-1906

Woman with a Coffeepot

The woman is seated before a geometric background,
against which the coffeepot and cup stand out. The
treatment of her hair, hands, and dress give the
portrait a monumental aspect. Painted in about 1895,
the canvas is now in the Musee d'Orsay in Paris.

114
 890-1906
The detail of the Cezanne, Madame
spoon handle is used Cezanne in a Yellow
by the artist to force Chair, 1893-95, The
the whole painting to Metropolitan Museum
submit to his desire for of Art, New York.

"verticalization". These Similar in approach

sophisticated spatial to Woman with

manipulations were a Coffeepot, this

to exert a profound portrait shows artist's

influence on wife seated by a

Cubist painters. patterned curtain
and holding a rose.

Cezanne, Seated
Woman, c.1895, Jan

and Marie-Anne Krugier-

Poniatowski collection.
From the blue dress,

the hairstyle, and the

pronounced chin, this

watercolor seems to
have been painted at

the same time and with

the same model as the
Musee d'Orsay picture.

115
 1890-1906

"Death is no
longer absolute":
the cinematograph

Ihe cinematograph was

presented for the first time on 28 December 1895. Early

research was carried out by an eccentric personality, the Cinematograph,

photographer Antoine Lumiere, who, with the help of his two watercolor attributed

sons, Auguste and Louis, perfected a technique of breaking down to Jules Cheret, 1896,

Museo Nazionale del

movement into a series of instantaneous photographs. The idea
Cinema, Turin. At the
took the form of countless trials, up to the birth of a rudimentary
sight of an advancing
cine-camera. The first demonstrations took place in private train, viewers recoiled
meetings, but the real challenge was attracting a vast paying into their seats.

/
y v
j

public. Its success was almost immediate: the first spectators Drunk Attached to

were dumbfounded, finding themselves confronted not by a a Lamppost, etching

for magic lantern,
theatrical performance, but by real life! A journalist of the time
1800. Cinematheque
wrote: "when the use of this apparatus spreads among people and Francaise, Paris. Initially

everyone is able to photograph their loved ones, no longer in a painted by hand,

state of immobility but in movement, in action, in familiar magic lanterns were

later produced with
gestures, speaking, then death will no longer be absolute."
chromolithography
or photographs.
Monkeys looking
inside a box theatre in

an English engraving
from the first half of the

18th century, Museo

Nazionale del Cinema, The Kiss of May
Turin. Before cinema, Irwin and John C.

one of the children's Rice, Edison, 1896,

amusements at street Cinematheque Francaise,

fairs used to be looking Paris. Perhaps the very

inside "magic boxes", first cinema kiss, here as
where the operator the only subject of a 16-
moved scenes lit metre film. The image
by candles. is evocative of Rudolf
Valentino, cinema's
romantic idol.

116
 1890- 1906
Illustration of the use was perhaps with the
of the camera obscura advent of the camera 11 4-4- s~D» i.4- lattKtra

to observe the solar obscura, studied by

eclipse, 1544. Ancient Leon Battista Alberti and

shadow-theatre had Leonardo da Vinci, that

already formed the photographic and later,

first steps towards the cinematographic, experi-

cinematograph. But it ments came into being.

From the very first The Dream of a

public shows in London Rarebit Fiend, E. S.

the cinematograph was Porter, Edison, 1906,

a great success, making British Film Institute,

a fortune for the London. Ever popular

organizer Felicien comic fantasies took
Trewey, who was a inspiration from the
friend of the Lumiere characters and scenery
family. This is an English in comic strips. This
poster advertising the image shows a drunk
Lumiere cinematograph. having nightmares.

M*fl5
m, TRJEWE*
x- MyM?j jc7?1 *>v

117
 1890-1906

Portrait of Gustave Geffroy

The portrait of the critic in his studio is an established
genre. Manet painted Zola, Degas the critic Duranty in a

very similar picture with bookshelves in the background

and a table covered with books. Dated 1895 to 1896, the

picture is now in the Musee d'Orsay in Paris.

 890-1906

The books in the the coordination of the

library were for Cezanne many different angles.

an important element in Some angles are traced

the study of space and in by the books on the
defining volumes rather shelves, others by

than an emotive evoca- the notebooks and

tion. They are arranged papers on the table.
vertically and slanting, All these details lend
great attention is paid an astonishing structure
to the chromatic effect, to the painting.

which perfectly conveys

The face and

hands are sketchy,
partly because the work
remained unfinished,
partly because Cezanne
had no great affection

for the critic who

seemed to him too
eclectic and with
frivolous tastes.

According to Joachim
Casquet, mild irritation

eventually turned into

very real hostility.

On the table lie

papers, books, an
inkwell, an artificial rose
(which Cezanne had
probably brought), and
a Rodin statuette. When
the Caillebotte collection
was left in a bequest to
the government, Geffroy
was the first to write in

praise of Cezanne in a

national newspaper,

The Journal.

19
 1890-1906

annus mirabilis,
1905:
Einstein and the theory
of relativity
S-/
urn
lhere is nothing to grasp onto in the
universe - as far as we know" wrote an anonymous writer and
Einstein added in his own hand "read and approved". The

theory formulated by Albert Einstein in 1905 opened the way

for philosophical reflections that also had repercussions
in non-scientific fields. A single theory brought together light
and matter and therefore also space and time: two events
that appear simultaneous to a passenger on a train are
not so for an individual who sees the train passing; he sees
one of the events happening before the other. Which of the Caricature of Einstein,
two is right? Both, responded Einstein. In an interesting Ippei Okamoto,
essay on Einstein, Roland Barthes wrote: "this is the myth American Institute

of Einstein; all the gnostic themes are here: the unity of of Physics, New York.
According to the science
nature, the real possibility of a reduction of the world, the
historian Gerald Holton,
opening power of the formula, the ancestral struggle with a Einstein often declared

secret and a word.... Einstein fulfils the most contradictory that he had always

dreams, he reconciles mythically the infinite power of man over asked himself questions
1
about space and time
nature and the 'fatality of a sacred belief to which this can
"to which only children
no longer submit." So did Cezanne really have defective are curious to know the
eyesight as many have thought? Is it really foolish to see answer (which only
the world and reality so distorted? children do)".

Einstein in Zurich,

photograph from 1912,

E.T.H. Bibliothek, Zurich.

Music, a passion
inherited from his

mother, occupied a
very significant position
in the scientist's life. He
loved to play the violin
and loved chamber
music, which he played
with other musicians
whom he encountered
on his travels.

120
 1890-1906

Einstein's own
formula, this postscript
of the theory of relativity

states that the mass of

a body is linked to its

energy content; this

equivalence, according
to which if a body
absorbs energy the
mass increases, and
if it expends energy
its mass diminishes,
is without doubt his
most famous formula.

Einstein in front of

NBC cameras, speakin

out against the use of
Equations by
the H-bomb, photo-
Einstein on the theory
graph, Bild Archiv
of relativity, Princeton
Preussischer Kultur-
University Press, Boston
besitz, Berlin.
University. "One thing I

have learned... that all Black hole, artist's

our science, if compared impression, Manchu,

with reality, is primitive Gel et Espace. The
and infantile... and yet black hole represents
it is the most precious a huge concentration
wealth we have" of mass which distorts

(Albert Einstein). the surrounding space.

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 1890-1906

Ambroise Vollard
This portrait (1899) of his friend the art dealer
is now in the Musee du Petit Palais in Paris.

Vollard is within a cross-shaped structure, in a

play of perpendicular lines formed by the
background and the features of the face.

122
 1890- 1906
Cezanne, Ambroise his friend as subject.

Vollard, The Fogg Art According to Vollard,

Museum, Cambridge this particular drawing
(Mass.). Prior to painting was the starting point

the portrait on canvas, for the work in the

Cezanne again made Petit Palais.

numerous sketches with

Maurice Denis Cezanne, Man

noted in his diary the with Crossed Arms,
innumerable sittings c.1899, The Solomon R.

undergone by Vollard Guggenheim Museum,

for this painting. New York. In general
However, despite Cezanne was not
constant retouching, interested in

it retains the character characterizing social

of a sketch, particularly class, mood, or the
in the details of feelings of the people
the head. he portrayed, but rather
in defining their look.

123
 1890-1906

The Fauves

the face of the public".

"AA group
pot of paint has been thrown
showed their work in
of artists
in Henri Matisse,
Interior in Nice,

Mesdemoiselles Matisse
public at the 905 Salon d'Automne and were immediately dubbed
1
and Darricarrere, 1920,
the "fauves" (wild beasts). They were not a true school, but a
Le Musee de
group of artists responding to the sensitivities of the early years I'Annonciade, Saint-

of the 20th century. Forms had to be simple, and colors pure, able Tropez. As though in

express subjective impulses, intellectual and sentimental a photograph the two

to
women are immortal-
tensions. Their common trait was their relationship with color,
ized in a pause in
for them more determining than details, shadowing, or modelling. conversation. In the
"The choice of colors" said Henri Matisse, "does not reside in bright light of the

any scientific theory. It is based on the experience of my south; in the brilliance

of the background
sensitivity". This reflection contrasts with the parallel studies of
details and in the
the Cubists who saw themselves as an organized movement, with flowers, the artist
rules and defined aims. The Fauves included some exceptional conveys the family
people, from the brightness of Matisse to the classicism of atmosphere in

the house.
Derain, from the dramaticity of Vlaminck to the intimacy
of Vallotton. Primitive art and the sculptures of Africa and Oceania
"discovered" in 1905 were, along with the art of Gauguin and van
Gogh, their most frequent sources of inspiration.

Henri Matisse,
Corsican Landscape,
1898, Le Musee de
I'Annonciade, Saint-
Tropez. At this time,
although he was
still suffused with
Impressionist culture,

Matisse already
perceived that color
was no longer the
means of arriving at

a "truthfulness" of

atmosphere and
natural light, but
an end that created
the picture itself.

124
 1890-1906
Felix Vallolton, Misia oo

at the Desk, c.1897, Le Ci

Musee de I'Annonciade,
3D
Saint-Tropez.
O
cr
2:

Maurice de Vlammck,
Still Life, 1907, Le Musee
de I'Annonciade, Saint-

Tropez. The artist con-

centrated on vigorous
and schematic painting
of landscapes and still

lifes, and was the most

radical of the group.

Maurice de Vlaminck,
Pont Chatou, 1906, Le
Musee de I'Annonciade,
Saint-Tropez. By his own
nature, incapable of

reinventing himself or
accepting any critical

revision of his own

emotional approach,
Vlaminck would never
again repeat the results
of these years.

Andre Derain,
Bridge over the Thames
(St Paul's and Waterloo
Bridge), 1906, Le Musee
de I'Annonciade, Saint-

Tropez. For Derain

1906 and 1907 were
particularly happy years
from the artistic point
of view. The views of

London are among his

most beautiful paintings.

125
 1890-1906

Les Grandes Baigneuses

Painted in 1906, this picture is now in the Philadelphia
Museum of Art. It shows a group of women bathing
beneath trees in a field. The theme was a recurring
one, and over the years Cezanne produced about
30 sketches and numerous drawings and watercolors.

The pictorial frame-

work of this painting is,

compared with other

paintings on the same
subject, wider, opening
up to a horizon which is

more clearly visible than

in other versions. Here
the sky seems to want
to give the figures the

breath they need to

move freely. The colors

are ochre, white, violet,

green, and, on the
faces of the girls, a

touch of vermilion.

126
1890-1906
In a solidly

monumental structure,

Cezanne seems to have

the isosceles triangle
in mind, within which
he depicts groups
of figures, each one
viewed from a different

angle. The groups

themselves form smaller
triangles, with the longer
sides traced by limbs
and branches.

Pablo Picasso, Les

Demoiselles d'Avignon,
1907, The Museum of

Modern Art, New York.

Picasso made a serious

study of Cezanne's
work, adding his own
interpretation. There are
similarities between this

and Cezanne's Bathers.

The deliberately

elongated forms of the

women echo the work
of past masters, but

the patchy spread of

transparent color and
the areas left white
for highlights, place

the figures in a timeless

dimension, identifiable
in any era.

127
 _

1890-1906

The final muse: -•

fQBNV

Mont Sainte-
Victoire

into an increasingly small

A s Cezanne grew older he withdrew
world even though, following his
Mont Sainte-Victoire,

to the northeast of

Aix. The mountain

father's death, he could have enjoyed a fortune that would
is visible from various
have enabled him to travel and live in comfort. The artist continued viewpoints but the road
to opt for a quiet, simple life, constantly in search of pictorial to Le Thonoiet, which

motifs in the area around Aix, which continued to exert a great Cezanne often took,

passes closest to En
fascination. Among his favorite themes was Mont Sainte-Victoire,
it.

route is Chateau Noir, a

which lay a few kilometers east and which he had painted a number farm outside Thonoiet.
of times in the past, albeit in a more
legible way. Now however, although
the views keep their shapes, which
r
remain recognizable, they have
become more rarefied and
Maurice Denis,
S abstract, more distant. The "muse Visit to Cezanne,
Victoire" accompanied Cezanne to 1904, Private Collection.
v
^ the end. He was taken ill during a In this little oil sketch
.

'^ ____ .
j ^ storm while he was painting.
October 15, 1906. A few days
It was
later,
Denis records
to Cezanne in
his visit

January
1906, in the company
on October 23, he died from of his friend Ker-

% s* lung congestion. Xavier Roussel.

u r<

&
Cezanne, Mont
Sainte-Victoire Seen
from Les Lauves, Private

Collection, Philadelphia.

This was the only water-

color of the mountain
in portrait format.

128
 1890-1906

Cezanne, Mont
Sainte-Victoire and
Chateau Noir, 1904-06,

The Bridgestone
Museum of Art, Tokyo.

Around the mountain

is a vortex of color that

confuses the clouds

with the trees, leaving
only the light illuminating

the house.

Cezanne, Mont
Sainte-Victoire seen

from the road to

Le Thonolet, c.1900,
The State Hermitage
Museum, St Petersburg.

In his continued studies

of form it seemed as

though Cezanne wanted

to reconcile the earth

with the sky in one

great single sensation.

129
 1890- 1906

1907: a great
commemorative
exhibition

A
lit the Salon d'Automne of 1907 a large
retrospective exhibition was organized, it brought together 56
paintings by Cezanne. Visitors to the Grand Palais included

Picasso, Matisse, the poet Apollinaire, Braque, and the Italian

painter Ardengo Soffici who subsequently wrote articles on the A passionate student

subject which were published in Italy. The painter Emile Bernard of art history, the poet

Rainer Maria Rilke

wrote a two-part piece on his memories of Cezanne in Mercure de
(pictured above) met
France. Writers were fascinated; Gertrude Stein, who owned an
his future wife, the
important collection of Cezanne's work, claimed to have drawn writer Clara Westhoff,
inspiration from the painting Madame Cezanne in a Red Armchair at Bremen. In one
for her stories in Three Lives. Emile Bernard in 1915, again in of his extraordinary

Letters on Cezanne,
Mercure de France, wrote: "He was the definitive independent
he wrote to her: "this
in search of the absolute. He was not understood because it
unexpected meeting,
pleased him to be misunderstood". The the way it happened
poet Rilke, in his Letters on Cezanne, and took place in my
written after visiting the Salon d'Automne, life, gave me a great

feeling of rapport and

wrote: "All the reality there is from him:
affirmation of myself."
in that dense muted blue, which is his, in

his red, in his shadowless green, in the

reddish-black of his wine bottles".

Pablo Picasso, The

Road in the Woods,
1908, Civico Museo
d'Arte Contemporanea,
Milan. In his early days,
Picasso was acutely
conscious of the lessons
of Cezanne; he read

the numerous letters

sent by the artist to his

Andre Derain, Portrait
son and to the painter
of Madame Kahnweiler,
Bernard in which he
1913, Musee National
expounded his theories
d'Art Moderne, Centre
on a formal alteration
Georges Pompidou,
of the image.
Paris. Following his
experiences of the
Fauves and Cubism,
Derain took up a
more classicizing

position in about 1913.

130
 890-1906
Pablo Picasso,
House in a Garden
(House and Trees),

1909, Pushkin Museum,

Moscow. In Picasso's

painting, colored,

geometric forms follow

one another without
any relief. The image's
composition is similar

to elements in Cezanne's
work. The forms in

the Picasso painting

do not give any illusion

of depth and are simply

positioned one beside
the other.

Andre Derain,
Trees, c.1912, Pushkin

Museum, Moscow.
After initial enthusiasm
for color, Derain
developed a vision

tending to a certain
primitivism. Apollinaire

considered him to be
one of the founders

of the Cubist aesthetic.

Cubism

The retrospective of 1907 was of

fundamental importance, in par-
ticular for Picasso, Braque, and
Fernand Leger. In fact Leger
declared: "Without Cezanne I

sometimes ask myself what would

be the state of painting today. For a

long time I have worked with his

oeuvre". And in effect Cezanne's
efforts to create space through
volumes were to be fundamental
for Cubist artists. The term
Cubism came from the critic Louis
Vauxcelles who, reviewing a
Braque exhibition, spoke of the
tendency of the painter to reduce
everything to cubes.

131
1f»

w
 INDEX OF PLACES
Cezanne, Chestnuts at
theJasdeBouffan.cABJ],
Tate Gallery, London.

Note Aix-en-Provence,
Musee Granet
The places listed in this section Male Nude, p. 14;
refer to the current location of Sugar Bowl, Pears,
Cezanne 's works. Where more and Blue Cup, p. 17.
than one work is housed in the

same place, they are listed Avignon, Musee Calvet

in chronological order. Portrait of Delacroix, p. 23.

Baltimore, Museum of Art

MontSainte-Victoire, p. 92.

Basel, Kupferstichkabinett
Achille Emperaire, p. 29.

Bern, Kunstmuseum Chicago, The Art

Self Portrait with Hat, p. 80. Institute of Chicago
View of Auuers-sur-Oise, p. 51.

Boston, Museum of Fine Arts The Bay of Marseille seen

Madame Cezanne in a Red froml'Estaque,p.W;
Armchair, p. 64, 130. Harlequin, p. 89;

Cambridge, Fitzwilliam Columbus (Ohio),

Museum Museum of Art
Male Nude, p. 14, Portrait of Victor Chocquet, p. 60.

The Abduction, p. 22;

Apples, p. 73. Fort Worth (Texas),

Kimbell Art Museum
Cambridge (Mass.), The Peasant in a Blue Smock, p. 1 12.

Fogg Art Museum

Ambroise Vollard, p. 123. Kansas City, The
Nelson-Atkins
Canberra, National Gallery Museum of Art
of Australia Mont Sainte-Victoire seen
Cezanne, Woman Afternoon in Naples, p. 38. fromLesLauves,p. 109.

Diving into the Water,

1867-70, National
Museum and Gallery
of Wales, Cardiff.

Cezanne, Road
through the
Fields, 1876-77,
Private Collection.

134
 NDEX OF PLACES

Le Pont de la Cible
sur I'Arc, near Aix-en-
Provence, postcard
at the time of Cezanne.

London, Courtauld
Institute Galleries
Plaster Cupid, p. 111. Minneapolis, The Bathers, p. 40;

Minneapolis Institute of Art Madame Cezanne in the

London, National Gallery Chestnut Trees at the Jas de Conservatory, p. 43;

Old Woman with a Rosary, p. 39. Bouffan, p. 84. Cardplayers,p. 113;

Madame Cezanne in a
Los Angeles, Armand Moscow, Pushkin Museum Yellow Chair, p. 115.

Hammer Museum Interior with Two Women and

of Art and a Child, pp. 10-11; New York, Museum

Cultural Center Chestnuts and Farm at the Jas of Modern Art
Boy Resting, p. 83. de Bouffan, pp. 84-85; Still Life with Compotier, p. 73;

Mardi Gras, p. 89. The Large Bather, p. 103.

Malibu, J. Paul
Getty Museum New York, The Brooklyn New York, Private Collection
Still Life with Blue Pot, p. 71. Museum Portrait of Victor Chocquet, p. 67.
Gardanne, p. 83.

Mannheim, Stadtische New York, The Solomon

Kunsthalle New York, The Metropolitan R. Guggenheim Museum
Smoker, p. 112. Museum of Art Man with Crossed Arms, p. 123.

Norfolk (Virginia), The

Chrysler Museum
Bather and Rocks, p. 102.

Cezanne, Pool at the

Jas de Bouffan, 1 878,
Private Collection.

135
 ; .

NDEX OF PLACES
Cezanne, Poplars,
1879-80, Musee
d'Orsay, Pans.

Man

wf
Cezanne, Young
Leaning on his Elbow,

1866, Private Collection.

Paris, Musee du Louvre

Achille Emperaire, p. 29;

Studies forMardi Gras, p. 89.

M^fe 1 v

Paris, Musee Wl|W"'-'

• • C»"' ^- !
;

du Petit Palais i
^
Autumn,
Spring,
p. 15;

p. 15;
J*M
Ambroise Vollard, p. 122. EL^*--
^^^^^
Paris, Musee National
de l'Orangerie »

Portrait of the Artist's Son, p. 43;

Apples and Biscuits, p. 104;

Flowers and Fruit, pp. 76-77. Philadelphia, Private

Collection
Paris, Musee Picasso Mont Sainte-Victoire seen
The Sea atl'Estaque, p. 55. from Les Lauves,\>. 128.

Paris, Private Collection Prague, Narodni Galerie

Self Portrait on Pink Portrait of Joachim Gasquet, p. 81.

Paris, Musee d'Orsay Background, p. 2.

Portrait ofAchille Rotterdam, Museum

Emperaire,pp. 17,28; Pasadena (California), Boymans-van Beuningen
The Strangled Woman, p. 39; Norton Simon Art Roofs atl'Estaque, p. 55;

House of the Hanged Man, p. 46; Foundation Four Bathers, p. 106.

Still Life with Soup Tureen, p. 71; Chestnuts and Farm at the
The Bridge at Maincy, p. 54; Jas de Bouffan, p. 9. St Petersburg, The State
Madame Cezanne, p. 82; Hermitage Museum
Kitchen Table, p. 96; Philadelphia, Philadelphia Overture to Tannhduser, pp. 34-35;
The Blue Vase, v. 100; Museum of Art Mont Sainte-Victoire seen from
Bathers, p. 103; Dying Slave, $. 108; the road to Le Thonolet, p. 129;

Still Life with Apples Les Grandes Baigneuses, p. 126. Woman in Blue, p.m.
and Oranges, p. 1 1
1

Woman with a Coffeepot, p. 1 14;

Cardplayers,p. 113;
Portrait ofGustave Geffroy, p. 1 18.
* jflK.r>^
"

rl - '£'~T* -

Vt !«* {* ^*T

Mw
i

Cezanne, Rocks
1
^EKPBhia
r
i
. j^f./^? l

atl'Estague, 1879-82,
Museu de Arte, Sao Paulo. y .
w.1 pi^t ,
»

136

1
1* -
>

Wm
r '• *> W
 NDEX OF PLACES

Le Tholonet,
.

near Aix-en-Provence,
postcard of the time.

^1 i

>^C4W..
i wLt '
.

••:

Sao Paulo,
Museu de Arte
The Negro Scipio. p. 23; Washington, National Zurich, Rau Foundation
Paul Alexis Reading to Zola, p. Gallery of Art for the Third World
Portrait of Louis-Auguste The Sea atl'Estaque, p. 67.

Stockholm, Cezanne, p. 16:

Nationalmuseum Harlequin, p. 88. Zurich, Kunsthaus

Still Life with Plaster Cupid. Chateau Me'dan, pp. 18, 69;

p. 110. Washington, Phillips Medea, p. 23.

Collection
Tokyo, The Bridgestone Portrait of the Artist, p. 106.
Museum of Art
Mont Sainte-Victoire and
Chateau Noir, p. 129.

Upperville (Virginia),
Paul Mellon Collection
Victor Chocquet, p. 61.

Vienna, Graphische
Sammlung Albertina
Studies and Portraits of
the Artist's Son, p. 42.

Cezanne, The Great

Pine, c. 1889, Museu
de Arte, Sao Paulo.

137
 f

m
NDEX OF PEOPLE
Paul Gauguin,
Riders on the Beach,
1902, Museum
Folkwang, Essen.

Note a book of reminiscences in 1912.

In opposition to the realism of

All the names mentioned the Impressionists, he adhered
here are artists, intellectuals,
to Symbolist theories, becoming
politicians, and businessmen the critical conscience of the
who had some connection with
movement. After 1905 he dis-
Cezanne, as well as painters, owned Symbolism and took up
sculptors, and architects who a more academic, eclectic style
were contemporaries or active of painting, with Neo-Renaissance
in the same areas as Cezanne.
ambitions, pp. 90,91.

Braque, Georges Cezanne, Paul, son, from his

Alexis, Paul, follower of, and (Argenteuil, 1882 -Paris, 1963), relationship with Hortense
later secretary to, Emile Zola, French painter. Together with Fiquet, pp. 42, 43, 48, 54, 83, 89.

pp. 19,68, 113. Picasso, he of the most important

exponents of Cubism, pp. 54, 130. Constable, John (East
Apollinaire, Guillaume Bergholt, Suffolk, 1776 -London,
(Rome, 1880 -Paris, 1918), Campigli, Massimo (Florence, 1837), English painter. Mainly

French poet, writer, and critic. 1895 - Saint-Tropez, 1971), Italian interested in landscapes, he
Constantly at the centre of painter. In 1919, as the Paris studied the classic landscape
discussions on the avant-garde correspondent of Corriere della artists (Lorrain, Poussin, Dughet)
of the 20th century, he was the Sera, he began to paint in an but also 17th-century Dutch
first to support the Fauves, p. 130. atmosphere of Post-Cubist and painters and other English artists.
purist study, focusing on Seurat, He frequently painted from real

Bernard, Emile (Lille, 1868- Leger, Picasso, and primitive and life, moving from sketches to

Paris, 1941), French painter Egyptian art, demonstrating his drafts to the final painting. Some
and writer. A shrewd connoisseur interest in the archaic and a of his pictures, shown at the

of art, he was one of the first balanced simplicity in formal Paris Salon of 1824, achieved

to understand and value the layout. He achieved European great success and influenced,
paintings of van Gogh and fame in 1929 with a show at the among others, Delacroix, p. 48.

Cezanne, to whom he dedicated Boucher gallery in Paris, p. 79.

Daumier, Honore (Marseille,

Cezanne, Louis-Auguste, 1808-Valmondois, 1879), French
father of Paul, pp. 8, 16,42,82. sculptor, lithographer, and painter.
At first he mainly devoted himself
Cezanne, Marie, sister to to lithography, publishing notable

Paul, and their father's favorite satirical vignettes, then later to

child, pp. 8, 82. sculpture and painting. His

Edgar Degas,
Women Ironing, 1 884—
Musee d'Orsay, Paris.

138
 NDEX OF PEOPLE
Dominique Ingres,

LaureZoego, 1815,
i^
Musee du Louvre, Paris.

«f
^atei

•
*
of movement, pp. 48, 58, 62, 67, 74,
75,106,118. >'

Delacroix, Eugene >jr

(Charenton-Saint-Maurice,
1798 -Paris, 1863), French

painter. His Romanticism found

expression in the dynamic force Fiquet, Hortense, wife of Paul
of his compositions. A long trip Cezanne, pp. 42, 43, 48, 54, 64, 82.

to Morocco and Algeria served

to deepen his interest in the Cachet, Paul-Ferdinand,
blistering way with a pencil, effects of light, pp. 23, 61, 108. homeopathic doctor, art lover,

plastic and incisive, brought and friend of Pissarro and

him not a few problems with Derain, Andre (Chatou, Cezanne, p. 50.

censorship. From 1860 onwards 1880 -Garches, 1954), French

he preferred to paint, using painter. One of the Fauves in Gauguin, Paul (Paris, 1848-
figurative work to comment their early days, he later devoted Marchesas Islands, 1903), French

on daily events and on the himself to greater realism, painter. His style, characterized by

world of the poor. He used pp. 124, 125, 130, 131. an extraordinary figurative rich-
color that was dense and ness, influenced the Nabis and in
velvety, in which dull tonalities Durand-Ruel, Paul (Paris, many ways anticipated Expression-
predominated, pp. 36, 37, 98. 1831 -1922), French art dealer ism, pp. 73, 90, 91, 106, 124.
and gallery owner. From 1870 he
Degas, Edgar (Paris, 1834- conducted a passionate battle on Granet, Francois -Marius
1917), French painter. Son of a behalf of Impressionist painters, (Aix-en-Provence, 1775 - Malvallat,
banker, he moved away in part supporting the work through 1849), French painter. Pupil of
from a bourgeois environment his famous gallery, p. 48. David and friend of Ingres. After
when he became acquainted with an early Neoclassical phase he
Manet and the Impressionists. He Emperaire, Achille, painter developed an interest in historical

exhibited work at the first show whose portrait was painted by and medieval subjects. He was
held by the group in 1874, but Cezanne, pp. 17,28,29. above all a significant landscape
nonetheless preserved a distinct
individuality: he did not love to
"immerse himself in nature" and
preferred instead to study urban
interiors and the female figure -
his ballerinas are pure studies

Paul Klee, In the

Quarry, 1913, Klee

Foundation, Bern.

139
 NDEX OF PEOPLE
Edouard Manet,
Still Life with

Watermelon and
Peaches, c.1866,
National Gallery
of Art, Washington.

Leger, Ferdinand (Argentan,

1881 - Gif-sur-Yvette, Seine-
et-Oise, 1955), French painter.
Having taken Post-Impressionist
painting and Cezanne as his
starting point, he was drawn to
the methods of the Fauves and
attempted a more advanced
breakdown of the image in the
painter: his preferred subjects Klee, Paul (Miinchenbuchsee, Cubist sense. Subsequently he
were views with ruins, church 1879 -Muralto, 1940), Swiss built up compositions using
interiors, and abandoned painter. Klee was an artist of mechanical elements, which
cloisters, pp. 9, 14. multifaceted formation, with lively expressed his interest in

interests in music and literature. industrial civilization and

Huysmans, Joris-Karl (Paris, In 1908 in Paris he was able to the world of work, p. 131.

1848 -1907), French writer, see work by van Gogh and Cezanne,
author of A reborns. Huysmans the "master par excellence". Lumiere, family, inventors of

enthusiastically supported From this experience and from the cinematograph. In 1895 they
Cezanne, pp. 68, 69, 73, 78. his active participation in the key patented the apparatus and in

artistic movements of the 20th the same year organized the first

Ingres, Dominique century, he extracted a rapport, showings. They later sent their
(Montauban, 1780 -Paris, 1867), rigorous and constantly enriched, operators abroad to publicize
French painter. Pupil of David between theory and pictorial the invention, p. 116.

in Paris, initially he was shunned practice, which was translated

by academic circles, but was into a figurative language capable Manet, Edouard (Paris, 1832 -
subsequently acclaimed, even of recreating nature through 1883), French painter. A point
in academia, as the greatest the continued discovery of of reference for Impressionist
living artist, and received new forms, p. 55. painters, he was bitterly opposed
numerous awards. For a century
he was regarded as the emblem
of Classicism in contrast to the
Romanticism of Delacroix. He has
recently been the subject of more
detailed critical appraisal which
has highlighted, apart from his
undoubted technical capability,

his tireless formal study, p. 15.

Henri Matisse, Interior

at Collioure, 1 905,
Private Collection.

140
 INDEX OF PEOPLE
Berthe Morisot,
The Harbour at Lonent,
1869, National Gallery
of Art, Washington.

by the circle surrounding and of light and color were pupil of Corot and sister-in-law
"official" art because his art continually worked on and to Manet, between 1875 and 1886
dealt with subjects considered he made infinite variations she took part in almost all the
unacceptable, abolishing on the same theme. From Impressionist exhibitions, tending
the treatment of volumes, the theoretical point of view in later years towards a greater
perspective, of mezzotints and he expressed his conviction solidity and determination
chiaroscuro, in order to use flat that the artist, confronted by of forms, p. 58.

colors only, strongly contrasted. the subject to be painted, should

Each of his pictures is a problem identify him- or herself with Nadar (Tournachon,
of form resolved with color and it, abolishing the distinction Gaspard-Felix) (Paris,

line, pp. 19,20,26,27,33,48,52, between sense and intellect, 1820 -Marseille, 1910), French

53,58,63,75,87,118. pp. 38, 49, 58, 59, 62, 66, 98. photographer. A caricaturist,

he was drawn to photography in

Matisse, Henri (Le Cateau, Moore, Henry (Castelford, order to carry out his project
1869 - Cimiez, 1954), French Yorkshire, 1898 -Much Hadham, of assembling a collection of

painter and sculptor. Starting out Hertfordshire, 1986), English caricatures of the most important
by studying Corot, Vermeer, and sculptor. By means of a very slow personalities of the time, the
Fragonard, he later "metabolized" process of evolution, including the Pantheon. He went on to become
the Impressionist experience of study of natural forms, of ancient, the preferred portraitist of
using color as an atmospheric classical, Renaissance and Parisian intellectuals and
means so as to reach a "pure" Impressionist art, he achieved a carried out important reportages,
use of color in order to obtain formal synthesis of the comple- among them one from a hot air
a visual sensation of impact with mentary nature of matter and balloon. In 1874 his studio in
the painted image. A key figure space, where cavities acquired the the Boulevard des Capucines
among the Fauves (1905), he was same value as mass, pp. 56, 57. hosted the first Impressionist
subsequently drawn to Cubism exhibition, pp. 32, 36, 75.

and in later life to Abstraction, Morisot, Berthe (Bourges, 1841

pp.39, 101, 106, 124, 130. - Paris, 1895), French painter. A Pere Tanguy, paint seller and
He was Cezanne's
art dealer.

Monet, Claude (Paris, 1840 - dealer, p. 106.

Giverny, 1926), French painter.
A member of the Impressionist Picasso, Pablo (Malaga, 1881 -
movement from the very Mougins, 1973), Catalan sculptor
beginning, it was his painting and painter. After various
Impression: Soleil levant (1872) artistic periods (the
that gave its name to the "blue" and "rose"
new style. The laws of periods), study of
complementary colors Cezanne and African

Henry Moore, Family

Group, 1948-49, The
Henry Moore Founda-
tion, Hertfordshire.

141
 NDEX OF PEOPLE

Pablo Picasso,
The Kiss, 1925, Musee
Picasso, Paris.

Pissarro, Camille (Saint

Thomas, 1830 -Paris, 1903),
French painter. He exerted a
decisive influence on Cezanne
and on the other Impressionists,
encouraging them to ban bitumen,
black, and burnt sienna from
their palettes and to work "on one particular the effects of light,
motif". He showed paintings at all pp. 48, 58, 6 1,66, 92, 93, 99, 106, 108.
the Impressionist exhibitions and
encouraged young talents like Seurat, Georges (Paris,

Gauguin, Seurat, and Signac, 1859 -1891), French painter and

pp. 22, 30, 47, 48, 49, 50, 51, exponent of pointillism. The work
58,62,66,70,106,109. Sunday at the Grande-Jatte is

regarded as his manifesto, p. 79.

Redon, Odilon (Bordeaux,

1840 -Paris, 1916), French Signac, Paul (Paris, 1863-
painter, engraver, and sculptor. 1935), French painter. With
Representative of a current Seurat he developed pointillism.
that emerged in different ways as In 1899 he published D'Eugene
the antithesis of Impressionism. Delacroix au neo-impressionisme,
Controversially he refused to use in which he expounded his

color until 1890, using his drawings theories of divisionism, pp. 78, 79.
and lithographs as a means of
art led him to produce Les exploring a fantastic interior world. Sisley, Alfred (Paris, 1839 —
Demoiselles d'Auignon, a work His is an extremely personal Moret-sur-Loing, 1899), French
that brought about the birth iconography, based on the painter. From 1874 he took part
of Cubism. He followed artistic grotesque and the chimeric, p. 78. in Impressionist exhibitions.
trends in contemporary art, Manet was his master but he
from the Classicism of the Renoir, Pierre-Auguste was also influenced by the
1920s to the Surrealism of the (Limoges, 1841 -Cagnes-sur- paintings of Constable and
1930s. He produced numerous Mer, 1919), French Impressionist Turner, absorbing from them
sculptures in bronze or from painter. To Courbet's realism he a use of color which was not
salvaged everyday objects. added a predilection for everyday just sensual, but also rational

Towards the end of his life subject matter, studying in and programmed, p. 58.

he devoted himself to ceramics

and engraving, pp. 38, 65, 70, 97,

103,106,107,127,130,131.

Paul Signac, Portrait

of Felix Feneon in J 890,
1890, Private Collection.

142
 NDEX OF PEOPLE
Pierre-Auguste Renoir,
Luncheon of the
Boating Party, 1880-81,
Phillips Memorial
Gallery, Washington.

Turner, Joseph Mallord His work became an important

William (London, 1775-1851), point of reference for successive
English painter. Academically generations of artists, pp. 50,
trained, he started out sketching 106, 107, 124.

landscapes from real life. He

quickly learned to transcend Vlaminck, Maurice de
realism and to develop in his own (Paris, 1876- Rueil-la-Gadeliere,

Soffici, Ardengo (Rignano highly personal way his treatment 1958), French painter. Perhaps

sull'Arno, Florence, 1879 - Forte of atmospheric space and the the most energetic of the Fauves,

dei Marmi, Lucca, 1964), Italian effects of light, p. 48. he expressed himself in pure,
painter and writer. He was one bright colors, which he transferred

of the first Italian intellectuals to Vallotton, Felix (Lausanne. directly to the canvas. His palette

spend time in Paris (1900-1907) 1865 - Paris, 1925), Swiss painter was later toned down to the point
in contact with modern artistic and xylographer. He moved to of gloominess, pp. 124, 125.

debate, p. 130. Paris in 1882 and attended the

Academie Julian. He linked up Vollard, Ambroise (Denis-
Toulouse-Lautrec, Henri de with the Nabis and devoted de-Reunion, 1867 -Paris, 1939)
(Albi, 1864 - Malrome. Bordeaux. himself in particular to xylography. French gallery owner. He
1901), French painter. From Later in life he returned to organized many important
an aristocratic family, he painting, accentuating a realist exhibitions for emerging
demonstrated an interest in character, pp. 124. 125. painters, among them Cezanne,
art from infancy, but only really pp. 8. 34. 75, 86, 92, 106, 107, 122.

seriously applied himself to Van Gogh, Vincent (Groot

it when he was crippled as a Zundert. 1853-Auvers-sur-Oise. Zola, Emile (Paris. 1840 -
result of two disastrous falls. 1890), Dutch painter. In Paris in 1902). French writer. He
He admired in particular Degas 1886 he discovered Impressionist established his position as
and Ingres, but he also knew van art, and studied Japanese prints. art critic when he defended
Gogh. Bonnard, and Vallotton. Gauguin, and pointillism. His Impressionism. He became a
His tendency toward two- painting, pure energy in successful novelist: his best-
dimensionality derives from treatment and in use of color. known books are L 'Assommoir
studying Japanese art. He describes "the terrible passions and Germinal, in which he
participated in the general of men". His was a tormented describes the lives of the poor
move to go beyond Impressionism, life, he suffered from depression with rawness, pp. 15. 17. 18. 19,

his own personal study led him and committed suicide aged 37. 22.66,68.83,86,87.102.118.
towards a stylization of reality
through graphic means, p. 63.

Vincent van Gogh,

Farmhouse in Provence,
1888, National Gallery
of Art, Washington.
—»

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Series of monographs
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Text by Silvia Borghesi

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^* Elemond Editori Associati wishes to thank all those museums and
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First published in the United States inDK 1999 by Publishing Inc.

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ISBN 0-7894-4145-4

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First published in Great Britain in 1999

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Printed by Elemond s.p.a. at Martellago (Venice)

 A fully illustrated guide to one
of the world i greatest artists ArtBool

Cezanne Remarkable for its bold use of

color and form, Paul Cezanne's

work has had a profound

influence on modern art. Find

out how this 19th-century

French master created a new

approach to painting through his

perception of space and tone.

• Includes over 300 full-color paintings

• Surveys the artist's life and works

• Analyzes the masterpieces

• Explains the historical and social context

Titles in the series:

Bosch Goya
Caravaggio J Matisse

3 Cezanne J Monet
J Diirer Rembrandt
_) Gauguin _l Titian

van Gogh J Leonardo da Vinci

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