Post-Impressionist Artists: Paul Cézanne (1839 – 1906)
Famous for wanting to reform Impressionism, Paul Cézanne approached nature in quite a fashion that distinguished him from the Impressionists and the other Post-impressionists. Like Paul Gauguin, he understood the need to order nature, like Vincent van Gogh, he responded emotionally to the world around him, and like the avant-garde artists of his generation, he was faced with the problem of representation. For Cézanne, the solution was found by walking a tightrope between his mind and his feelings, between his “optique” and his “logique,” between the past and the future. He returned the classical French tradition, the Grand Manner of Nicholas Poussin, to the avant-garde by restoring the importance of the object, just as surely as the Symbolists restored the significance of the subject. Unlike the Impressionists, Cézanne did not accept the world of chaos and flux but attempted to render its permanent and solid qualities, to find structure and order. Unlike Gauguin, he did not impose abstract patterns upon nature but by swept away incidentals and details in search of an organizing rhythm and unity. Unlike Vincent van Gogh, Cézanne did not seek to animate the object but to contemplate it, to seek its inherent and essential structure, to connect it to its surroundings, to reveal the inner harmony of nature. Art had to reflect this natural harmony. Thus, art, too, must be as seamless and as unified in its materiality.
But Cézanne is not important to art history because he distinguish himself from his predecessors and his colleagues. The painter is considered significant because his art acted as a gateway to the Twentieth-century. Gauguin and van Gogh were both concerned with how to render their feelings, their emotions and reactions in relation to nature. Seurat attempted to see nature through the lens of science, reordering his colors according to the laws optical mixing. Georges Seurat was closer to Cézanne in the sense that both artists were concerned with the process of seeing and with how the artist’s (and the viewer’s) perception coincides with the traditional language of painting. Compared to Gauguin and van Gogh, these other Post-Impressionists were more objective. Reading Cézanne’s letters lead to the conclusion that he literalized what he saw, calling the transference of light to his eyes to his brain, his “sensations.” The problem that Cézanne gave to himself was how to translate what is a physical process into an art that expressed, not a worn-out set of artistic conventions, but a new visual language that explained, not expressed, what was actually seen, not what was known.
The accomplishment of Cézanne was his creation of a new language, a new set of marks, which recorded only what he saw: his “sensations.” We “know” that when we look out over a landscape that there is space between the objects that are close and the objects that are far away, but we don’t “see” these spaces. Renaissance perspective was an abstract diagram, which “mapped out” the space that existed but could not be seen. Over the centuries, as the art historian, Erwin Panofsky, pointed out, those of us in the West have become so accustomed to the invention of Renaissance architects, Alberti and Brunelleschi, that we believe that we actually see in terms of perspective. Cézanne figured out that perspective was a code with a signifying function, based upon knowledge. The diagram or abstract design got in the way of real seeing or the actual process of looking. He also realized that perspective depended upon an ideal and impossible condition: the viewer had one eye, stood in one place, at one point in time. But we have two eyes, we move, and time passes. How can the painter account for this “natural vision?” This question would absorb the artist for thirty years, but the younger generation would be able to build upon his research. The lessons of Cézanne can be summed up in a few sentences. Nature is represented and interpreted artistically and art became parallel to nature. Art can represent nature only through artistic means; art cannot reproduce nature. These are the ideas which led to the new art of the new century. The “Modern” is said to begin in 1880 when Cézanne exiled himself in Aix to solve the great riddle of how to strip knowing from seeing—how to paint perception.
Paris – 1860s
Cézanne’s awareness of the role of color in determining the structure and depth of natural objects and his awareness of the role of brush work on a flat surface, set him apart from his century and catapulted his art into the next century. In many ways, the artist took an artistic journey into self-denial and redemption. His early works were marked by subject matter full of violence and sex, displaying a deep confusion about women and a consequent anger toward their sexuality. The philosopher Merleau-Ponty remarked, “His first pictures up till about 1870 are dreams in paint: a rape, a murder…” In 1991, art historian, Robert Simon, noted the connection between these paintings of violence against women and the popular imagery of the day, “The cheap, quickly made, sensational news bulletins known as canards…a sort of low journalism.” In other words, Cézanne was inspired by a combination of his own psychological dis-ease and was given “permission” to express his anxieties by the equivalent of ”The National Enquirer.”
Upon viewing The Murder of 1867 and A Modern Olympia (1872 – 3), boyhood friend, Émile Zola (1840 – 1902) described this disturbing phase of his art:
It was a chaste man’s passion for the flesh of women, a mad love of nudity desired and never possessed, an impossibility of satisfying himself, or creating as much of this flesh as he dreamed to hold in his frantic arms. Those girls whom he chased out of his studio, he adored in his paintings; he caressed or attacked them, in tears of despair at not being able to make them sufficiently beautiful, sufficiently alive.
The writer had grown up with Cézanne in the southern town of Aix and had suggested that the artist come to Paris. Zola defended Manet by ignoring the issue of subject matter and concentrating on the artist’s formal innovations. Beauty, Zola, insisted was not a verifiable or universal phenomenon, but was entirely personal and internal. Cézanne landed in a very sophisticated art world, where artists gathered together and debated theories. Cézanne’s parents had wanted him to become a lawyer, but, like the typical avant-garde artist, he rebelled against family expectations. His family, connected to banking, was solidly middle-class and his father reluctantly supported his son’s ambitions to be an artist. The decade that Cézanne spent in and out of Paris is one of deliberately provocative art hurled at the establishment, guaranteed a rejection in the Salon.
The artist was as deliberately confrontational himself. “All my compatriots are ass holes compare to me.” Elegant and chic, Manet despised the uncouth provincial with the awkward accent. Cézanne in turn was hardly respectful to the revered master by saying that he would not shake hands with Manet because he (Cézanne) had not bathed for a week. Clearly, Cézanne needed someone to temper his misdirected and unguided temperament. That person was the “father” to the younger generation, Camille Pissarro ((1830 – 1903). Cézanne met Pissarro at the Académie Suisse, where he claimed to be “painting with one’s balls.” By the 1870s, his riotous and unruly style was disciplined with heavy black contour lines, suggesting that he needed for Impressionism to become more structured.
Estaque and Pontoise and Melun – 1870 – 1880
This decade was the last era in which the traditional Salon system really mattered. Thanks to the critics, such as Zola, who said, “the Salon of our days is not the work of artists; it is the work of a jury…” and to the Impressionist exhibitions, the old order was a dying one. But Cézanne’s early years in Paris as a follower of Manet and as an “Impressionist” were years of rejection by the Establishment followed by a self-imposed exile in southern France. In between Paris and Aix, he learned a great deal from Pissarro. The older artist removed Cézanne from the futile exercise of trying to force the Salon to change and taught him to not define himself negatively. Pissarro’s contribution to the volatile younger artist was to teach him that each individual had a unique vision or way of seeing, called “sensation.” The artist had only to execute to create: paint what he saw and an individual vision would emerge naturally. Maurice Denis, also a painter, stated, “…each one takes the law unto himself…we love order passionately, but the order that we create, not the order we receive…”
Writing in the 2009 catalogue for the Philadelphia Museum of Art, “Beyond Cézanne,” art historian, Richard Shiff, quoted a comment made by the artist to Maurice Denis, “Sensation above all else.” Shiff also quoted Charles Morice, an art critic, who in 1907 said, “We hardly dare say that Cézanne lived. He painted.” Shiff then went on to define “sensation,” as “Every sensation that Cézanne felt, no matter what the cause, would be the equivalent f a painting sensation: every physical gesture, a potential paint mark…”
In contrast to today’s assumption that only the “young” artist is capable of making exciting art, artists of this generation took decades to mature. Cézanne was forty before he became “serious.” Working with Pissarro in the small towns along the river Oise, Cézanne began to paint, not what he felt, but what he saw, and he saw, he stated, “ only patches.” Cézanne had learned from the Impressionists to apply paint in patches of color, but they thought in terms of color-as-light. Cézanne began to think of color-as-form or color-as-object.
Whatever Cézanne may have thought of the avant-garde artists in Paris, the Franco-Prussian War ended his time in the city. He had met a docile and submissive women, Hortense Figuet, gotten her pregnant, had a child by her, before he eventually married her. He sent her to Estaque for safety during the Franco-Prussian war. Finished with Paris, he painted in Estaque and put himself under the tutelage of Pissarro in Pontoise and Auvers. It is in Estaque that we see Cézanne absorbing the lessons learned from Manet—using color to eliminate depth. (“View of L’Estaque and the Château d’If,” 1883 – 5) Working against distance, Cézanne pushed the sea away by using deep blue but pulled the distant shore forward with lighter colors (“The Gulf of Marseille Seen from L’Estaque,” 1876 – 79). The compositions of Estaque were broad and simple and clearly showed the basis of his structure: Cézanne’s paintings can almost always be divided down the horizontal middle, as if the two parts, top and bottom, were hinged. (“Mont Sainte-Victoire and the Viaduct of the Arc River Valley,” 1882 – 85) The Post-modern painter, Mark Tansey took advantage of Cézanne’s manner of composition as division in his re-visions of “Mount Saint-Victoire” in the 1980s.
Working in situ with the older artist, Cézanne eliminated contours for the moment. The countryside of the Oise valley lay stretched out before the artists, crowded with small red-roofed houses. Edges were defined by placing contour-to-contour, patch-to-patch, form-to-form, leaving blank spaces to complete the definition. Drawing was eliminated and forms were constructed or built by laying on blocks of color, which were built up, the way a bricklayer creates a wall, into a series of “sensations.” (“The Pont de Maincy, 1879) By leaving breathing spaces or blank areas between the patches, the artist was painting in reverse or taking the negative into account. The entire composition was built, constructed, literally through rhythmic strokes of paint that knitted the landscape into an all over unity (“Large Pines and Red Earth,” 1890 – 95).
Although Cézanne exhibited with the Impressionists in 1874, he left Paris and returned to Aix and seemed to find psychic peace in his rigorous study of nature. He took with him the lessons learned from Pissarro–a clarified palette, the knowledge that form could be achieved by color. He began to paint with heavy layers of color in an effort to capture every nuance, like the building of a mosaic. He observed that there were no lines in nature—”Pure drawing is an abstraction.”—and that there were no shadows without color. However, Cézanne was convinced that observation alone was never enough and that thought was essential.
Aix-en-Provence – 1880 – 1906
There are ample indications that Cézanne was a borderline personality. Eccentric to the point where normal relations were difficult, Cézanne spent the rest of his life in a self-imposed exile. He was tormented by the extended infantilism of his financial dependence upon his father. He hid his mistress, keeping her in the shadows for fifteen years. But his reluctance to interact with the Parisian art world resulted in a barrage of letter writing, especially to the young and impressionable Émile Bernard. Cézanne apparently needed only a kind father, Pissarro, and unthreatening admirers, Bernard, and his solitude to thrive. Like the letters of Vincent van Gogh, Cézanne’s letters are his legacy to the art world. His musings constitute a theory of painting. “There are two things in the painter: the eye and the brain. The two must cooperate,” he wrote. Cézanne wished to reform a now waning Impressionism, “to become classic again through nature, that is to say, through sensation…” “…to revive Poussin through contact with nature…” “…one must interpret it…by means of plastic equivalents and color…” he declared.
Isolated in Aix by 1890, Cézanne assumed the task of “making out of Impressionism something solid and durable like the art of museums…” A small measure of success in Paris came to him as the result to an exhibition given of this art in 1895 by Ambroise Vollard but he remained in the south to paint at his home, “Jas de Bouffan,” until it was sold in 1899, after his mother’s death. His last years were spent painting the Bidémus quarry and the Chateau noir. The artist painted selected motifs and the quarry and the mountain, Mont Saint-Victoire became part of his obsessive quest. Later he was to say, “It took me forty years to find out that painting is not sculpture.” Renoir echoed this discovery by saying of the paintings of Cézanne that “Later, his study brought him to see that the work of the painter is so to use color that, even when it is laid on very thinly, it gives the full result.”
Cézanne used the quarry as part of his pattern of construction. Because the quarry had been mined for centuries, human activity had regularized the steep sides, which showed the linear marks of carving out large blocks. The patters left on the walls of the quarry were reflections of his method of painting in patches. By the 1880s, the artist had gained enough confidence to turn Manet’s play with color into his own personal method, called “passage,” by art historians. Cézanne also felt fee to distort the landscape and to force it to submit to the demands of composition and structure. Mont Saint-Victoire was a huge looming triangular shape, dominating the countryside, but Cézanne shrank the mountain to a small triangle hovering above the edge of the quarry. The walls fall straight down, below the center hinge of the canvas. (“Mont Sainte-Victoire Seen from the Bibémus Quarry,” 1887) The tops of green pine trees project upwards, growing form a ground unseen in the bottom of the quarry. The blue of the sky above the triangle pours onto the sides of the mountain, down the walls of the quarry, spills into the green of the pines. The green and oranges of the trees and stone climb upwards, advancing along the slope of the mountains and into the blue and white sky above.
This method of composing and creating forms and working out the inherited problem of Renaissance perspective placed Cézanne in the position of “fathering” the 20th century. His studies of Mount Sainte-Victorie became increasingly abstract: planes were faceted into geometric shapes, surface was turned into patterns of lines and colors and his techniques drew awareness to the flatness of the two-dimensional picture plane. The flattening of the picture plane was based upon his study of the motif in nature, which was received flat to his eye. His essential aim was to represent what “pure” vision could discover about the visible world. This is a world of everyday things, this is a vision cleansed of allegory, symbolism, emotion and intellect. The viewer, like the artist, must see nature in a state of complete dissociation and disinterestedness–a pure act of perception. In this personal conception of space, Cézanne attempted to show objects linked to each other in such a fashion that perspective developed as the result of the halting of movement. In his 2009 essay, “Lucky Cézanne (Cézanne ‘Tychique’),” Richard Shiff also described the “motif” in terms of movement,
“Appropriately, the term motif connotes movement. Cézanne’s motif could not be Mont Sainte-Victoire regarded solely as a concept or an ideal; it was instead a movement associated with a particular experience of he mountain as his experience played out in an active process of painting…it merely feels like an instant or a moment, that, is, it feel momentary, transient, changing….”
In the decade of the 1880s, contours returned to Cézanne’s art, but the outlines were new. We see the new use of outline clearly in his still lives. Confined to his studio, the artist could study the act of seeing in isolation. If the landscapes were flattened into stillness by the way in which he recorded his “sensations,” then Cézanne’s still lives were put in motion. The artist seemed to understand that the movement of the viewer or the painter had to be incorporated. The time spent in working produced shifts in perspective what also had to be accounted for. He eliminated, as far as he could, any indication of a horizon line or a level place for the eye to rest. Patterned wallpaper stops the backward movement into the room. Cloth backdrops were used to obscure the flat surfaces for the still life objects (“Still Life with Apples,” 1893 -94). The objects are shown from many different perspectives, as though the artist sat down, stood up, leaned to the side, as he examined his set up. Bright patches of color, dappled here and there, indicated where the light source had touched to object. The sheer motion of looking was signaled to the spectator by the uneasy and unsettled contours, which were slightly separated from the edges of the forms. The result is that the forms quiver slightly as though they are unsteadied by innate movement.
Only when we view Cézanne’s paintings of human figures do we realize the other accomplishment of the artist: that of removing the hierarchy from painting. Human beings are treated the same way as inanimate objects. In her stolid stillness, the expressionless artist’s wife, Hortense, resembles the coffee pot next to her (“Woman with Coffeepot,” 1895), the nudes of the “Bathers” series are forced to bend and reshape themselves to conform to Cézanne’s composition. In “The Large Bathers” (1906), the artist grouped the nude women, shaped like the trees that surround them, into a triangular group, located inside a rectangular landscape. As early as the 1870s, the artist began to tone down his palette, eliminating a wide range of colors and damping down the intensity of his hues in favor of a limited selection of tones of blues, greens, and ochre buffs (“Chateau Noir,” 1900 – 1904). On one hand, the artist was painting the bleached out stone ridden landscape of Provence, on the other hand, he had created a new palette that would end Fauvism’s bright colors and the monochrome suggestion would be taken up by the Cubists.
Cézanne in History
The artist remained in exile and, over the years, became a legend as in the late 1890s exhibitions increasingly influenced younger painters. The shop of Père Tanguy was the one place in Paris where his art could be purchased and studied. As Émile Bernard, Cézanne’s faithful correspondent, stated, “One went there as to a museum, to see the few sketches by the unknown artist who lived in Aix…” The critic, Gustave Geffroy, noted, “For a long time, Cézanne has had a curious fate. He might be described as a person at once unknown and famous, having only rare contact with the public yet considered influential by the restless and the seekers in the field of painting…” Yet it was through his correspondence with Bernard that the older artist formulated his theory of art and he advised the former follower of Gauguin “to see in nature the cylinder, the sphere, the cone, putting everything in proper perspective, so that each side of an object or a plane is directed toward a central point.”
The legend of Paul Cézanne grew as his exile lengthened. Had he been truly isolated and out of touch, the artist would have been forgotten. But, in contrary to the legend of the neglected artist who was discovered due to his shining “genius,” Cézanne was very aware of his place in the art world and in history itself. His voluminous correspondence with well-placed individuals and the tantalizing inaccessibility of his paintings added to the myth of the reclusive artist who was changing art. Coupled with the aura surrounding Cézanne and the important exhibitions of his work, late in his life, the only solidified his reputation. For the young generation of artists, he vanquished the lingering influences of Impressionism, swept aside the curves of Art Nouveau, and vanquished Fauvism’s intense, expressive colors. Immediately the color palette of the artists narrowed and dulled, the forms sharpened, and composition returned.
Cézanne’s study of planes and volumes attempted to express a consciousness of structure. Beneath the colored surface presented by nature laid the forms of nature. “The main thing is the modeling; one shouldn’t even say modeling, but modulating.” Cézanne built forms with color and the lines that could have described these forms hovered tentatively around the objects, activating them. Even though his compositions were grid-like in their rigidity, his paint handling kept the surface lively, the trademark hatch marks knitting the surface together, pulling distance to the foreground. To the new artists, his lively surfaces, always active and always in motion, Cézanne’s work suggested shifts in space and time, as shifting forms were distorted and light skimmed surfaces, skipping from place to place. Regardless of Cézanne’s intentions, the young artists saw the end of the Western tradition of perspective. Building on the three decades of Cézanne’s work, their responses were sometimes awkward and tentative, but Picasso and Braque and the other artists persisted and something called “Cubism” began to emerge around 1910.
Cézanne was considered the “great divide” in art. His work was determined by many art historians to be the beginnings of modern 20th century painting because he dismantled the Renaissance conception of intellectualized space. Composition, with Cézanne did not exist prior to its contents and construction depended upon its objects. His last and greatest portrait was of his gardener, Vallier, worked on until his death in October of 1906. “If I succeed with this fellow, it will mean that the theory was correct,” Cézanne said. And Matisse said, “If Cézanne is right, I am right. A year after “the master” died, Picasso would paint “Les Demoiselles d’Avignon” in 1907. The Nineteenth Century was over and the Twentieth Century could begin.
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