According to Paul Cezanne Essay Example for Free

jibe to Paul Cezanne EssayPaul Cezannes movies ar regarded today as being of considerable brilliance to the development of modern art. Cezannes use of colour as t hotshot and his heavy interest in the clump elements of composition paved the way for artists following on from him to question what they were perceiving and their ability to visually represent what they maxim through painting. This essay will be examining the influence that Paul Cezanne had on Cubism and how this elevated the picture into an autonomous object rather than a mere representation of character. The French Post-Impressionist painter Paul Cezanne, although heavily ignored by the mainstream art sphere centered within Paris, had a considerable impact on Cubism as he laid out the fundamental ideas from which the cubists would create their snuff its. One of the main key points that was central to the cubists was faceting, this drop-off of form within the external world and transforming them to geometric al facets, Nature should be treated as cylinders, spheres and cones.. get wind more Examples of satire in adventures of huckfinn essayCezannes carriage of depicting populace with inaccuracy and multiple viewpoints dissociate itself from the laws of perceptive construction and allowed him to interpret what he saw in a subjective way, he wasnt interested in merely imitating what he saw onto the canvas but rather to re- theorise the conventions which restrict traditional painting. A clear departure from traditional painting as a representational phenomenon has taken place, its no protracted mimetic of nature or globe but rather holds its own reality within itself and painting and art in general is made autonomous through Cezannes unequalled approach.Where other painters saw transient effects of light Cezanne had the ability to perceive geometric structures and thus from his calculate for underlying structure of composition came Cubism and then Abstraction. In the impressionist mo vement, and other predecessors to cubism and post-impressionism, artists werent concerned in dealing with matters of inner meaning within their paintings, they were simply responding to what they saw which in turn gave little for the smasher to think about.It is here that we see Cezannes more conceptual manner of depicting reality by breaking things into obscure shapes and abstracted form, he vomits his inner emotion and consciousness onto the canvas to represent a state of mind, The painters idea cannot be conceived apart from the means he uses, for it is meaningful lonesome(prenominal) so far as it is embodied in those means, and the deeper his idea the more complete they must be. I am unable to distinguish between my feelings for life and my way of transposing it. A painting must impart all its meanings within itself, and impose it on the viewer before he identifies the subject matter..This parallel of representing nature and self by use of facets and high-keyed colour (colou r as a subjective device) is something thats echoed passim the works of the cubists, specifically the initial stages of this movement. It seems from this point onwards the painting has become a picture object, its removed from the shallow confines of our perception and begins to contribute to reality by adding other tones and elements, He was, in fact, the first Post-Impressionist to make, as did the Pointillists and eventually the cubists, as structural compendium of nature, producing an art of the mind concerned with turned on(p) apprehension of formal qualities in mountains, women or onions and totally unconcerned with the evanescent effects of light, shade and atmosphere. . This manner of painting had seeped into the consciousness of Pablo Picasso and George Braque, although they had obviously added their own elements to form their own individual behaviors Cezanne had laid out the introduction from which the cubists could build upon.Although Cubism can be categorised into three key phases Analytical, Hermetic and Synthetic, it is all somewhat representational of reality. Pushed and stretched to its very limits reality has been distorted and forms are no longer instantly apparent, the viewer must project apart of themselves in locate to make sense of what is happening within the painting. From the painters view the cubists applied an aspect of analysis in their paintings by which forms became increasingly fragmented, this way of depicting objects, landscapes and people was similar to Cezannes work in the way he represented nature. He was looking beyond the mere surface and impressions which met his inspect and focussed on the inner structures that made up things around him, this of course implies careful consideration and a process of analysis. This is something which resonated with Picassos work and contributed to his painting Demoiselles d Avingon 1908, He took his cue in this partly from Cezannes efforts to fashion a way of painting that would l ay bare or at least dissipate up for exploration by the viewer the complex process of pictorial representation.Upon looking at the works of Picassos Demoiselles d Avingon 1908 and even George Braques Houses at LEstaque 1908, we can indicate a clear influence that is derived from Cezannes style of this alignment of nature and the artist. In Braques painting we stigmatise a visible colour palette which has been simplified and the use of structure that has been employ in order to re-create nature, all of which is comparable to Cezannes painting Mont Sainte-Victoire 1902-04. However, Braque has accentuated certain elements topicing in a more authoritative , clean and simplified style, Yet unlike Cezanne, Braque pushes the juxtaposition of different perspectives to the point of contradiction, and underscores it with a quite unequivocal distribution of light and shade rooflines fail to meet walls, infinites and solids are elided, buildings are stacked up against one another like playing cards, and in the absence of a horizon the landscape is compressed into the space of a low relief.. (FOOTNOTE Movements in Modern Art Cubism, David Cottington, pg. 22)We notice a clear coordinateion towards win abstraction in terms of form and colour and as cubism progresses these abstractions are further emphasised until reality is barely visible and only signals and indications of things are implied to the viewer.In addition, Picassos painting held similar elements of Cezannes style and although his painting Demoiselles d Avingnon is regarded as more of a proto-cubist artwork in a way it implanted the seeds of his style which would later blossom and carry the cubist movement. He is still referencing Cezanne in terms of geometric shapes, limited colours, the fusions between negative and positive shapes and also the arbitrary use of light as he sees fit. Moving away from Demoiselles d Avingnon and focussing on Cottage and Trees (La Rue-des-Bois) 1908, again we see a direc t correlation in terms of style to Cezannes and even Braques painting Houses at LEstaque, in terms of subject matter its quite similar fragmented shapes are used to signify a landscape with houses and contorted trees, however this use of shapes is further abstracted from that of Cezannes and Braques and again we see the use of colour being completely redundant in terms of imitating the world. The painting has become a complex of invented forms, singular viewpoints, accurate proportions and visual representation are no longer necessary, Picasso independently emphasises each elemnt volume, line, plane, light and shade even at the expense of compositional unity. The effect is to exploit the dynamic effect of the painting..The emancipation of pictorial elements of line and colour elevated the painting to the picture object, as these elements no longer needed to be used objectively to depict the reality in which we are all submitted to, rather the artists can form the basis of a paint ing from reality and meet it center(prenominal) through his use of representing the internal reality which he is mentally experiencing. Cezanne used a process of analysis and reflection in creating his work which then influenced the cubists to constitute their own individual reality and project it onto the canvas. The result being fragmented geometric shapes which accentuate certain elements of figures, subjective and limited use of colour and an boilersuit less naturalistic representation of what is directly being observed, this in turn helped painters like the cubists to re think what they were painting and also to think of what painting in general could be.