Length1h 21m
About this audiobook
Since his death 100 years ago, Cézanne has become the most famous painter of the nineteenth century. He was born in Aix-en-Provence in 1839 and the happiest period of his life was his early youth in Provence, in company with Emile Zolá, another Italian. Following Zolá's example, Cézanne went to Paris in his twenty-first year. During the Franco-Prussian war he deserted the military, dividing his time between open-air painting and the studio. He said to Vollard, an art dealer, "I'm only a painter. Parisian wit gives me a pain. Painting nudes on the banks of the Arc [a river near Aix] is all I could ask for." Encouraged by Renoir, one of the first to appreciate him, he exhibited with the impressionists in 1874 and in 1877. He was received with derision, which deeply hurt him. Cézanne's ambition, in his own words, was "to make out of Impressionism something as solid and durable as the paintings of the museums." His aim was to achieve the monumental in a modern language of glowing, vibrating tones. Cézanne wanted to retain the natural colour of an object and to harmonise it with the various influences of light and shade trying to destroy it; to work out a scale of tones expressing the mass and character of the form. Cézanne loved to paint fruit because it afforded him obedient models and he was a slow worker. He did not intend to simply copy an apple. He kept the dominant colour and the character of the fruit, but heightened the emotional appeal of the form by a scheme of rich and concordant tones. In his paintings of still-life he is a master. His fruit and vegetable compositions are truly dramatic; they have the weight, the nobility, the style of immortal forms. No other painter ever brought to a red apple a conviction so heated, sympathy so genuinely spiritual, or an observation so protracted. No other painter of equal ability ever reserved for still-life his strongest impulses. Cézanne restored to painting the pre-eminence of knowledge, the most essential quality to all creative effort. The death of his father in 1886 made him a rich man, but he made no change in his abstemious mode of living. Soon afterwards, Cézanne retired permanently to his estate in Provence. He was probably the loneliest of painters of his day. At times a curious melancholy attacked him, a black hopelessness. He grew more savage and exacting, destroying canvases, throwing them out of his studio into the trees, abandoning them in the fields, and giving them to his son to cut into puzzles, or to the people of Aix. At the beginning of the century, when Vollard arrived in Provence with intentions of buying on speculation all the Cézannes he could get hold of, the peasantry, hearing that a fool from Paris was actually handing out money for old linen, produced from barns a considerable number of still-lifes and landscapes. The old master of Aix was overcome with joy, but recognition came too late. In 1906 he died from a fever contracted while painting in a downpour of rain.
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Rating★★★★ 3.8 (19)
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GenreOther
Length1 hr 21 mins
Narrated byListen with 1,000+ voices
FormateBook with Audio
Publish dateJul 1, 2011
LanguageEnglish
Table of contents
1Cézanne
2© Parkstone International, New York, USA © Confidential Concepts, worldwide, USA
3Chronology
4sculptor, and Henri Gasquet.
5Vlaminck, Derain, and others, among them
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6When Paul Cézanne died in October 1906
7and critics, but above all to an objective factor
8artist of the nineteenth century. “One cannot
9Man in a Cotton Hat
10strange and incomprehensible.
111865 Oil on canvas, 59 x 76 cm Cincinnati Art Museum, Cincinnati
12vigorous, tumultuous forms and in brutally
13in which a few transparent brushstrokes
14complex, interdependent spatial relationships
15Cézanne himself, with his constant laments
161867 Oil on canvas, 93.5 x 117 cm The Fitzwilliam Museum, Cambridge
17Often, after dozens of
18interminable
19Exactly a month before his death, Cézanne
20The Temptation of Saint Anthony
21correspondence and conversations with his
221867-1870 Oil on canvas, 65.4 x 81.2 cm Walker Art Gallery, Liverpool
23work, or in a fit of exasperation throw it out of
241868 Oil on canvas, 57.8 x 92.5 cm Hermitage, St. Petersburg
25The Madeleine or Sorrow
26But to a person living at the end of the
27method and a new artistic system which he
281869-1870 Private Collection, Paris
29except “with brush in hand.”
30much of theoretical postulates as of practical
311870 Oil on canvas, 65 x 81 cm Musée d’Orsay, Paris
32In April 1861, the 22-year-old Paul
33Cézanne, son of a wealthy banker in Aix-en-
341870 Oil on canvas, 72.5 x 92 cm Wildenstein Collection, New York
35In his first year in Paris, Cézanne evidently
361872 Oil on canvas, 53 x 39.7 cm Hermitage, St. Petersburg
37in a ledger: Mon père le banquier ne voit pas
38worthy successor to himself in business;
391873 Oil on canvas, 66 x 55 cm Musée d’Orsay, Paris
40for the École des Beaux-Arts, but at the same
411873 Oil on canvas, 46 x 55.5 cm Musée d’Orsay, Paris
42During
43the stamp of the artist’s individuality. They
44studio’s atmosphere of concentration in order
45complexity of the world, a simple repre-
46Two Women and Child in an Interior, the
471874 Lead pencil, 23.6 x 17.7 cm Graphische Sammlung Albertina, Vienna
48spellbound by the measured movements of the
49Auvers, Panoramic View
50and the water in the goldfish bowl. And this
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