By Nathalia Brodskaya
Whereas Impressionism marked the 1st steps towards glossy portray by means of revolutionising an inventive medium stifled by way of educational conventions, Post-Impressionism, much more innovative, thoroughly liberated color and opened it to new, unknown horizons. Anchored in his epoch, hoping on the recent chromatic reviews of Michel Eugène Chevreul, Georges Seurat transcribed the chemist's concept of colors into tiny issues that created a complete photo. together with his heavy strokes, Van Gogh illustrated the noon solar, whereas Cézanne renounced standpoint. wealthy in its kind and within the singularity of its artists, Post-Impressionism used to be a passage taken by means of all of the famous figures of twentieth century portray - it's the following provided, for the nice excitement of the reader, through Nathalia Brodskaïa.
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Oil on canvas, 72 x 91 cm. The State Hermitage Museum, St. Petersburg. qxp 14/11/2009 40. Paul Cézanne, Lac d’Annecy, 1896. Oil on canvas, 65 x 81 cm. Samuel Courtauld Trust, Courtauld Institute of Art Gallery, London. qxp 11/11/2009 41. Paul Cézanne, The Château noir, 1903-1904. 2 cm. The Museum of Modern Art, New York. 56 9:51 AM Page 56 about arranging colours to form the torso, hands and head. Human figure became a sort of still life; they were motionless, like objects. After the expressive compositions of 1869, pictures appeared which were devoid of both subject and emotion.
During a trip to Provence they visited Cézanne in Aix. Another young artist, Charles Camoin, also called on Cézanne. It was with these young artists of the future that Cézanne became aware of the role he played in painting and he tried to understand the animosity of his contemporaries. He wrote to one of his young friends: “I am perhaps before my time. ”14 There was not much time left to demonstrate the truth of this. During the 1906 Spring Salon, in the part where nobody in principle was part of the official exhibition, an exhibition of the recluse from Aix was already being prepared.
At the same time, he was convinced that their way was not suitable for him; outdoors, and only the outdoors, is exactly what an artist of his time needs. His conversation with Pissarro convinced him to a great extent. He states in a letter to Zola, “But, you see! 9 He painted views of the Aix vicinity, the valley with the aqueduct and Mont Sainte-Victoire, usually from a height, from which they had viewed the landscape during their childhood outings. He once more offered his landscapes, portraits and nudes for the Salon jury’s verdict, and once more they did not accept them.