Cézanne from A to Z
This compact volume highlighting the major aspects of Cezanne's life and art from A to Z.
Each chapter is approximately two pages long, illustrated with Cezanne's art work and the story of his life. The titles of the chapters are in french with the appropriate translations.
of the whom he admires, such as Eugene Delacroix and Nicolas Poussin. painters Venus, after Raphae "The Louvre is a good book to consult," says Paul, who number there. copies a of masterpieces Upon returning to his studio, he constructs large compositions of which vivid colors boldly confront each other. At this time, Cezanne also begins to paint fantastic scenes, in One of Cezanne's favorite nnodels African whose nnuscled magnificent lesson in body he is Scipio, anatomy.
canvas, becoming an enormous triangle looming against the horizon. The colors blend so that the sky is infused with green and the mountain with blue. In his blending of something remarkable happens: the mountain seems to evaporate, fusing with the airiness of the sky. colors, to convey the feei Cezanne blends ' of the air, his colors into a blue-tinted light. 43 Touches Daubs Cezanne works with touches: with Httle daubs of color placed side by side, and with large vigorous strokes
is booed. People even come to blows over it. Faced with a scandal of great magnitude, Wagner withdraws his score. Cezanne, however, feels close to this composer, whose music opera is heralds a new age. Years later, this "Cezanne's studies are like the echoes of a melody," writes the poet, Rainer Maria 50 is Rilke. Richard Wagner ^^mBt^liM6t» Ji Cezanne precisely what Cezanne will do in painting, entitles this painting, Overture to Tannhauser through envisioning the
his eyes. On October 15, 1906, a storm overtakes him while he is painting. He falls ill and loses 54 1906, Cezanne painting outdoors, several months before his death. ^'k. consciousness. eight days He later. comes almost idies His death as he would have willed it. As he swore to himself a month earlier, U4 "to die while painting rather than foundering in over-ripeness...." ^-- -- i. Let Us Dare To a critic who mocks his work, Cezanne retorts: "Me, I have the
archives of the Musees de la Ville de Paris, © by SPADEM. Pages 14-15: SelfrPortrait, c. 1861, private collection. Photograph of Emile Zola, c. 1865, collection Dr. F. Emile Zola. Paris: collection, Quai de Bercy-Wine Market, Pages 16-17: Venus 58 c. 1872, private Geneva. (after Raphael), c. 1866-69, drawing. c. 1867, painting, Museu de Arte de Sao Paulo Assis Chateaubriand, Sau Paulo. Photo by c. 1866, painting (detail), Musee d'Orsay, Paris. Photo from the Reunion des Musees