Cezanne: A Constantly Refreshing Cognitive Process


2020-10-08 17:20:04


The world's acceptance of The French painter Paul Cezanne (1839-1906) has gone through a long process. It was his friends in the impressionist clique who first recognized his talent and creativity, and then the younger generation of Paris artists, especially Emile Bernard and Denis Denis Denis, saw him as a spiritual leader.

The two "Post-Impressionist" exhibitions by The English painter and art critic Roger Fry in London between 1910 and 1912 brought Cezanne's fame beyond its borders. At the same time (between 10 and 15 years in the early 20th century), the young Spanish painter Picasso and the French painter Matisse claimed that Cezanne was their "father" and that without him there would be no modern art, thus establishing Cezanne's lofty status as the "father of modern art".

Why is a man who was almost unknown before his death considered the "father of modern art" after his death? The reason behind it lies in Cezanne's work itself, in addition to his birth at the time when the European academic school believed in classicism began to decline and the birth of modern art was a great historical turning point. Cezanne's "original techniques" are mind-blowing. On the one hand, this made him gain a rising status in art history, on the other hand, it also made him and his works constantly controversial.

Cezanne's temperament was too unique and his personality too complex. His own conversations with visitors and correspondence with his peers or relatives and friends were often ambiguous in language and varied in meaning, so that later generations had different opinions on his works and art audiences. This is one of the reasons why the schools of Cezanne research in the world are diverse and have different views. Cezanne's paintings, especially his still life and landscape paintings, are particularly well suited to formal analysis. Cezanne's obsessive, almost insane exploration of the basic elements of painting (especially color, blocks, and lines) takes great pains with the placement of still objects.

There are many accounts of Cezanne adjusting still objects on the table, such as how he raised an apple with a franc piece. Therefore, in order to form analysis method, from the works of composition, shape, and deformation), color and strokes and other aspects, to slice it, his painting is the foundation of Cezanne's research, and future generations in the appreciation of works of Cezanne get rid of the impression or feeling of subjective, the steps necessary to resort to the style of the objective terms.

Cezanne's paintings are like a multi-prism, each side reflecting a different light. With the deepening of Cezanne's research, people's understanding of his art is also deepening.


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