Baudelaire And Paul Cézanne's Painting Beyond Boundaries

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Painting Beyond Boundaries
In 1846, Charles Baudelaire, a French poet and art critic, requested a new genre of painting that conveyed “the heroism of modern life” (Janson 618). The brave young artists willing to offer such pieces endured ceaseless criticism throughout their efforts to succeed. Despite this, they managed to garner acceptance of their radical techniques and create a foundation for future modern art styles. Historically, painting has been used for communication, symbolism, religious revival, decoration, and expression. The Industrial Revolution and the 1830 development of the camera threatened the existence of painting. These inventions captured reality quicker, cheaper, and more accurately than artists could with their paintbrushes (Steves 336). Technology also allowed people to buy mass-produced goods instead of handmade ones. Thus, the demand for art
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He used cube-shaped blocks of paint to create a more solid, geometrical shape. Using the same sized brush-stroke to paint things in the foreground as in the distance resulted in a blending of the two together, giving the piece a two-dimensional appearance (Steves 345). Cézanne refused to abide by the traditional rule of chiaroscuro, the effect of light falling unevenly on a subject, and instead used a continuous scale of tones from dark to light. He treated the shadows as shapes in their own right and made them “solid and durable” (Janson 641). His series of paintings from 1879-1882 titled Fruit Bowl, Glass, and Apples feature an “incorrect” perspective with crude, three-dimensional shapes and systematic patterned brushstrokes smudged on an decorative background (Düchting 175). He also obsessed over painting areas near his home in Aix-en-Provence, one of his favorite subjects being the silhouette of Mont Sainte-Victoire (Wadley

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