Although plates 1.3.20 and 1.3.22 by Paul Cézanne have the same subject matter, the composition of the paintings has turned out completely different. One similarity is the way they are painted. Cézanne was described as the “founding father of modern art” (Jones, 2014) and these plates are clear examples of this. In 1.3.20 he used short brushstrokes to build up the scene. It has been described as a “rich mosaic of coloured strands” (Keller, 1980, p246). This compares to the cool toned brushstrokes in 1.3.22 which move around the frame in such a free way it’s almost comparable to liquid. Cézanne creates a link between the colour and brushstrokes used to build the impression of depth and atmosphere with the brushstrokes as marks on a literal surface.
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Plate 1.3.20 is described as a structural piece. Cézanne who was once described as a ‘architectural genius” (Keller, 1980, p244), had an interest in geometry and form which can be seen throughout this deep panoramic scene. The jagged peaks of the mountain are emphasised by the similarly jagged branches of the tree, which follow one and other in a parallel way. This technique which helps connect the foreground to the background, could be seen as an influence to the Cubism movement of the early twentieth century, which -like Cézanne- was described as avant-garde. This contrasts with the abstract look of plate 1.3.22, keeping with the theme of nature there are no sketch marks or underdrawings visible. This helps build that very raw and rustic look of the painting as a whole.
Paul Cézanne’s paintings were the first of their kind. He acted as a gateway to many modern art movements and his work made a big impact on other famous artists (Picasso being an example). Cézanne painted in a particular way. He used many of the same techniques throughout his paintings, although no two look the same. Although there are many differing opinions about his work creating much controversy, there is no doubt of the influence and legacy it still has had in the art world
Plate 1.3.20 is described as a structural piece. Cézanne who was once described as a ‘architectural genius” (Keller, 1980, p244), had an interest in geometry and form which can be seen throughout this deep panoramic scene. The jagged peaks of the mountain are emphasised by the similarly jagged branches of the tree, which follow one and other in a parallel way. This technique which helps connect the foreground to the background, could be seen as an influence to the Cubism movement of the early twentieth century, which -like Cézanne- was described as avant-garde. This contrasts with the abstract look of plate 1.3.22, keeping with the theme of nature there are no sketch marks or underdrawings visible. This helps build that very raw and rustic look of the painting as a whole.
Paul Cézanne’s paintings were the first of their kind. He acted as a gateway to many modern art movements and his work made a big impact on other famous artists (Picasso being an example). Cézanne painted in a particular way. He used many of the same techniques throughout his paintings, although no two look the same. Although there are many differing opinions about his work creating much controversy, there is no doubt of the influence and legacy it still has had in the art world