保罗·塞尚（Paul Cézanne，1839—1906）法国著名画家，是后期印象派的主将，从19世纪末便被推崇为“新艺术之父”，作为现代艺术的先驱，西方现代画家称他为“现代艺术之父”、“造型之父”或“现代绘画之父”。
他对物体体积感的追求和表现，为“立体派”开启了思路；塞尚重视色彩视觉的真实性，其“客观地”观察自然色彩的独特性大大区别于以往的“理智地”或“主观地”观察自然色彩的画家。
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这次来自Saint-Sauveur镇(Hautes-Alpes,Occitania)。保罗塞尚生于1839年1月19日艾克斯.2月22日,他受洗的Eglise de la玛德琳,他的祖母和叔叔路易联系,在今后的生活中,成为一个虔诚的天主教徒。他的父亲(1798 - 1886),土生土长的Saint-Zacharie(Var),是银行公司的共同创始人(Banque塞尚et Cabassol)在艺术家的生活,繁荣提供他金融安全是无法与他同时代的大多数人,最后导致一个大的产业。
购得女人(女人在一个绿色的帽子。夫人塞尚)1894 - 1895
他的母亲安妮·伊丽莎白Honorine《(1814 - 1897),“活泼和浪漫,但很快生气”。从她,塞尚了他生活的观念和视野。他还有两个妹妹,玛丽和玫瑰,他每天都去了一所小学。
十岁的塞尚在Aix中进入圣约瑟夫学校。1852年,塞尚进入大学波旁(现在大学Mignet),在那里他成为了朋友埃米尔·左拉,在一个不太先进的类,以及Baptistin Baille有朋友被称为“les trois不可”(三个不可)。[他在那里呆了六年,虽然在过去的两年里他是一个学者,1857年,他开始参加免费市政学院绘画在Aix中,在那里他学习了画在约瑟夫•吉波特西班牙和尚从1858年到1861年,遵守父亲的愿望,塞尚参加法学院的Aix大学,同时也接受吸取教训。
违背他的银行家父亲的反对,他致力于追求他的艺术发展和1861年离开Aix巴黎。他强烈建议由左拉做出这个决定,谁已经住在首都。最终,他的父亲与塞尚和支持他选择的职业。塞尚之后收到一封400000年继承法郎从他的父亲,他摆脱所有金融忧虑。
这些运动员必须(卡的球员),1892 - 95,油画,60×73厘米,考陶尔德学院,伦敦
在巴黎,塞尚的会面印象派卡米尔毕沙罗。最初的友谊之间形成于1860年代中期毕沙罗和塞尚主的弟子,毕沙罗的年轻的艺术家产生了造型的影响。在接下来的十年山水画一起远足,Louveciennes和Pontoise,导致平等协作的合作关系。
塞尚的早期作品往往是关注景观图,包括许多绘画组大型、重型人物景观,想象画。他在后来的职业生涯中,他从直接观察变得更感兴趣的工作,逐步开发出一种光,通风的绘画风格。然而,在塞尚的成熟作品有一个固化的发展,几乎建筑风格的绘画。终其一生他努力开发一个真实的观察看到世界的代表在油漆的最精确的方法,他能找到的。为此,他在结构上要求任何他认为成简单的形式和色彩的飞机。他的声明“我想要稳固、持久的像印象派的艺术博物馆”,[17]和他争论,他重建普桑“自然”强调他希望联合观察大自然的永恒的经典组合。
是莱斯Baigneuses,1898 - 1905:的胜利Poussinesque稳定性和几何平衡
塞尚感兴趣的是天然的简化形式的几何要素:他想要“把自然的圆柱体,球体,锥”(树干可以想像为一个圆柱体,苹果或橘子一个球体,例如)。此外,塞尚知觉获取真相的愿望使他探索双目视觉图形,呈现略有不同,但同时视觉感知相同的现象,为观众提供一个深度的审美体验不同于之前的理想的角度来看,特别是单点的角度来看。塞尚的创新促使批评建议等不同的解释生病的视网膜,纯粹的视觉,和的影响蒸汽铁路.
艺术家的父亲,阅读“L 'Evenement”,1866年,国家美术馆的艺术,华盛顿特区。
塞尚的绘画的第一个展览所示沙龙des拒绝1863年,作品显示不接受陪审团的官员巴黎沙龙。沙龙拒绝了塞尚的提交每年从1864年到1869年。他继续向沙龙提交作品,直到1882年。那一年,通过干预的艺术家安东尼Guillemet,他肖像de m . l .展出。,可能Louis-Auguste塞尚的画像,艺术家的父亲,阅读“L 'Evenement”,1866(国家美术馆的艺术,华盛顿特区。)[21]他第一次也是最后一次成功提交的沙龙。
静物的窗帘(1895)说明了塞尚的增加趋势简洁压缩的形式和动态几何图形之间的紧张关系。
在1895年之前与印象派画家塞尚展出两次(在1874年第一次印象派展览和第三印象派展览在1877年)。在接下来的几年里几个个人绘画显示在不同的场所,直到1895年,巴黎的经销商,Ambroise Vollard,给了艺术家他的第一次个展。尽管增加公共识别和财务成功,塞尚选择工作在增加艺术隔离,通常画在法国南部,在他心爱的普罗旺斯,巴黎。
他集中在几个学科,同样精通这些流派:静物画、肖像、风景和游泳者的研究。在过去,塞尚被迫从他的想象力,设计由于缺乏可用的裸体模特。像风景一样,他的画像被来自熟悉,这样不仅他的妻子和儿子,当农民,孩子和他的艺术品经销商作为主题。他的静物画装饰设计,涂上厚,平面,但体重让人想起古斯塔夫·及库尔贝。“道具”,他的作品仍然被发现,他就离开他们,在他的工作室(工作室),现代Aix的郊区。
的序曲唐怀瑟:艺术家的母亲和姐姐,1868,赫米蒂奇博物馆圣彼得堡,
塞尚的画没有琐碎的好评资产阶级Aix。1903年罗什福尔参观了拍卖的绘画在左拉的占有和发表在1903年3月9日L 'Intransigeant批判的文章题为《丑陋的“爱”。罗什福尔描述了观众有可能经历了一阵,看到“一个名叫塞尚的ultra-impressionist”的绘画作品。错误地相信塞尚的画实际上代表“艺术亲爱的左拉”(罗什福尔Dreyfusard死敌),他把所谓“Dreyfusard势利,”之间的连接后,法国官员被指控,但无辜的防御计划卖给德国,和左拉本应珍惜的艺术家,塞尚。在Aix中公众被激怒,许多天,L 'Intransigeant副本出现在塞尚的门前的擦鞋棕垫消息问他离开小镇“他是耻辱”。
有一天,塞尚在暴风雨而在地里干活。倾盆大雨下只工作了两个小时后,他决定回家,但在路上他崩溃了。他被一个路过的司机带回家。他的老管家揉了揉胳膊和腿恢复循环,因此,他恢复了意识。第二天,他打算继续工作,但后来他晕倒;模型与他正在呼吁帮助;他放在床上,他从未离开它。他去世几天后,1906年10月22日的肺炎葬在圣皮埃尔公墓在他的家乡艾克斯。
各个时期在塞尚已定义的工作和生活。
1863年拿破仑三世由法令沙龙des拒绝,拒绝在沙龙展出的绘画Academie美术被显示。拒绝的艺术家作品包括年轻人印象派画家,他被认为是革命性的。塞尚是受到他们的风格,但他的社会关系是inept-he显得粗鲁,害羞,生气,沮丧。这一时期的作品特点是黑颜色和黑色的大量使用。他们从他早期水彩画截然不同,草图在巴黎高等Speciale de图样艾克斯在1859年,他们的暴力言论与他的后续工作。
在1866 - 67年的例子及库尔贝,塞尚画了一系列的作品调色刀。后来他称这些作品,大多是肖像,一个couillarde(“粗”一词是招摇的气概”)。劳伦斯高英写了,塞尚的调色刀阶段”不仅是现代的发明吗表现主义的想法,尽管它是偶然,艺术情感射精首次出现在这一刻”。
couillarde绘画中是他叔叔的一系列肖像多米尼克•塞尚的实现风格,是印象派的统一是支离破碎的。黑暗时期的晚期作品包括几个色情或暴力的主题,如女性着装(c。1867年),强奸(c。1867年)和谋杀(c。1867 - 68),它描绘了一个男人刺一个女人谁是抑制女性共犯。
雅德Bouffan,1876年
后开始的普法战争1870年7月,塞尚和他的情妇,Marie-Hortense Fiquet,离开巴黎L 'Estaque附近的马赛,他改变了主题主要景观。他是1871年1月宣布逃兵役者,但战争结束后下一个月,今年2月,这对夫妇搬回巴黎,在1871年的夏天。出生后他们的儿子保罗1872年1月,在巴黎,他们搬到Auvers在瓦尔'Oise巴黎附近。塞尚的母亲一方家庭活动,但他的父亲是不知情的霍顿斯冒着愤怒的恐惧。艺术家收到他父亲每月津贴100法郎。
雅德Bouffan,1885 - 1887
卡米尔毕沙罗住在Pontoise。那里,在Auvers他和塞尚画风景。很长一段时间之后,塞尚说自己是毕沙罗的瞳孔,称他为“上帝”,也说:“我们都源于毕沙罗。”[32]毕沙罗塞尚的影响下开始放弃黑暗的颜色和他的油画变得更美好了。
离开马赛地区霍顿斯,塞尚巴黎和普罗旺斯之间的移动,出现在第一个(1874)和第三印象派显示(1877)。1875年,他吸引了收藏家的关注维克多Chocquet(德)的佣金提供了一些金融救援。但塞尚的绘画展出吸引了欢闹,愤怒和讽刺。评论家路易Leroy Chocquet塞尚的肖像的说:“这奇特的头,旧靴子的颜色可能会给(孕妇)的冲击,导致黄热病水果她的子宫前加入世界。”
1878年3月,塞尚的父亲发现了霍顿斯并威胁要切断塞尚在财务上,但是,今年9月,他大发慈悲,决定为他的家人给他400法郎。塞尚继续巴黎地区之间的迁移和普罗旺斯直到Louis-Auguste工作室为他制造的家中,巴斯蒂德杜雅德Bouffan在1880年代早期。这是在楼上,一个提供放大窗口,允许在北方光但打断的屋檐下。这个功能仍然是今天。塞尚在L 'Estaque稳定他的住所。他画的雷诺阿在1882年访问了雷诺阿和莫奈在1883年。
蒙特Sainte-Victoireca.1887,考陶尔德学院
丑角,1888 - 90,油画,国家美术馆的艺术
在1880年代早期塞尚家族稳定居留在普罗旺斯,除了短暂的逗留在国外,从那时起。此举反映了一种新的独立于Paris-centered印象派和明显倾向于南方,塞尚的残积土。霍顿斯的哥哥有房子的内部视图Montagne:Sainte-Victoire《埃斯塔克在。的绘画从1880年到1883年这山和其他人的Gardanne从1885年到1888年,有时被人们称为“建设性的时期”。
1886年是一个转折点的家庭。塞尚霍顿斯结婚。也在那一年,塞尚的父亲死了,留给他的遗产在1859年购买了;他是47岁。1888年家庭在前庄园,雅德Bouffan与附属建筑大量的房子和庭院,提供一个新发现的安慰。这所房子,理由的大幅下滑,现在拥有的城市在限制的基础上,对公众开放。
也在那一年塞尚和埃米尔·左拉断绝了他的友谊,后者使用他后,在很大程度上,成功的基础和最终悲剧的虚构的艺术家克劳德Lantier,小说中L 'œuvre。塞尚认为这违反了礼仪和友谊始于童年已受到不可弥补的损害。
塞尚的田园诗般的时期雅德Bouffan只是暂时的。从1890年到他死他被麻烦困扰事件和他进一步退到他的画,花长时间作为一个虚拟的隐士。他的画作成为知名和追求,他是新一代的画家的尊重的对象。
金字塔的头骨,c。1901年死亡,戏剧性辞职通知静物画塞尚绘画在他最后的时期从1898年到1905年,把头骨作为他们的话题。今天头骨本身仍在郊区的塞尚的工作室艾克斯
问题开始出现糖尿病1890年,破坏他的个性,与他人的关系又一次紧张。他在瑞士旅行,霍顿斯和他的儿子,也许是希望恢复他们的关系。然而,塞尚,回到普罗旺斯生活;霍顿斯和保罗小到巴黎。金融需要促使霍顿斯回到普罗旺斯,但在单独的生活区。塞尚搬进了他的母亲和妹妹。1891年,他转向天主教。
塞尚绘画之间的交替雅德Bouffan和巴黎地区。1895年他胚访Bibemus采石场,爬Montagne:Sainte-Victoire。采石场的迷宫般的风景一定注意了,他租了一间小屋在1897年广泛和彩绘。的形状被认为是激发了胚胎“立体派”风格。也是在那一年,他的母亲死后,一个倾覆事件但它使和解与妻子成为可能。他卖掉了空巢雅德Bouffan Boulegon街租了一个地方,在那里他建立了一个工作室。
的关系,然而,继续被暴风雨。他需要一个自己的地方。1901年,他买了一些沿着Chemin des Lauves土地,一个孤立的道路在一些高地在Aix和委托一个工作室建成(现在向公众开放)。他在1903年搬到那里。与此同时,在1902年,他起草了一份将不包括他的妻子从他的遗产,而他的儿子的一切。的关系显然是又走掉了;她烧毁了他母亲的纪念品。
夫人塞尚(霍顿斯Fiquet,1850 - 1922)在一条红色的裙子(1888 - 90),油画,116.5 x 89.5厘米,大都会艺术博物馆,纽约
从1903年到他生命的最后他画在他的工作室,工作一个月在1904年埃米尔·伯纳德,呆在一所房子的客人。在他死后它成为了一座纪念碑,保罗·塞尚画室或莱斯Lauves。
塞尚的风格方式和信仰关于如何分析了油漆和法国哲学家写的莫里斯梅洛庞蒂主要是著名协会与现象学和存在主义.[36]在他1945年的论文《塞尚的疑问,梅洛庞蒂讨论了塞尚放弃了古典艺术元素,比如图形安排单一视图的角度,概述了封闭的颜色,试图得到一个“生活视角”通过捕获所有的复杂性,一个眼睛观察。他想看看,他画的对象,而不是思考。最终,他想,“看到”也是“摸”。他会花费几个小时的时间有时放下一个中风,因为每个中风需要包含“空气、光、对象、组合、性格,大纲,和风格”。仍然生活可能服用了塞尚一百工作会议而肖像花了约一百五十。塞尚认为绘画时,他被捕获时刻,一旦通过,不能回来。周围的气氛他所画的是一个耸人听闻的现实的一部分,他是绘画。塞尚说:“艺术是个人理解,体现在感觉我问了解组织成一幅画。”
1904沙龙d 'Automne,照片Ambroise VollardSalle塞尚(维克多·曲克Baigneuses等)。
塞尚的作品被拒绝无数次官方沙龙在巴黎和嘲笑时,艺术评论家与印象派画家的展出。然而在他有生之年塞尚被认为是主的年轻艺术家在Aix中访问了他的工作室。[38]
塞尚在1906年去世后,他的作品在巴黎展出在一个大已经回顾1907年9月。1907年塞尚的回顾沙龙d 'Automne极大地影响的方向在巴黎先锋派,借贷人职务19世纪最有影响力的艺术家之一,的出现立体主义.
受到塞尚,两个年轻的艺术家写道:
塞尚的几何简化和探索光学现象的启发毕加索,布拉克,Metzinger,Gleizes,体现和其他人尝试更复杂的多个视图相同的主题和压裂的最终形式。塞尚因此引发了最具革命性的领域之一的艺术探索20世纪,一个影响深刻的发展现代艺术。毕加索称塞尚为“我们的父亲”,称他为“我唯一的主人!“其他画家等埃德加德加,皮埃尔·奥古斯特·雷诺阿,保罗高更,卡西米尔•马列维奇的作品,乔治·鲁阿尔,保罗克利,亨利·马蒂斯承认塞尚的天才。
奖励在他的记忆中,称为塞尚奖章是理所当然的Aix在普罗旺斯,法国特殊成就的艺术。
塞尚的画那个男孩在红色背心在2008年从瑞士博物馆被盗。这是2012年在塞尔维亚警方突袭中恢复过来。
The Cézannes came from the town of Saint-Sauveur (Hautes-Alpes, Occitania). Paul Cézanne was born on 19 January 1839 in Aix-en-Provence. On 22 February, he was baptized in the Église de la Madeleine, with his grandmother and uncle Louis as godparents, and became a devout Catholic later in life.His father (1798–1886), a native of Saint-Zacharie (Var), was the co-founder of a banking firm (Banque Cézanne et Cabassol) that prospered throughout the artist's life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance.
His mother, Anne Elisabeth Honorine Aubert (1814–1897), was "vivacious and romantic, but quick to take offence". It was from her that Cézanne got his conception and vision of life. He also had two younger sisters, Marie and Rose, with whom he went to a primary school every day.
At the age of ten Cézanne entered the Saint Joseph school in Aix.[11] In 1852 Cézanne entered the Collège Bourbon (now Collège Mignet), where he became friends with Émile Zola, who was in a less advanced class, as well as Baptistin Baille—three friends who came to be known as "les trois inséparables" (the three inseparables). He stayed there for six years, though in the last two years he was a day scholar. In 1857 he began attending the Free Municipal School of Drawing in Aix, where he studied drawing under Joseph Gibert, a Spanish monk. From 1858 to 1861, complying with his father's wishes, Cézanne attended the law school of the University of Aix, while also receiving drawing lessons.
Going against the objections of his banker father, he committed himself to pursuing his artistic development and left Aix for Paris in 1861. He was strongly encouraged to make this decision by Zola, who was already living in the capital at the time. Eventually, his father reconciled with Cézanne and supported his choice of career. Cézanne later received an inheritance of 400,000 francsfrom his father, which rid him of all financial worries.
In Paris, Cézanne met the Impressionist Camille Pissarro. Initially the friendship formed in the mid-1860s between Pissarro and Cézanne was that of master and disciple, in which Pissarro exerted a formative influence on the younger artist. Over the course of the following decade their landscape painting excursions together, in Louveciennes andPontoise, led to a collaborative working relationship between equals.
Cézanne's early work is often concerned with the figure in the landscape and includes many paintings of groups of large, heavy figures in the landscape, imaginatively painted. Later in his career, he became more interested in working from direct observation and gradually developed a light, airy painting style. Nevertheless, in Cézanne's mature work there is the development of a solidified, almost architectural style of painting. Throughout his life he struggled to develop an authentic observation of the seen world by the most accurate method of representing it in paint that he could find. To this end, he structurally ordered whatever he perceived into simple forms and colour planes. His statement "I want to make of impressionism something solid and lasting like the art in the museums", and his contention that he was recreating Poussin "after nature" underscored his desire to unite observation of nature with the permanence of classical composition.
Cézanne was interested in the simplification of naturally occurring forms to their geometric essentials: he wanted to "treat nature by the cylinder, the sphere, the cone" (a tree trunk may be conceived of as a cylinder, an apple or orange a sphere, for example). Additionally, Cézanne's desire to capture the truth of perception led him to explore binocular vision graphically, rendering slightly different, yet simultaneous visual perceptions of the same phenomena to provide the viewer with an aesthetic experience of depth different from those of earlier ideals of perspective, in particularsingle-point perspective. Cézanne's innovations have prompted critics to suggest such varied explanations as sick retinas, pure vision,[19] and the influence of the steam railway.
Cézanne's paintings were shown in the first exhibition of the Salon des Refusés in 1863, which displayed works not accepted by the jury of the official Paris Salon. The Salon rejected Cézanne's submissions every year from 1864 to 1869. He continued to submit works to the Salon until 1882. In that year, through the intervention of fellow artist Antoine Guillemet, he exhibited Portrait de M. L. A., probably Portrait of Louis-Auguste Cézanne, The Artist's Father, Reading "L'Événement", 1866 (National Gallery of Art, Washington, D.C.), his first and last successful submission to the Salon.
Before 1895 Cézanne exhibited twice with the Impressionists (at the first Impressionist exhibition in 1874 and the third Impressionist exhibition in 1877). In later years a few individual paintings were shown at various venues, until 1895, when the Parisian dealer, Ambroise Vollard, gave the artist his first solo exhibition. Despite the increasing public recognition and financial success, Cézanne chose to work in increasing artistic isolation, usually painting in the south of France, in his beloved Provence, far from Paris.
He concentrated on a few subjects and was equally proficient in each of these genres:still lifes, portraits, landscapes and studies of bathers. For the last, Cézanne was compelled to design from his imagination, due to a lack of available nude models. Like the landscapes, his portraits were drawn from that which was familiar, so that not only his wife and son but local peasants, children and his art dealer served as subjects. His still lifes are at once decorative in design, painted with thick, flat surfaces, yet with a weight reminiscent of Gustave Courbet. The 'props' for his works are still to be found, as he left them, in his studio (atelier), in the suburbs of modern Aix.
Cézanne's paintings were not well received among the petty bourgeoisie of Aix. In 1903Henri Rochefort visited the auction of paintings that had been in Zola's possession and published on 9 March 1903 in L'Intransigeant a highly critical article entitled "Love for the Ugly". Rochefort describes how spectators had supposedly experienced laughing fits, when seeing the paintings of "an ultra-impressionist named Cézanne". Erroneously believing that Cézanne's paintings in fact represented "the art dear to Zola" (Rochefort's Dreyfusard arch-enemy), he drew connections between "Dreyfusard snobs," so-called after the French officer who was accused but innocent of having sold defense plans to Germany, and Zola's supposedly cherished artist, Cézanne. The public in Aix was outraged, and for many days, copies of L'Intransigeant appeared on Cézanne's door-mat with messages asking him to leave the town "he was dishonouring".
One day, Cézanne was caught in a storm while working in the field.Only after working for two hours under a downpour did he decide to go home; but on the way he collapsed. He was taken home by a passing driver. His old housekeeper rubbed his arms and legs to restore the circulation; as a result, he regained consciousness. On the following day, he intended to continue working, but later on he fainted; the model with whom he was working called for help; he was put to bed, and he never left it. He died a few days later, on 22 October 1906 of pneumonia and was buried at the Saint-Pierre Cemeteryin his hometown of Aix-en-Provence.
Various periods in the work and life of Cézanne have been defined.
In 1863 Napoleon III created by decree the Salon des Refusés, at which paintings rejected for display at the Salon of theAcadémie des Beaux-Arts were to be displayed. The artists of the refused works included the young Impressionists, who were considered revolutionary. Cézanne was influenced by their style but his social relations with them were inept—he seemed rude, shy, angry, and given to depression. His works of this period are characterized by dark colours and the heavy use of black. They differ sharply from his earlier watercolours and sketches at the École Spéciale de dessin at Aix-en-Provencein 1859, and their violence of expression is in contrast to his subsequent works.
In 1866–67, inspired by the example of Courbet, Cézanne painted a series of paintings with a palette knife. He later called these works, mostly portraits, une couillarde ("a coarse word for ostentatious virility").Lawrence Gowing has written that Cézanne's palette knife phase "was not only the invention of modern expressionism, although it was incidentally that; the idea of art as emotional ejaculation made its first appearance at this moment".
Among the couillarde paintings are a series of portraits of his uncle Dominique in which Cézanne achieved a style that "was as unified as Impressionism was fragmentary". Later works of the dark period include several erotic or violent subjects, such as Women Dressing (c. 1867), The Rape (c. 1867), and The Murder (c. 1867–68), which depicts a man stabbing a woman who is held down by his female accomplice.
After the start of the Franco-Prussian War in July 1870, Cézanne and his mistress, Marie-Hortense Fiquet, left Paris for L'Estaque, near Marseilles, where he changed themes to predominantly landscapes. He was declared a draft dodger in January 1871, but the war ended the next month, in February, and the couple moved back to Paris, in the summer of 1871. After the birth of their son Paul in January 1872, in Paris, they moved to Auversin Val-d'Oise near Paris. Cézanne's mother was kept a party to family events, but his father was not informed of Hortense for fear of risking his wrath. The artist received from his father a monthly allowance of 100 francs.
Camille Pissarro lived in Pontoise. There and in Auvers he and Cézanne painted landscapes together. For a long time afterwards, Cézanne described himself as Pissarro's pupil, referring to him as "God the Father", as well as saying: "We all stem from Pissarro."Under Pissarro's influence Cézanne began to abandon dark colours and his canvases grew much brighter.
Leaving Hortense in the Marseille region, Cézanne moved between Paris and Provence, exhibiting in the first (1874) and third Impressionist shows (1877). In 1875, he attracted the attention of the collector Victor Chocquet (de), whose commissions provided some financial relief. But Cézanne's exhibited paintings attracted hilarity, outrage, and sarcasm. Reviewer Louis Leroy said of Cézanne's portrait of Chocquet: "This peculiar looking head, the colour of an old boot might give [a pregnant woman] a shock and cause yellow fever in the fruit of her womb before its entry into the world."
In March 1878, Cézanne's father found out about Hortense and threatened to cut Cézanne off financially, but, in September, he relented and decided to give him 400 francs for his family. Cézanne continued to migrate between the Paris region and Provence until Louis-Auguste had a studio built for him at his home, Bastide du Jas de Bouffan, in the early 1880s. This was on the upper floor, and an enlarged window was provided, allowing in the northern light but interrupting the line of the eaves. This feature remains today. Cézanne stabilized his residence in L'Estaque. He painted with Renoir there in 1882 and visited Renoir and Monet in 1883.
In the early 1880s the Cézanne family stabilized their residence in Provence where they remained, except for brief sojourns abroad, from then on. The move reflects a new independence from the Paris-centered impressionists and a marked preference for the south, Cézanne's native soil. Hortense's brother had a house within view of Montagne Sainte-Victoire at Estaque. A run of paintings of this mountain from 1880 to 1883 and others of Gardanne from 1885 to 1888 are sometimes known as "the Constructive Period".
The year 1886 was a turning point for the family. Cézanne married Hortense. In that year also, Cézanne's father died, leaving him the estate purchased in 1859; he was 47. By 1888 the family was in the former manor, Jas de Bouffan, a substantial house and grounds with outbuildings, which afforded a new-found comfort. This house, with much-reduced grounds, is now owned by the city and is open to the public on a restricted basis.
Also in that year Cézanne broke off his friendship with Émile Zola, after the latter used him, in large part, as the basis for the unsuccessful and ultimately tragic fictitious artist Claude Lantier, in the novel L'Œuvre. Cézanne considered this a breach of decorum and a friendship begun in childhood was irreparably damaged.
Cézanne's idyllic period at Jas de Bouffan was temporary. From 1890 until his death he was beset by troubling events and he withdrew further into his painting, spending long periods as a virtual recluse. His paintings became well-known and sought after and he was the object of respect from a new generation of painters.
The problems began with the onset of diabetes in 1890, destabilizing his personality to the point where relationships with others were again strained. He traveled in Switzerland, with Hortense and his son, perhaps hoping to restore their relationship. Cézanne, however, returned to Provence to live; Hortense and Paul junior, to Paris. Financial need prompted Hortense's return to Provence but in separate living quarters. Cézanne moved in with his mother and sister. In 1891 he turned to Catholicism.
Cézanne alternated between painting at Jas de Bouffan and in the Paris region, as before. In 1895 he made a germinal visit to Bibémus Quarries and climbed Montagne Sainte-Victoire. The labyrinthine landscape of the quarries must have struck a note, as he rented a cabin there in 1897 and painted extensively from it. The shapes are believed to have inspired the embryonic "Cubist" style. Also in that year, his mother died, an upsetting event but one which made reconciliation with his wife possible. He sold the empty nest at Jas de Bouffan and rented a place on Rue Boulegon, where he built a studio.
The relationship, however, continued to be stormy. He needed a place to be by himself. In 1901 he bought some land along the Chemin des Lauves, an isolated road on some high ground at Aix, and commissioned a studio to be built there (now open to the public). He moved there in 1903. Meanwhile, in 1902, he had drafted a will excluding his wife from his estate and leaving everything to his son. The relationship was apparently off again; she is said to have burned the mementos of his mother.
From 1903 to the end of his life he painted in his studio, working for a month in 1904 with Émile Bernard, who stayed as a house guest. After his death it became a monument, Atelier Paul Cézanne, or les Lauves.
Cézanne's stylistic approaches and beliefs regarding how to paint were analyzed and written about by the French philosopher Maurice Merleau-Ponty who is primarily known for his association with phenomenology and existentialism.[36] In his 1945 essay entitledCézanne's Doubt, Merleau-Ponty discusses how Cézanne gave up classic artistic elements such as pictorial arrangements, single view perspectives, and outlines that enclosed color in an attempt to get a "lived perspective" by capturing all the complexities that an eye observes. He wanted to see and sense the objects he was painting, rather than think about them. Ultimately, he wanted to get to the point where "sight" was also "touch". He would take hours sometimes to put down a single stroke because each stroke needed to contain "the air, the light, the object, the composition, the character, the outline, and the style". A still life might have taken Cézanne one hundred working sessions while a portrait took him around one hundred and fifty sessions. Cèzanne believed that while he was painting, he was capturing a moment in time, that once passed, could not come back. The atmosphere surrounding what he was painting was a part of the sensational reality he was painting. Cèzanne claimed: "Art is a personal apperception, which I embody in sensations and which I ask the understanding to organize into a painting."
Cézanne's works were rejected numerous times by the official Salon in Paris and ridiculed by art critics when exhibited with the Impressionists'. Yet during his lifetime Cézanne was considered a master by younger artists who visited his studio in Aix.
After Cézanne died in 1906, his paintings were exhibited in Paris in a large museum-like retrospective in September 1907. The 1907 Cézanne retrospective at the Salon d'Automnegreatly affected the direction that the avant-garde in Paris took, lending credence to his position as one of the most influential artists of the 19th century and to the advent of Cubism.
Inspired by Cézanne, two of the younger artists wrote:
Cézanne's explorations of geometric simplification and optical phenomena inspired Picasso, Braque, Metzinger, Gleizes, Grisand others to experiment with ever more complex multiple views of the same subject and eventually to the fracturing of form. Cézanne thus sparked one of the most revolutionary areas of artistic enquiry of the 20th century, one which was to affect profoundly the development of modern art. Picasso referred to Cézanne as "the father of us all" and claimed him as "my one and only master!" Other painters such as Edgar Degas, Pierre-Auguste Renoir, Paul Gauguin, Kasimir Malevich, Georges Rouault,Paul Klee, and Henri Matisse acknowledged Cézanne's genius.
A prize in his memory, called the Cézanne medal, is granted by the city of Aix en Provence, in France for special achievement in the arts.
Cézanne's painting The Boy in the Red Vest was stolen from a Swiss museum in 2008. It was recovered in a Serbian police raid in 2012.
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