French Post-Impressionist Painter, 1839-1906 During the second half of the 19th century French impressionism created a dramatic break with the art of the past. In conception and appearance the style was radically new and, although it initially inspired public ridicule, it soon affected nearly every ambitious artist in western Europe. The new vision emerged during the 1870s, chiefly in the art of Claude Monet, Auguste Renoir, and Camille Pissarro. For each of these artists impressionism was an illusionistic style which differed from the tradition of Renaissance illusionism in its greater emphasis upon vibrant, natural color and on an immediate confrontation with the phenomena of the visible world. As the style developed during the 1880s, however, it increasingly became characterized by paintings which were flat rather than illusionistic. In other words, the impressionists insistence upon a direct application of pigment to canvas resulted in surfaces which declared themselves first of all as surfaces - and, consequently, in paintings which declared themselves first of all as paintings rather than as windows which looked out upon the natural world. The tendency toward flatness persisted into the last years of the 19th century, its pervasiveness giving the impression that illusionistic space - fought for, won, and defended since the very beginning of the Renaissance - had finally been sacrificed by the medium of painting. Paul C??zanne worked within and finally emerged from this trend. As a painter, he matured slowly, his greatest works coming during the last 25 years of his life. During this period he scored a remarkable and heroic achievement: he restored to painting the space and volume that had seemingly been lost to it. But he did it in a totally unprecedented way: not by return to the illusionism of the past but by the creation of a spatial illusionism that did not violate flatness. C??zanne was born on Jan. 19, 1839, in Aix-en-Provence. His father, Philippe Auguste, was the cofounder of a banking firm which prospered throughout the artist life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance. In 1852 C??zanne entered the Coll??ge Bourbon, where he met and became friends with Émile Zola. This friendship was decisive for both men: with youthful romanticism they envisioned successful careers in the Paris art world, C??zanne as a painter and Zola as a writer. Consequently, C??zanne began to study painting and drawing at the École des Beaux-Arts in Aix in 1856. His father opposed the pursuit of an artistic career, and in 1858 he persuaded C??zanne to enter law school at the University of Aix. Although C??zanne continued his law studies for several years, he was simultaneously enrolled in the School of Design in Aix, where he remained until 1861. In 1861 C??zanne finally convinced his father to allow him to go to Paris. He planned to join Zola there and to enroll in the École des Beaux-Arts. But his application was rejected and, although he had gained inspiration from visits to the Louvre, particularly from the study of Diego Vel??zquez and Caravaggio, C??zanne experienced self-doubt and returned to Aix within the year. He entered his father banking house but continued to study at the School of Design. The remainder of the decade was a period of flux and uncertainty for C??zanne. His attempt to work in his father business was abortive, and he returned to Paris in 1862 and stayed for a year and a half. During this period he met Monet and Pissarro and became acquainted with the revolutionary work of Gustave Courbet and Édouard Manet. C??zanne also admired the fiery romanticism of Eug??ne Delacroix paintings. But he was never entirely comfortable with Parisian life and periodically returned to Aix, where he could work in relative isolation. He retreated there, for instance, during the Franco-Prussian War (1870-1871).  Related Paintings of Paul Cezanne :. | Femme au Chapeau Vert | Three Bathers (mk06) | Portrait d Eugene Dlacroix | Im Wald | Pierot and Harlequin |
Related Artists:
Clark, Kate Freeman
American, 1875-1922
Francesco Hayez
1791-1882 Italian Francesco Hayez Galleries Hayez came from a relatively poor family from Venice. His father was of French origin while his mother, Chiara Torcella, was from Murano. The child Francesco, youngest of five sons, was brought up by his mother sister, who had married Giovanni Binasco, a well-off shipowner and collector of art. From childhood he showed a predisposition for drawing, so his uncle apprenticed him to an art restorer. Later he became a student of the painter Francisco Magiotto with whom he continued his studies for three years. He was admitted to the painting course of the New Academy of Fine Arts in 1806, where he studied under Teodoro Matteini. In 1809 he won a competition from the Academy of Venice for one year of study at the Accademia di San Luca in Rome. He remained in Rome until 1814, then moved to Naples where he was commissioned by Joachim Murat to paint a major work depicting Ulysses at the court of Alcinous. In the mid 1830s he attended the Salotto Maffei salon in Milan, hosted by Clara Maffei (whose portrait Hayez painted for her husband), and he was still in Milan in 1850 when he was appointed director of the Academy of Brera there. Assessment of the career of Hayez is complicated by the fact that he often did not sign or date his works. Often the date indicated from the evidence is that at which the work was acquired or sold, not of its creation. Moreover he often painted the same compositions several times with minimal variations, or even with no variation. His early works show the influence of Ingres and the Nazarene movement. His later work participates in the Classical revival.
Alexander Coosemans
(1627, Antwerp - 1689, Antwerp), was a Flemish Baroque painter. According to the RKD he was registered as a pupil of Jan Davidsz de Heem in 1641 and in 1645 he became a master in the Guild of St. Luke.He travelled to Rome in 1649 but was back in Antwerp in 1651. He painted flowers, fruit, and inanimate subjects, and flourished in the Netherlands about 1630. Fruit subjects by him are in the Augsburg Gallery and the Belvedere at Vienna. In the Madrid Gallery there is a fruit-piece attributed to a J. D. Cooseman, who is said to have flourished in the Netherlands in the 17th century: and in the Bordeaux Museum, a fruit-piece ascribed to a N. Coosman. He was followed by Hendrik Schoock.