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 :. | Madame Cezanne au fauteuil jaune | Mont Sainte-Victoire | carpet three skull | The Bridge of Trois-Sautets | Jas de Bouffan |
Related Artists:
Sharp Joseph Henry
American Painter, 1859-1953 was a painter credited with influencing the creation of the Taos, New Mexico Society of Artists. Sharp may have been the first artist to discover Taos when he visited in 1883. He painted American Indian portraits and cultural life, and Western landscapes. As a youth he permanently damaged his hearing in a near-drowning accident, and gradually become totally deaf. His formal art training included Mckmicken School of Design (Cincinnati) and Antwerp (Belgium) Academy. He traveled and worked in Europe also. Harpers Magazine commissioned his illustrations of Taos Indian life. Some portraits were purchased by the Smithsonian Institution. President Theodore Roosevelt took an interest in him and had a cabin built for him at Little Big Horn to paint Indian life there.
Eero Jarnefelt
(8 November 1863 - 15 November 1937) was a Finnish realist painter. Eero Järnefelt was born in Viipuri, Finland. His father August Aleksander Järnefelt was an officer in the Russian army and his mother was Elisabeth Järnefelt. He studied at the St. Petersburg art academy between 1883 and 1885, the same school at which Albert Edelfelt had studied. Eero Järnefelt's sister Aino Järnefelt married composer Jean Sibelius in 1892, Eero Järnefelt's sisters and brothers were Kasper, Arvid, Aino Ellida, Ellen, Armas, Hilja and Sigrid. He went to study in Paris in 1886, where he became friends with Akseli Gallen-Kallela, Emil Wikström and Louis Sparre. He was inspired by the plein-air and naturalistic paintings of Jules Bastien-Lepage On a trip to Keuruu in 1889, he met actress Saimi Swan. They were married in 1890. His most famous painting is probably The Wage Slaves (Raatajat rahanalaiset or Kaski, from 1893, External link), depicting slash-and-burn agriculture.
Foucquieres,Jacques
French , vers 1580-paris 1659