Poster Cezanne Paesaggio - cm 30x24

Paesaggio Cezanne - Paul Cézanne (French pronunciation: [p?l se?zan]; 19 January 1839 – 22 October 1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cézanne can be said to form the bridge between late 19th century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. The line attributed to both Matisse and Picasso that Cézanne "is the father of us all" cannot be easily dismissed.
Cézanne's work demonstrates a mastery of design, colour, tone, composition and draughtsmanship. His often repetitive, sensitive and exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields, at once both a direct expression of the sensations of the observing eye and an abstraction from observed nature. The paintings convey Cézanne's intense study of his subjects, a searching gaze and a dogged struggle to deal with the complexity of human visual perception

Early years and family
The Cézannes came from the small town of Cesana now in West Piedmont, and it has been assumed that their name came from Italian origin.[1] Paul Cézanne was born on 19 January 1839 in Aix-en-Provence, in Provence in the South of France.[2] On 22 February, Paul was baptized in the parish church, with his grandmother and uncle Louis as godparents.[2] His father, Louis-Auguste Cézanne (28 July 1798 – 23 October 1869),[3] was the co-founder of a banking firm 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.
On the other hand, his mother, Anne Elisabeth Honorine Aubert (24 September 1814 – 25 October 1897),[5] was vivacious and romantic, but quick to take offence.[6] It was from her that Paul got his conception and vision of life.[6] He also had two younger sisters, Marie and Rose, with whom he went to a primary school every day.[2][7]
At the age of ten Paul entered the Saint Joseph school, where he studied drawing under Joseph Gibert, a Spanish monk, in Aix.[7][8] In 1852 Cézanne entered the Collège Bourbon (now Collège Mignet), where he met and became friends with Émile Zola, who was in a less advanced class,[4][7] as well as Baptistin Baille—three friends who would come to be known as "les trois inséparables" (the three inseparables).[9] He stayed there for six years, though in the last two years he was a day scholar.[10] From 1859 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 francs (£218,363.62) from his father, which rid him of all financial worries.
Cézanne the artist
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, with Pissarro exerting a formative influence on the younger artist. Over the course of the following decade their landscape painting excursions together, in Louveciennes and Pontoise, led to a collaborative working relationship between equals.
His early work is often concerned with the figure in the landscape and comprises 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 that was to influence the Impressionists enormously. Nevertheless, in Cézanne's mature work we see 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.