An educational trip to Italy taken by Paul Cézanne never. Although the painter from Aix-en-Provence, a predilection for Lucretius, Virgil, and Ovid, read in the Original Latin, he has far never more than up to Paris from the home. But even there, he felt, in spite of the friendship with Auguste Renoir and Claude Monet, in spite of the proximity to the intensely studied masterpieces of the Louvre, never really comfortable.
Cezanne was a shy man, with deep anxiety, but effervescence also highly emotional – for the Paris Salons, so little suitable. From the classical-influenced, and of Ingres as a model dominated the academic Mainstream, he remained at least until the nineties of the nineteenth century, i.e., until about his fiftieth year of life and beyond, completely misunderstood. Cézanne joined in the early seventies in Paris, the group of the Impressionists and followed, temporarily, the close friend Camille Pissarro to Auvers-sur-Oise, and then to Pontoise, near Paris.
But from the beginning, he goes his own way, so that his work can be associated with, despite the romantic-Baroque, impressionist, finally, classical influences, none flow. The last two decades of Life until his death in 1906, spent Cézanne primarily in the native Provence.
Cézanne is the Italian-Latin close
shows That the Italian influence in the work of the inquiry through an exhibition is cézanne’s still value his work illuminates the Display in Paris’s Musée Marmottan-Monet “Cézanne and the masters – dream of Italy”. The first, more extensive part presents individual works of the Italian Masters of the sixteenth and seventeenth century, which was able to study Cézanne in museums or through printed reproductions.
A second section illuminated in a sequel on the way in which, in turn, Cézanne and the Italian artists of the Novecento, a conservative movement of the twenties of the twentieth century, has worked, in contrast to Matisse, Picasso and the Cubists, and especially the classical side of his work, recordings.
Even if Cézanne is interested in his painting-studies in Spanish or Dutch predecessors, is to him as from southern France, the Italian-Latin is not close to, of not only geographically, but also historically. Aix-en-Provence was the first Roman city on gallischem floor, she belonged to the Provincia Narbonensis, the most romanized Region outside of Italy.
no doubt trudged Cézanne with the easel on the back also to the ancient Via Aurelia along the Sainte the of the Italian border near nice, on the Montagne-Victoire – he tried to capture his emblematic house mountain in more than sixty paintings – landscape by Aix to Arles leads. Cézanne reads Stendhal’s “history of painting in Italy”, but most of all he visited the richest collection of the Musée Granet in Aix-en-Provence, the Musée des Beaux-Arts in Marseille, and of course the Louvre in Paris.
