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Instead, he experimented with showing objects from multiple viewpoints at once and building up forms through color and brushwork rather than light and shade. In his case, he did not believe that its ideas about portraying perspective and volume accurately represented real visual experiences. Like most other modernists, Cézanne rejected academic painting. In any Cézanne painting, no matter the subject matter, space does not operate the way you might expect if you’re used to traditional, naturalistic painting.

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His late paintings of Mont Sainte-Victoire show the full extent of his influential experiments in new ways to render forms.Ĭézanne’s Unusual Perspective Mont Sainte-Victoire and the Viaduct of the Arc River Valley by Paul Cézanne, 1882-5, via Metropolitan Museum of Art, New York

Cézanne painted this mountain so often, especially towards the end of his life, that it’s possible to track the development of his artistic style through his portrayals of it.

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Views of Mont Sainte-Victoire are the closest Cézanne ever got to painting in series the way Claude Monet did. It even shows up in the background of his famous Bathers painting. He painted this mountain as many as one hundred times. 1904, via Cleveland Museum of ArtĬézanne’s most iconic subject was the Mont Sainte-Victoire, the distinctive profile of which appears in countless of his canvases. Mont Sainte-Victoire Mount Sainte-Victoire by Paul Cézanne, c. This is probably why monumental and unchanging landscapes were among his favorite subjects. He was not interested in transient and fleeting visual effects, but rather in the solidity of forms. Despite the intentionally-unfinished appearances of his paintings, nothing in Cézanne’s art was ever spontaneous or left to chance. He was deeply committed to the relationship between nature and his art, and it was common for him to spend months looking at the same subject matter, though not necessarily from the same point of view. Like his Impressionist compatriots, Cézanne did most of his painting out of doors, sur le motif as Cézanne called it, but he took his time with it. Accordingly, his most famous landscape paintings portray Provencal settings and have made those landmarks internationally famous. He did spend a few years in Paris early in his career, but he quickly moved back to Provence and painted the majority of his mature works there. Unlike most of his contemporaries, who permanently left their native locales for Paris, then the undisputed capital of the art world, Cézanne stayed in the countryside. His family lived on a property called Jas de Bouffan, which he would eventually inherit.

Paul Cézanne was born in Aix-En-Provence in the Provence region of southern France. Paul Cézanne’s Landscape Paintings of Pr ovence Trees and Houses Near the Jas de Bouffan by Paul Cézanne, 1885-6, via Metropolitan Museum of Art, New York

Pretty landscape drawings