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 :. | Green Apples | Victor St. Hill | life with a fruit dish and apples | Autoportrait a la palette | The Black Marble Clock |
Related Artists:
Frantisek Kupka
Czech Abstract Painter, 1871-1957,was a Czech painter and graphic artist. He was a pioneer and co-founder of the early phases of the abstract art movement and orphic cubism (orphism). Kupka's abstract works arose from a base of realism, but later evolved into pure abstract art. Frantisek Kupka was born in Opocno, eastern Bohemia (now Czech Republic). From 1889 to 1892, he studied at the Prague Art Academy. At this time, he painted historical and patriotic themes. In Kupka enrolled at the Akademie der Bildenden Kunste in Vienna, Vienna, where he concentrated on symbolic and allegorical subjects. He exhibited at the Kunstverein, Vienna, in 1894. His involvement with theosophy and Eastern philosophy dates from this period. By spring 1894, Kupka had settled in Paris; there he attended the Academie Julian briefly and then studied with Jean-Pierre Laurens at the Ecole des Beaux-Arts. Kupka worked as an illustrator of books and posters and, during his early years in Paris, became known for his satirical drawings for newspapers and magazines. In 1906, he settled in Puteaux, a suburb of Paris, and that same year exhibited for the first time at the Salon d'Automne. Kupka was deeply impressed by the first Futurist Manifesto, published in 1909 in Le Figaro. Kupka's 1909 painting "Piano Keyboard/Lake" marked a break in his representational style; his work became increasingly abstract around 1910 C11, reflecting his theories of motion, color, and the relationship between music and painting (orphism). In 1911, he attended meetings of the Puteaux group. In 1912, he exhibited at the Salon des Independants in the Cubist room, although he did not wish to be identified with any movement. Creation in the Plastic Arts, a book Kupka completed in 1913, was published in Prague in 1923. In 1931, he was a founding member of Abstraction-Creation. In 1936, his work was included in the exhibition "Cubism and Abstract Art" at the Museum of Modern Art in New York, and in an important show with another excellent Czech painter Alphonse Mucha at the Jeu de Paume in Paris. A retrospective of his work took place at the Galerie Manes in Prague in 1946. The same year, Kupka participated in the Salon des Realites Nouvelles, where he continued to exhibit regularly until his death. During the early 1950s, he gained general recognition and had several solo shows in New York. Between 1919 and 1938 Kupka was financially supported by his good friend, art collector and industrialist Jindich Waldes who accumulated a substantial collection of his art. Kupka died in Puteaux, France. Kupka had a strong interest in color theory; around 1910 he began developing his own color wheels, adapting a format previously explored by Sir Isaac Newton and Hermann von Helmholtz. This work in turn led Kupka to execute a series of paintings he called "Discs of Newton" (1911-12).
carl kylberg
Carl Oscar Kylberg, född 23 september 1878 på Vasängen i Fridene församling, död 6 januari 1952 i Stockholm, svensk konstnär och representant för Göteborgskoloristerna. Carl Kylberg var son till kontorschef Gustaf Kylberg och friherrinnan Eleonora von Essen och storebror till konstnären Erik Kylberg. Hans fastrar och farbror var konstnärerna Regina Kylberg-Bobeck, Marina Kylberg och Hjalmar Kylberg. Farfadern Lars Wilhelm Kylberg var konstnär vid sidan av lantbruket på familjegodset Såtenäs i Västergötland. Kylberg studerade först vid tekniska skolan i Stockholm och i Berlin för att bli arkitekt men övergick till måleri omkring 1900. Han studerade under en tid vid Valand i Göteborg som elev till Carl Wilhelmson. Hans verk kännetecknas ofta av ett glödande oljemåleri med starka färger och han avbildade ofta landskap och figurkompositioner på ett avskalat man??r. Under senare delen av sitt konstnärskap skapade han en mängd religiösa motiv. Kring 1930-talet fick han sitt genombrott och han kom att ställa ut, förutom i Sverige även i Köpenhamn, Paris, London, Budapest och i USA men hans måleri var för många provocerande och 1938 gick regeringen in och stoppade ett köp av målningen Uppbrottet för Nationalmuseum i Stockholm. En av hans mest välkända målningar är Hemkomsten från 1938 som hänger på Göteborgs konstmuseum och som föreställer ett skepp i silhuett mot en nästan brinnande gul himmel och ett rödfärgat hav. Denna målning förevigades också 1978 på ett svenskt frimärke av valören 90 öre. Sedan 1980-talet har många av hans tavlor sålts för rekordpriser vid olika internationella konstauktioner.
WITTE, Emanuel de
Dutch Baroque Era Painter, ca.1617-1691 Dutch painter. He was one of the last and, with Pieter Saenredam, one of the most accomplished 17th-century artists who specialized in representing church interiors. He trained with Evert van Aelst (1602-57) in Delft and in 1636 joined the Guild of St Luke at Alkmaar, but he was recorded in Rotterdam in the summers of 1639 and 1640. In October 1641 his daughter was baptized in Delft, where he entered the Guild of St Luke in June 1642 and lived for a decade, moving to Amsterdam c. 1652. He began his long career as an unpromising figure painter, as can be seen in the Vertumnus and Pomona (1644) and two small pendant portraits (1648; all Rotterdam, Mus. Boymans-van Beuningen). Jupiter and Mercury in the House of Philemon and Baucis (1647) and a Rembrandtesque Holy Family