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 :. | Still Life with Apples | Mrs Cezanne | Woman with Coffee Pot | Five Bathers | farms and housing |
Related Artists:
George Desmarees
was born in 1697 at Stockholm, where he was instructed in painting by Peter Martin van Meytens, whose assistant he afterwards became. In 1724 he made a stay in Amsterdam, and in the following year in Nuremberg and then in Venice, where he received further tuition from Piazzetta. In 1731 he settled in Munich, where he became court painter, and where he continued to reside till his death in 1776. A portrait of himself and one of his daughter are, with a third in the Munich Gallery, and other portraits by him are at Augsburg.
Theodor Rocholl
(1854-1933), German military painter and war artist. Rocholl was born in Sachsenberg (Waldeck) on June 11, 1854, the son of Rudolf Rocholl, the Lutheran theologian and philosopher. He was a student in Munich in 1877, then at the Dresden Academy. After a year, he moved to Munich where he studied historical painting under Karl von Piloty. He ocmpleted his art studies at the Desseldorf Academy where he developed his interest in military art under the influence of Wilhelm Camphausen; his contemporaries in this field were Carl Röchling and Richard Knötel. The artist observed the Franco-Prussian War and the subsequent German army manoeuvres between 1883 and 1888; in 1890, he traveled to Russia to view the German Garde-Korps on manoeuvre. Later in the decade, he was attached to the Turkish Army and covered the conflict in Thessalia in 1897 between the Turks and the Greeks; his sketches of the fighting were published the following year. He covered the Boxer Rebellion in 1900 as the official artist of the German expeditionary force. A decade later, he covered the fighting between Turkey and Albania. Many of his paintings depict German military scenes, especially the battles of the Franco-Prussian War. One of his most famous pictures depicted King William at the Battle of Sedan, meeting his triumphant soldiers after the victory. Rocholl also painted a large mural for the Evangelischen Padagogiums in Bad Godesberg. In his 60th year, he became a war artist covering the campaign on the Western Front. His War Letters printed in 1916 in which he described the fear and destruction. An autobiography of his life as a painter appeared in 1921. He died in a streetcar accident Desseldorf in his 80th year on September 14, 1933.
Arthur Loureiro
Australian, 1853-1932,Portuguese painter. He was a naturalist painter. His early training was at the Academia de Belas-Artes, Oporto, and in 1876 he went to Rome where he became a pupil of Francisco Pradilla Ortiz. In Italy he devoted himself to landscape painting. He exhibited in Paris at the Exposition Universelle (1878) and in the Sociedade Promotora de Belas-Artes in Lisbon (1880). In 1879 he was given a scholarship to go to Paris, where he stayed from 1880 to 1883.