Cezanne's treatment of pictorial depth - Assignment Example

and Number of the Teacher’s Truth in Painting CEZANNE’S TREATMENT OF PICTORIAL DEPTH INTRODUCTION Paul Cezanne (French, 1839-1906) is known as the father of modern painting. He was one of the greatest Postimpressionists, whose paintings formed the basis for the aesthetic development of many twentieth century artists and art movements such as Cubism. During his lifetime, Cezanne’s art remained unknown. His work evolved from Impressionism, but was different from the former, immortalizing the eternal permanence of the motif, rather than the fleeting moment of time caught by impressionists. The artist’s emphasis on personal expression and on the integrity of the painting itself was a shift away from traditional art, though his work is associated with conventional European three-dimensional or plastic representation of art. His compositions reveal innovative techniques such as the use of colour and intensity, as well as the interaction between the three-dimensional with the two-dimensional plane of the composition for creating pictorial depth. Important non-traditional elements in his work relate to the use of distortion and flat surfaces in his paintings (WebMuseum 1, 2002). Thesis Statement: The purpose of this paper is to examine Q. # 5 on Cezanne’s treatment of pictorial depth, with critical, historical and artistic analysis of his works. DISCUSSION Paul Cezanne’s art consisted of steadfast searching and growth, and was not a process of creating masterpieces easily. He struggled with himself and his medium and produced classical works in which he achieved detachment by mastery over chaotic impulses. The restlessness of his early art gave way to Impressionism which guided Cezanne to use nature as his inspiration (Schapiro 10). Paul Cezanne’s Use of Colour in Creating Pictorial Depth The Provencal landscape captivated Cezanne more than any other. During the 1890s, he spent most of his time in Aix, however, making frequent trips to Paris. In the summer of 1896, at a health resort in Talloires on Lake Annecy, he painted the following composition of the lake seen in Figure 1, “one of the most impressive of all the landscapes that Cezanne painted outside Provence” (Becks-Malorny 67). Figure 1. Lake Annecy (1896) by Paul Cezanne (The Artchive, 2009) In figure 1. above, of lake Annecy, the water’s surface appears dense and solid, its effect is motionless and tectonic or caused by structural deformation of the earth’s crust, similar to the mountain in the background which appears as an immense solid mass. Before composing this painting, Cezanne absorbed the scene, registering colour sensations from the hues, values, intensities and forms that he perceived in front of him. “He painted what he saw and not what he knew” (Becks-Malorny 67). In this painting, the artist has used gradations of both hue and value to create pictorial depth. Cezanne saw nature in its raw, primeval condition, and translated his perceptions into a new reality based on his own understanding of the scene. The artist believed in the impermanence of nature, and attempted to make nature eternal in the imagination, using tones of colour, gradations and lines to form his compositions. Permanence and stability are essential elements of the reality of the scene created by the painter. Hence, it is different from the Impressionist’s catching of a fleeting moment of time on canvas. In the paintng above, the dark silhouette of the trees’ branches in the foreground contrast with the increasing paleness of the distant sky, creating depth in the picture. In Cezanne’s greatest works, colour appears luminous on the surface of the compositions. It is not used for introducing the three-dimensional effect by means of replicating real life colours or light and shade effects. Colour remains two-dimensional, emphasizing the picture plane. Cezanne creates an abstract composition by using a “continuous interplay of opposing colours, balanced colour tensions, the juxtaposition of intensely light and saturated hues against dull and heavy colours, of warm against cool, of light and airy colour against heavy and dark” (Loran 35). Schapiro (p.10) reiterates that Cezanne’s art is a combination of the old kind of picture which faithfully portrayed the scene or object, with modern abstract type of painting which manifested as a “moving harmony of coloured touches representing nothing”. The undefinable spirit of the objects he painted were reflected in his work, irrespective of the fact that he took liberties with the details. Cezanne’s use of colour introduces harmony in the whole picture, though frequently the colours are unusual for the objects painted. The entire composition gives an impression of harmony, variety and a colourful object world created minutely by a discerning and inventive mind. Figure 2. Still Life with Apples (1890-1894) by Paul Cezanne (WebMuseum (2), 2002) In Figure 2. above, the compactness and solidity of the image is a distinctive feature. Reality is not adhered to by the artist, since various unusual touches are evident in the painting. “The dish under the apples disappears abruptly at the right; the ellipse of the round table flattens and contracts oddly behind the plate; the saucer has a corresponding asymmetry; the second row of apples is tangent to the first” (WebMuseum, 2002) in a manner peculiar for their positions behind the first row, since they are visible whole while also in contact with the plate. In this painting, the apples are each in a different posture, tilted in various directions, yet they form a symmetrical, formal group. Further, each apple is crafted uniquely in their colouring and light and shade effects. There is an appearance of through linear perspective, with the outlines of the plate, table-top and fireplace converging on the vertical jamb of the fireplace in the background. The impression of depth is further enhanced through the “succession of overlapping objects with shifting axes in vertical alignment – apple, cup and saucer, card, poker and tongs” (WebMuseum, 2002). Cezanne has introduced small accents through the shadows, and has used brush strokes in different directions in the construction of the whole composition, to add to the unreal positionings and imperfect outlines of the objects in the image. “The apple looks solid, weighty and round as it would to a blind man” states Schapiro (p.10). This tangible effect is produced with the use of touches of colour to introduce a visual sensation, denoting an execution of the artist’s mental processes. Cezanne’s self comes through in his paintings, his perceptions evident. His brush strokes constructing solid forms used high-keyed colours and merged objects with the environmental atmosphere and sunlight, thus forming a surface of twinkling points (Schapiro 11). Cezanne’s creation of pictorial depth through the use of varying intensity of pigments used in the canvas, is seen in his painting View of L’Estaque (1883-1885). Figure 3. View of L’Estaque by Paul Cezanne (Soho-art.com, 2005) In Cezanne’s painting above (Figure 3), the large sections of the landscape are accentuated by varying tones in a wide range of intensity and colours. The immense differences in intensity contribute to the perception of depth in the composition. This is created by the artist by infusing the sea a rich blue, strongly combined with orange in the foreground land and with a lighter tint of green-blue in the sky. The pastel tint of the sky emphasizes the intense greens on the red and orange shore. The juxtaposition of the blue and orange of the water and land respectively, or the green and orange within the land provides a greater contrast than the the background combination of pastel blue and light orange tint with the distant blue and violet shore. Thus, by emphasizing the intensity of colours in the foreground, and reducing the intensity of hues from middle of the composition gradually towards the pale tints of the background, the artist has created pictorial depth in the painting (Schapiro 11). Cezanne and Tradition Paul Cezanne followed the European tradition of plastic representation, unlike younger Post-Impressionists. Hence, three-dimensional form and space was of great significance to him. Significantly, Cezanne’s approach was completely different from that of the Impressionists who aimed to record the momentary optical image with specific sensations of light and colour to recreate the actual, fleeting scene of nature. On the other hand, Cezanne used a more abstract technique to create an illusion of three-dimensional form and space. Though he used abstraction, paradoxically the illusion of the natural scene that he created was more forceful than the representational moment of time created by the Impressionists, in some aspects (Carpenter 174). Regarding Cezanne’s use of tradition, Schapiro (p.10) believes that the artist did not use the perspective system of traditional art, and infused the image he created with the dimension of a scene created free-hand, by the combination of successive perceptions. The image was not created after one coordinating glance “as in the ready-made geometric perspective of Renaissance art” (Schapiro 10). On the other hand, it is argued that Cezanne rejected pictorial depth in his compositions, an essential traditional feature of painting. He often used an organization of flat shapes on the surface of the picture plane, in place of linear perspective. This technique is not wholly novel, since it is an evolution of the classical ideal of pictorial space, and has been the basis for more unusual artistic innovations such as cubism. An example of this style is seen in Figure 4. below. Figure 4. Mont Sainte Victoire seen from the Bibemus Quarry (c.1897 by Paul Cezanne (Ione 2000, p.65) Despite the use of flat shapes in several of Cezanne’s compositions, it is believed that pictorial depth is evident in the artist’s works through the technique of compensation of volumes, in an interaction of three-dimensionality with the two dimensions of the picture plane (Loran 38). It is essential to note that the artist’s depiction of timelessness includes the paradoxes of change and solidity, flexibility and order. Thus, he achieved a “synthesis of change and permanence, two identical sides of the same visible manifestation” (Becks-Malorny 73). In Cezanne’s paintings of Mont Sainte-Victoire, the mountain is the dominant motif of the grand landscape. Classical Ideal of Pictorial Space and the Compensation of Volumes Three-dimensionality cannot be considered as a self-contained structural issue, and is a complex relationship with the two-dimensional picture plane. Cezanne achieved complete control of pictorial space through the overlapping of planes. By varying the space intervals between the planes, rhythmic tensions are developed. But these forces are contained within the picture format, at equilibrium or ultimate balance in relation to the picture plane. Hence, the pictorial plane as an artistic element contributes greatly to the impression produced by this treatment of space; hence Cezanne’s compositions cannot be termed as “flat”. At the same time, it is important to note that Cezanne’s development of pictorial space is not unique to the artist; but is a rebirth of the classical ideal of pictorial space which is “three dimensionality conceived in relation to the two dimensionality of the picture plane” (Loran 38). Cezanne’s control of these dualistic elements can be observed in the following painting of the Sainte Victoire seen from Les Lauves. Portrayal of the country in the distance is perceived as if it were near, states Loran (p.38). Figure 5. Mont Sainte-Victoire (1904-1906) seen from Les Lauves by Paul Cezanne (Soho Art, 2005) In Figure 5. above, the artist has shown the mountain viewed from the Plateau d’Entremont to the west, from where the mountain appears like a cone falling off steeply to the south. The mountain “is a powerful and immediate presence, with no framing motif to divert the eye” (Becks-Malorny 74). Cezanne has composed the picture using small flat areas of paint. The calm and tranquil scene has no feeling of movement or flow. On the other hand, Fussiner (p.302) argue that dynamic movement is introduced into the composition by the organic aspect, each part being related to the whole. The surface of the painting is extremely abstract in appearance, with dark areas of colour and man-made structures placed in an apparently random manner. The individual areas of colour do not replicate reality, and the trees, fields and houses are indistinguishable. The painting acquires an objective reality from the interaction of the different elements within the composition. This is reiterated by Fussiner (p.302) who states that Cezanne was a great organic and integrated artist. Each individual part of his painting would be strongly related to the whole composition. This generates dynamism in the work, similar to the aliveness associated with organic experience in nature. Cezanne’s explorations of plastic movement has led to modern variations of form. According to Paul Cezanne, as quoted in Becks-Malorny (p.74), “nature is not on the surface, it is in the depths. Colours are the surface expression of this depth. They grow up from the roots of this world. They are its life, the life of ideas”. The rediscovery of the science of compensation of volumes was undertaken by Cezanne and other artists such as Renoir and Seurat. They constructed the only landscapes that expressed depth by means of stepped-up planes, while achieving it in an idealistic manner connecting with the spirit. Regardless of the requirements of the picture represented, it is essential that the picture remains faithful to its own structure, to its own two dimensions. The third dimension can only be suggested; and as a consequence of this necessity are born most innovations in the art of painting. One of the elements used is creating gradations from light to dark or warm to cool with passages (Loran 38). Moreover, rather than the use of classical perspective, creating depth through overlapping planes is done by systematically applying planes which separate from one another, the darkest pushing the lightest forward, making the representation of depth possible. Thus, “each field pushing the other, the eye maneuvered in front, then behind, is forced to realize a third dimension. The genius of artistic skill is used to compensate by constant repetition of each phenomenon, for every thrust into depth, by an equal advance or return” (Loran 38). This technique helps the eye to find the distant horizon gradually through a progression of steps, while there is excitement by the series of oppositions that hinder the eyes’ quest for spacem, and infuse the experience of viewing the pictorial depth with subtle pleasure. This depth is experienced by the eye through the viewer’s process of feeling, and is different from the physical depth which creates a hole in the picture while removing the mural character that has been sought after by generations of painters. It is evident that Cezanne had a clear theoretical awareness of the necessity for compensating for depth. The Use of Distortion: Shift Away from Tradition Distortion is the most important element of form in Cezanne’s art. In Figure 6. below, La Maison Maria by Cezanne, the axes of the buildings have been tilted to the left, with a lifeless little cabin rising up dramatically in the composition (Loran 35). Figure 6. Maison Maria with a View of Chateau Noir (c.1895) by Paul Cezanne (Artchive.com, 2009) A dynamic effect emerges from the tensions created by the image in relation to the frame or format (Loran 35). Also, the effect of depth has been created with the use of lines and colours showing the blue sky with clouds in the background, with details of the path leading up to the house and the greenery in the foreground, appearing closer to the viewer. The artist’s use of distortion was in most instances preconceived for producing a particular outcome, though accidental variations did occur during painting. Cezanne’s intentional distortions are explained by abstract art as making a thrust into space more forceful, or for the purpose of holding the plane at a tension in relation to other planes, or to the picture plane (Loran 38). An example is given below. Figure 7. Still Life with Fruit Basket (1880-1890) by Paul Cezanne (artofeurope.com, 2009) The distortion in Figure 7. above permits perspectives from different eye levels. Loran (p.38) believes that no mechanical perspective drawing would be able to produce a newer, more exciting effect of space. The table top is portrayed as having more than one plane. The distortion of natural shapes is taken into consideration as a positive, form-conditioning factor, and should not be attributed to clumsiness. Further, there is unanimous agreement among critics and other artists that Cezanne achieved solidity and three-dimensionality in his compositions. The artist created distortion in his compositions through the tilting of vertical objects, through the lack of continuity and shift in levels of sections of horizontal lines. These features result in an effect of a perpetual searching and balancing of forms. Besides these variations Cezanne introduced both freely and subtly several parallel lines, connections, contacts and breaks which integrate into a common pattern, objects at different planes in depth. These techniques helped to combine the coloured images in the composition to a more cohesive and palpable scene, and at the same time the depth and solidity of objects are not lost. “These devices are the starting point of later abstract art, which proceeds from the constructive function of Cezanne’s stroke, more than from his colour” (Schapiro 10). Even at his most abstract, the artist’s brush strokes are not ornamental, schematic or pertaining to a formula. Ultimately, Cezanne’s painting is an image which enhances the represented scene with a new splendour. Figure 8. Bathers Resting (1875-1876) by Paul Cezanne (abcgallery.com, 2010) In the painting Bathers Resting (Figure 8) the distinctively controversial aspect of Cezanne’s art is taken into consideration, “the question of his clumsiness or lack of manual skill” (Loran 35). Art historians have attributed this factor to faulty eyesight, while detractors have based it on poor artistic skills. However, Cezanne has been able to rise above such controversy and hold his own among the renowned artists of his day. In the above painting, the illusion of depth has been created using colours and lines emerging from one object and continuing on to another. For example, the curve of the tree in the right background continues to form the outline of the gold-tinted clouds in the deepening sky. The sun’s reflection on the clouds, on the bathers standing, and on the grass add a realistic touch to the scene, and adds to the composition’s pictorial depth. CONCLUSION This paper has highlighted Paul Cezanne’s creation of pictorial depth in his paintings, which evolved and changed over time. However, his style was consistently based on traditional three-dimensional approach, though he used innovations such as the use of flat areas in a compensation of volumes, and distortions as non-traditional techniques. With the help of gradations in colour and intensity, as well as the three-dimension in interaction with the two-dimensional plane of the canvas, he produced the effect of depth in his paintings. Cezanne recreated the eternal permanence of nature, rather than capturing the momentary perception of Impressionist painters. Though he did not follow the perspective system of traditional art, his rich compositions were abstract forms of the real-life motifs or scenes that he viewed before him. The artist changed his innovative styles according to the problems he sought to resolve in his art, throughout his artistic life. Art scholars support this view, adding that Cezanne’s exceptional body of work evolved as he first decoded what he wanted to paint, “and then encoded these perceptions and sensations in paint” (Ione 70). WORKS CITED abcgallery.com. The bathers resting. (1875-1876). Olga’s Gallery. (2010). Retrieved on 12th April, 2010 from: http://www.abcgallery.com/C/cezanne/cezanne17.html Artchive.com. Maison Maria with a view of Chateau Noir. Cezanne, Paul. (2009). Retrieved on 12th April, 2010 from: http://www.artchive.com/artchive/C/cezanne/maison.jpg.html Artofeurope.com. Paul Cezanne. Still life with fruit basket. 2009. Retrieved on 13th April, 2010 from: http://www.artofeurope.com/cezanne/cez3.htm Becks-Malorny, Ulrike. Paul Cezanne, 1839-1906: Pioneer of modernism. The United Kingdom: Taschen Publications. (2001). Carpenter, James. Cezanne and tradition. The Art Bulletin, 33.3 (September 1951): pp. 174-186. Fussiner, Howard. Organic integration in Cezanne’s painting. College Art Journal, 15.4 (Summer, 1956): pp.302-312. Ione, Amy. An inquiry into Paul Cezanne: The role of the artist in studies of perception and consciousness. Journal of Consciousness Studies, 7.8-9 (2000): pp.57-74. Loran, Erle. Cezanne’s composition: Analysis of his form with diagrams and photographs of his motifs. Edition 3. The United States of America: University of California Press. (2006). Schapiro, Meyer. Paul Cezanne. New York: Harry N. Abrams Publishers. (1962). Soho-art.com. View from L’Estaque. Paul Cezanne. (2005). Retrieved on 13th April, 2010 from: http://www.soho-art.com/cgi-bin/shop/shop.pl?fid=979453703&cgifunction=form Soho Art. Mont Sainte-Victoire Seen from Les Lauves. Paul Cezanne. (2005). Retrieved on 14th April, 2010 from: http://www.soho-art.com/cgi-bin/shop/shop.pl?fid=1077129779&cgifunction=form The Artchive. Lake Annecy, 1896. Cezanne, Paul. artchive.com. (2009). Retrieved on 12th April, 2010 from: http://artchive.com/artchive/C/cezanne/lake.jpg.html WebMuseum. (1). Cezanne, Paul. WebMuseum, Paris. (2002). Retrieved on 11th April, 2010 from: http://www.ibiblio.org/wm/paint/auth/cezanne/ WebMuseum. (2). Still life with apples. Cezanne, Paul. WebMuseum, Paris. (2002). Retrieved on 11th April, 2010 from: http://www.ibiblio.org/wm/paint/auth/cezanne/sl/apples/ Read More