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  • Paul Cezanne Gardanne
  • Paul Cezanne Gardanne
  • Paul Cezanne Gardanne
  • Paul Cezanne Gardanne
Paul Cezanne Gardanne

Gardanne

The original work is dated 1885-1886 and is kept at the Metropolitan Museum of Art in New York, USA. This is one of three views of Gardanne, a hill town near Aix-en-Provence, which Cézanne painted. Considered the most singular and enigmatic among post-impressionist painters, Paul Cézanne did not paint the open-air village (en plein air): the painter was convinced that the colours and the lights that are created in nature could not be faithfully reproduced. The image that the artist gives us of Gardanne is poetic and exciting.
€105.00
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Legendarte
P-128

Data sheet

Characteristics PRINTS ON CANVAS
MDF frame with edges of cm. 2,2 thickness. Edges are finished on the sides. Ready to hang. Full HD print on washable, UV-resistant canvas. Made in EU

Specific References

ean13
8052745675786
The original work is dated 1885-1886 and is kept at the Metropolitan Museum of Art in New York, USA. This is one of three views of Gardanne, a hill town near Aix-en-Provence, which Cézanne painted. A friend of Cézanne (Joachim Gasquet) said: "He paints in all its aspects this village of Gardanne rooted in its hill, the wrinkled bell tower, the scorched mass of houses, the burnt roofs, a mass of large leaves that always give a sense of freshness, a well of green light somewhere in the heat ". Considered the most singular and enigmatic among post-impressionist painters, Paul Cézanne did not paint the open-air village (en plein air): the painter was convinced that the colours and the lights that are created in nature could not be faithfully reproduced. The image that the artist gives us of Gardanne is poetic and exciting. The green, dominant colour, is spread in infinite different shades: in the sky, in the houses, in the grass. The buildings have a solid and static appearance, an effect that the painter obtains by inserting "colour tiles". Cézanne's greatest aspiration concerned the use of colour: arriving there, where no painter had ever arrived, he wanted to enclose in it the optical vision and the conscience of things. By the way he said: "In painting there are two things: the eye and the brain, and both must help each other". Paul Cézanne opens new perspectives to art: according to him, the object and the reality are not those that are seen, but what we perceive through our subjective experience. His style, which goes far beyond impressionism, will be a great inspiration for Picasso, who, after viewing an exhibition dedicated to Cézanne, gave life to the Cubist movement.

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