"ready, bidding millions of dollars for Joan Miró's abstract painting ""The Poetess"", being outbid by first Mr. Burns and then ‘billionaire tech mogul’ Megan Matheson (Cecily Strong), and, enraged, being dragged out by security bellowing, ‘Don’t take that painting, I love it’—clearly, there's a mystery here. Both as to the hows and whys of Homer J. Simpson being involved in high-end art intrigue, and to what form this rejiggering of the ""Simpsons"" formula is taking. It's neat."" ""Homer Is Where the Art Isn't"" scored a 0.8 rating with a 3 share and was watched by 2.10 million people, making it"
"for highest price for a painting; surpassed only by Leonardo da Vinci's ""Salvator Mundi"" in November 2017. Paul Cézanne Paul Cézanne ( or ; ; 19 January 1839 – 22 October 1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavor to a new and radically different world of art in the 20th century. Cézanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne's intense study of"
"Paul Cézanne Paul Cézanne ( or ; ; 19 January 1839 – 22 October 1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavor to a new and radically different world of art in the 20th century. Cézanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne's intense study of his subjects. Cézanne is said to have formed the bridge between late 19th-century Impressionism and the early"
"House in Provence House in Provence is an oil painting by French artist Paul Cézanne. Created in 1885, it is currently part of the permanent collection in the Indianapolis Museum of Art. With muted tones and soft colors, Cézanne painted a home, accented by the gray-blue mountains in the background, the soft greens of the rolling hills, and the brown tones of the fields. Cézanne's dynamic style is best observed closely in this painting; the brushstrokes intersect in dynamic way, creating a patchwork. The brushstrokes create lively movement within the hard lines that he creates to border the house and"
"was enormously influential in establishing Cézanne as an important painter whose ideas were particularly resonant especially to young artists in Paris. Both Picasso and Braque found the inspiration for their proto-Cubist works in Paul Cézanne, who said to observe and learn to see and treat nature as if it were composed of basic shapes like ""cubes, spheres, cylinders, and cones."" Cézanne's explorations of geometric simplification and optical phenomena inspired Picasso, Braque, Metzinger, Gleizes, Robert Delaunay, Le Fauconnier, Gris and others to experiment with ever more complex multiple views of the same subject, and, eventually to the fracturing of form. Cézanne"
"Still Life with Teapot Still Life with Teapot is a still-life oil painting dating between 1902 and 1906, by the French artist Paul Cézanne. The subject of the painting is a table draped loosely with a patterned cloth on which lie fruit, crockery and a knife. The painting was acquired by the National Museum Wales in 1952 and is on display at the National Museum Cardiff. Cézanne began concentrating on painting still-life works from 1870 onwards, possibly inspired by Jean-Baptiste-Siméon Chardin's collection of still-life compositions that were acquired by the Louvre in 1869. As well as Chardin, Cézanne was influenced"
"as a house guest. After his death it became a monument, Atelier Paul Cézanne, or les Lauves. Cézanne's stylistic approaches and beliefs regarding how to paint were analyzed and written about by the French philosopher Maurice Merleau-Ponty who is primarily known for his association with phenomenology and existentialism. In his 1945 essay entitled ""Cézanne's Doubt"", Merleau-Ponty discusses how Cézanne gave up classic artistic elements such as pictorial arrangements, single view perspectives, and outlines that enclosed color in an attempt to get a ""lived perspective"" by capturing all the complexities that an eye observes. He wanted to see and sense the"
"Cloisonnism Cloisonnism is a style of post-Impressionist painting with bold and flat forms separated by dark contours. The term was coined by critic Edouard Dujardin on the occasion of the Salon des Indépendants, in March 1888. Artists Émile Bernard, Louis Anquetin, Paul Gauguin, Paul Sérusier, and others started painting in this style in the late 19th century. The name evokes the technique of cloisonné, where wires (""cloisons"" or ""compartments"") are soldered to the body of the piece, filled with powdered glass, and then fired. Many of the same painters also described their works as Synthetism, a closely related movement. In"
"Portrait of Madame Cézanne with Loosened Hair Portrait of Madame Cézanne with Loosened Hair (or Madame Cézanne with Unbound Hair) is an oil-on-canvas painting by French artist Paul Cézanne, variously dated from the mid-1870s to the early 1890s. Although the model, his wife Hortense Fiquet, was not supportive and did not understand or take an interest in her husband's work, this is one of forty-four portraits in which she sat for him from 1869, a period during which she progressed from mistress, to wife, to ex-wife. Something of a socialite, Cézanne latterly found Fiquet often fickle and shallow, and once"
"Bernard give historians a better idea of the artists lives and connection to their artwork. Émile Bernard Émile Henri Bernard (28 April 1868 – 16 April 1941) was a French Post-Impressionist painter and writer, who had artistic friendships with Vincent van Gogh, Paul Gauguin and Eugène Boch, and at a later time, Paul Cézanne. Most of his notable work was accomplished at a young age, in the years 1886 through 1897. He is also associated with Cloisonnism and Synthetism, two late 19th-century art movements. Less known is Bernard's literary work, comprising plays, poetry, and art criticism as well as art"
"houses, to geometric schemas, to cubes. La danse, Bacchante La danse (also known as Bacchante) is an oil painting created circa 1906 by the French artist and theorist Jean Metzinger (1883–1956). ""Bacchante"" is a pre-Cubist or Proto-Cubist work executed in a highly personal Divisionist style during the height of the Fauve period. ""Bacchante"" was painted in Paris at a time when Metzinger and Robert Delaunay painted portraits of one another, exhibiting together at the Salon d'Automne and the Berthe Weill gallery. ""Bacchante"" was exhibited in Paris during the spring of 1907 at the Salon des Indépendants (No. 3460), along with"
"from its inception, stems from the dissatisfaction with the ""idea of form"" that had been in practiced since the Renaissance. This dissatisfaction had already been seen in the works of the Romanticist Eugène Delacroix, in the Realism of Gustave Courbet, in passing through the Symbolists, Les Nabis, the Impressionists and the Neo-Impressionists. Paul Cézanne was instrumental, as his work marked a shift from a more representational art form to one that was increasingly abstract, with a strong emphasis on the simplification of geometric structure. In a letter addressed to Émile Bernard dated 15 April 1904, Cézanne writes: ""Interpret nature in"
"of Paul Cézanne, led to a fundamental change in the formal strategy and relationship between artist and subject not anticipated by Cézanne. Another factor in the shift towards abstraction was the increasing exposure to Prehistoric art, and art produced by various cultures: African art, Cycladic art, Oceanic art, Art of the Americas, the Art of ancient Egypt, Iberian sculpture, and Iberian schematic art. Artists such as Paul Gauguin, Henri Matisse, André Derain, Henri Rousseau and Pablo Picasso were inspired by the stark power and stylistic simplicity of artworks produced by these cultures. Around 1906, Picasso met Matisse through Gertrude Stein,"
"15, 1877, in a letter to Émile Zola dated April 14, 1878, Cézanne praised the Mont Sainte-Victoire, which he viewed from the train while passing through the railway bridge at Arc River Valley, as a “beau motif (beautiful motif)”, and, in about that same year, he began the series wherein he tropicalized this mountain. These paintings belong to Post-Impressionism. Cézanne is skilled at analysis: he uses geometry to describe nature, and uses different colours to represent the depth of objects. Mont Sainte-Victoire (Cézanne) Mont Sainte-Victoire is a series of oil paintings by the French artist Paul Cézanne. The Montagne Sainte-Victoire"
"evolution as he became influenced by Paul Cézanne who had died in 1906 and whose works were exhibited in Paris for the first time in a large-scale, museum-like retrospective in September 1907. The 1907 Cézanne retrospective at the Salon d'Automne greatly affected the avant-garde artists of Paris, resulting in the advent of Cubism. Braque's paintings of 1908–1912 reflected his new interest in geometry and simultaneous perspective. He conducted an intense study of the effects of light and perspective and the technical means that painters use to represent these effects, seeming to question the most standard of artistic conventions. In his"
"to Cézanne"", painted by Maurice Denis in 1900, recollects memories of a time already gone, even before the term ""Nabis"" had been revealed to the public. Meanwhile, most members of the group, including Maurice Denis, Pierre Bonnard, and Édouard Vuillard, could stand on their own artistically. Only Paul Sérusier had problems to overcome—though it was his ""Talisman"", painted at the advice of Paul Gauguin, that had revealed to them the way to go. ""Nabi"" means ""prophet"" in both Hebrew and Arabic. ""Les Nabis"" originated as a rebellious group of young student artists who banded together at the Académie Julian. Paul"
"20th century's new line of artistic enquiry, Cubism. Both Matisse and Picasso are said to have remarked that Cézanne ""is the father of us all."" The Cézannes came from the commune of Saint-Sauveur (Hautes-Alpes, Occitania). Paul Cézanne was born on 19 January 1839 in Aix-en-Provence. On 22 February, he was baptized in the Église de la Madeleine, with his grandmother and uncle Louis as godparents, and became a devout Catholic later in life. His father, Louis Auguste Cézanne (1798–1886), a native of Saint-Zacharie (Var), was the co-founder of a banking firm (Banque Cézanne et Cabassol) that prospered throughout the artist's"
"American Association of Painters and Sculptors in New York City, and his watercolour 'Belgrave Square and Wilton Crescent' (1928) is held by the Tate. Phelan Gibb Harry Phelan Gibb (a.k.a. William Phelan ""Harry"" Gibb) (1870–1948) was a British artist influenced by the work of Paul Cézanne, who exhibited in London, Paris and New York. Born in Alnwick, Northumberland, he studied at Newcastle, Edinburgh, Antwerp and Munich as well as Paris under Jean-Paul Laurens where he lived for twenty five years. His style has been described as ""earthy"" and naive and was highly thought of by Roger Fry, Gertrude Stein, and"
"coruscating yellows, violent purples, sickening reds and shuddering blues.<br><br> But the nudes! They looked like flayed Martians, like pathological charts—hideous old women, patched with gruesome hues, lopsided, with arms like the arms of a Swastika, sprawling on vivid backgrounds, or frozen stiffly upright, glaring through misshapen eyes, with noses or fingers missing. They defied anatomy, physiology, almost geometry itself! After the death of Paul Cézanne in 1906, his paintings were exhibited in Paris in the form of several large exhibitions and a retrospective at the Salon d'Automne of 1907, greatly affecting the direction taken by the avant-garde artists in Paris."
"his works in over thirty years. Abraham Hermanjat Jacques-Elie-Abraham Hermanjat (29 September 1862, Geneva - 12 October 1932, Aubonne) was a Swiss painter who worked primarily in the Fauvist and Divisionist styles and was one of the first Swiss artists to draw on the work of Paul Cézanne. He was also involved in cultural politics. After attending the public schools of Geneva, he studied art with Barthélemy Menn and Auguste Baud-Bovy. In 1886, he went to Algiers, to join his mother and brother after his father's death. He stayed until 1888 and returned on two other occasions; 1889-1890 and 1893-1896."
"of black. They differ sharply from his earlier watercolours and sketches at the École Spéciale de dessin at Aix-en-Provence in 1859, and their violence of expression is in contrast to his subsequent works. In 1866–67, inspired by the example of Courbet, Cézanne painted a series of paintings with a palette knife. He later called these works, mostly portraits, ""une couillarde"" (""a coarse word for ostentatious virility""). Lawrence Gowing has written that Cézanne's palette knife phase ""was not only the invention of modern expressionism, although it was incidentally that; the idea of art as emotional ejaculation made its first appearance at"
"remote paths for example the Giant's Causeway in Ireland. The cube or the box is a man made form and Cezanne was the first to introduce a slanting of basically rectangular patches of colour in various directions achieving three dimensional solidity and depth. This style of painting he used in landscape breaking up a natural environment. A good example is his paintings on Mont Sainte-Victoire. Sure this was a revolutionary way in seeing and out of it later came cubism, with father of modern art Picasso and Braque. They took this to its ultimate, including African sculpture as inspiration; but"
"led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne. A retrospective of Cézanne's paintings had been held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907. In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form—instead of depicting objects from a single viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. The impact of Cubism was far-reaching and wide-ranging. In other"
"to alter the coloring of an object is to alter its structure. His work proves without doubt that painting is not—or not any longer—the art of imitating an object by lines and colors, but of giving plastic [solid, but alterable] form to our nature. (""Du ""Cubisme"""", 1912) Cézanne's explorations of geometric simplification and optical phenomena inspired Picasso, Braque, Metzinger, Gleizes, Gris and others to experiment with ever more complex views of the same subject and eventually to the fracturing of form. Cézanne thus sparked one of the most revolutionary areas of artistic enquiry of the 20th century, one which was"
"Paris were reevaluating their own work in relation to that of Paul Cézanne. A retrospective of Cézanne's paintings had been held at the Salon d'Automne of 1904. Current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907. Metzinger's interest in the work of Cézanne suggests a means by which he made the transformation from Divisionism to Cubism. The lattices of squares or 'cubes' of paint employed throughout his Divisionist period have not been entirely abandoned, but pushed to another extreme. Where before brushstrokes had become increasingly larger and organized"
"The Bathers (Cézanne) The Bathers (French: Les Grandes Baigneuses) is an oil painting by French artist Paul Cézanne first exhibited in 1906. The painting, which is exhibited in the Philadelphia Museum of Art, is the largest of a series of ""Bather"" paintings by Cézanne; the others are in the Museum of Modern Art in New York City, National Gallery, London, the Barnes Foundation, Philadelphia, and the Art Institute of Chicago. Occasionally referred to as the Big Bathers or Large Bathers to distinguish it from the smaller works, the painting is considered one of the masterpieces of modern art, and is"
"Phelan Gibb Harry Phelan Gibb (a.k.a. William Phelan ""Harry"" Gibb) (1870–1948) was a British artist influenced by the work of Paul Cézanne, who exhibited in London, Paris and New York. Born in Alnwick, Northumberland, he studied at Newcastle, Edinburgh, Antwerp and Munich as well as Paris under Jean-Paul Laurens where he lived for twenty five years. His style has been described as ""earthy"" and naive and was highly thought of by Roger Fry, Gertrude Stein, and Lucy Wertheim. Wertheim indeed enthused about him in her 1947 book ""Adventure in Art"" – ""The English artist still living whose work probably is"
"Émile Bernard Émile Henri Bernard (28 April 1868 – 16 April 1941) was a French Post-Impressionist painter and writer, who had artistic friendships with Vincent van Gogh, Paul Gauguin and Eugène Boch, and at a later time, Paul Cézanne. Most of his notable work was accomplished at a young age, in the years 1886 through 1897. He is also associated with Cloisonnism and Synthetism, two late 19th-century art movements. Less known is Bernard's literary work, comprising plays, poetry, and art criticism as well as art historical statements that contain first-hand information on the crucial period of modern art to which"
"Rideau, Cruchon et Compotier Rideau, Cruchon et Compotier is a painting created circa 1893 to 1894 by French artist Paul Cézanne (19 January 1839 – 22 October 1906). It is considered the most expensive still life ever sold at an auction. Cézanne was famous for painting still lifes which expressed complex emotions while still being based upon carefully observed reality. Paintings of this type would eventually lead to the creation of new art styles during the 20th century such as Cubism. The painting went through the possession of Paris dealer Ambroise Vollard, Cornelis Hoogendijk, Paul Rosenberg, Albert C. Barnes, and"
"thick outlines delimiting the simplified forms. He explored a personal style and put it into practice; painting nudes or portraits (such as that of the poet Pierre Jean Jouve in 1909 (Musée National d'Art Moderne). Under the influence of Paul Cézanne he developed his own form of Cubism. Back in Paris, he mingles with the artistic and literary gathered around Paul Fort at the Closerie des Lilas in Montparnasse. At the 1909 Salon d’Automne Le Fauconnier exhibited alongside Constantin Brâncuși, Jean Metzinger and Fernand Léger. Louis Vauxcelles, in his review of the 1910 Salon des Indépendants, made a passing and"
"use of planes and masses, it is—one might say, solely for purposes of illustration—Cubist, with none of the extravagances of Cubism. It is purely Post-Impressionistic. Several factors mobilized the shift from a representational art form to one increasingly abstract; a most important factor would be found in the works of Paul Cézanne, and his interpretation of nature in terms of the cylinder, the sphere, and the cone. In addition to his tendency to simplify geometric structure, Cézanne was concerned with rendering the effect of volume and space. Cézanne's departure from classicism, however, would be best summarized in the complex treatment"
"Paris in the form of a retrospective at the Salon d'Automne of 1907, greatly attracting interest and affecting the direction taken by the avant-garde artists in Paris prior to the advent of Cubism. Cézanne's explorations of geometric simplification and optical phenomena inspired not just Matisse, Derain, Braque and Metzinger, but the other artists who exhibited earlier with the Fauves. Those who had not transited through a Fauve stage, such as Picasso, experimented, too, with the complex fracturing of form. Cézanne had thus sparked a wholesale transformation in the area of artistic investigation that would profoundly affect the development modern art"
"not lending and the private collector declining to release the work. The mini-series of men smoking pipes sometimes referred to as ""The Smokers"" was also included with over a dozen other studies and sketches, however a legal dispute also prevented the Hermitage Museum's version of ""Man with a Pipe"" from traveling to New York. The Card Players The Card Players is a series of oil paintings by the French Post-Impressionist artist Paul Cézanne. Painted during Cézanne's final period in the early 1890s, there are five paintings in the series. The versions vary in size, the number of players, and the"