Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . had con-tributed to UEvenement. Cezanne, who was on the most intimateterms with Zola, thus found himself suddenly brought into con-tact with Manet and his art. From this time he abandoned thecolour-scheme which he had borrowed from Courbet, and adoptedthat of Manet. He was feeling his way towards the develop-ment of that system of coloration in which his originality wasto find its complete expression. It must be clearly understood that the successive influenceswhich Cezanne underw
Manet and the French impressionists: Pissarro--Claude Monet--Sisley--Renoir--Berthe Morisot--Cézanne--Guillaumin . had con-tributed to UEvenement. Cezanne, who was on the most intimateterms with Zola, thus found himself suddenly brought into con-tact with Manet and his art. From this time he abandoned thecolour-scheme which he had borrowed from Courbet, and adoptedthat of Manet. He was feeling his way towards the develop-ment of that system of coloration in which his originality wasto find its complete expression. It must be clearly understood that the successive influenceswhich Cezanne underwent do not mark rigidly defined differ-ences of style. He was a man of strong individuality, whohad without hesitation embarked upon a certain definite promptly determined his choice of subjects and the limitswithin which he intended to confine himself. Except for abrief period at the beginning of his career, when, under theinfluence of Delacroix, he painted some compositions in theromantic manner, he had never felt any other attraction thanthat of the spectacle of the visible world. He never sought. SON PORTRAIT PAR LU1 MfiME ( CEZANNE 179 after descriptive subjects; he eschewed literary inspiration ; theexpression of moods and abstract sentiments was always foreignto him. He first of all devoted himself to painting what theeye can see—still life, landscape, heads and portraits—and then,as a kind of culmination of his work, compositions simplytreated, in which figures were grouped together, not with anyinterest of action but merely as models to be painted. As Cezanne at an early period had settled the boundarieswithin which he intended to work, the importance of the variousinfluences which he underwent resolves itself into a question oftechnique, values of tones and scale of colour. These at firsthe borrowed from those who came before him. His colour inparticular passed through various phases before it became defi-nitely fixed. The external aspect of hi
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectpainting, bookyear191
