Puzzle art Cezanne Vue sur l’Estaque et le château d’If – Puzzle 1000 pieces

Pablo Picasso considered Cézanne a “mother in balance”, Henri Matisse as the “father of us all”.
Inevitably, our understanding of Cézanne’s painting is colored by later Cubism and abstraction, focusing attention on the formal aspects of his work.

His reduction of the visible world to basic, underlying forms , the faceted brushstrokes that seem to reconstruct nature through purely pictorial forms, the fracture and flattening of space: all this can be seen as the beginning of modern art. Yet Cézanne himself emphasized that he painted from nature and according to his sensations, striving to achieve a “harmony parallel to nature.”

Having returned to Provence, rejected by critics and working in isolation, his style developed independently. His “constructive line ,” as it is often described, is the result of a penetrating analysis. It represents rather than imitates visual effects. The relationships of color reveal the fundamental nature and connection of what Cézanne saw and felt.

Cezanne’s landscapes

In the late 1870s and 1880s, Cézanne sought to impose greater order on his paintings by systematizing his brushwork. Almost every part of nature is defined here by the same narrow, parallel strokes.

Many of the places Cézanne painted have been identified, including the painting View of the Estaque and the Château d’If . Comparing his images with the actual locations, it becomes clear that he often moved his easel, juxtaposing different viewpoints as he worked over the next few days.

Cézanne’s paintings never reproduced what the artist’s eyes saw, but proposed his own personal interpretation of reality.
These are apparently bizarre and disconcerting works, but in reality conceptually very complex, which distance themselves from academicism and, at the same time, from the so-called Impressionist revolution.

It’s not surprising that Cézanne’s paintings were initially derided as pitiful scabs, but it’s not difficult to discover the reason for this clumsiness. Cézanne had decided not to accept any traditional painting method as given; he wanted to start over from scratch, as if painting had never existed before him.