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PAUL CEZANNE
Still Life with Plaster Cupid/Nature Morte avec l’Amour en Plãtre (1895)
Oil on paper mounted on panel, 70cm X 57cm/27 1/2 in X 22 in

Cezanne spent much of his life between his birthplace. Aix-en-Provence, and the environs of Paris. He first arrived in Paris in 1861 where he met and worked with the artist Pissarro, who introduced him to open air landscape painting. Thanks to Pissarro, Cezanne lightened his palette, and his passionate subject matter gave way to more tender and imagin-ative scenes which culminated in his later monumental studies of bathers.

Using the Impressionist ideals of color and a commitment to nature, and wishing to imbue his work with a sense of permanence and monumentality. Cezanne developed his 'constructive' brushwork, in which separate. parallel strokes often with a diagonal bias were used to create structural solidity. To this end, he chose a neutral gray light which gave the truest impression of color, or a diagonal sun-light as seen in mid-morning or mid-afternoon, which gave landscapes a calm stability.

Cezanne used pale grounds, visible through gaps in the paint layer. As in Renoir's work. cream grounds were enhanced and warmed by the adjacent placing of cooler tints. Particularly in the later landscapes and wooded scenes, Cezanne used these pale grounds to create the lights, thus obviating the need to overload the surface with paint. Thin, translucent paint films frequently appear in Cezanne's mature works and his experiments with overlaid transparent water color were incorporated into a number of his oil paintings. By contrast, other works in oil were heavily built up with layers of paint standing out in relief from the canvas surface. The densest paint follows the contours of the form. and the thinner applications, often revealing the ground, were used for form and contours. Cool colors, mainly blues, were used for the shadowy areas, while warmer pinks, reds, and yellows appear to create the roundness of the forms.

Cezanne used interlocking planes of subtly modulated, contrasting colors to create the complex spatial arrangements of his paintings. His slow, methodical way of painting meant that he often spent years on a work, returning to and adjusting it many times over. When re-working a painting Cezanne often worked from a different viewpoint. His revised perceptions of the subject would often be incorporated into the picture making it more complex.

The high viewpoint and enlarged proportions o[the cupid suggest this work was done with the subject veryclose to the painter. ‘rue paint layer is remarkably thin with the cream ground showing through in a number of places. The basic outlines were drawn in afluid blue paint. The painting was begun before the outline
dry, as witnessed in the blue dragged into adjacent colors. The painting is not heavily worked and has an immediacy and surety which often eluded Cezanne. The palette is simple and included ultra marine or cobalt blue, emerald and viridian greens and vermilion. Naples and chrome yellows, lead white and alizarin crimson. Cezanne has used many sophisticated techniques to create this spatially coin p1cc picture. The left wall is lined wit!, pictures placed to direct the viewer’s eye into the pictorial space. The placing in the background of an apple which is the same size as those in the foreground has the effect of hatting the recession and flattening the sit rface. These two effects vie for the viewers attention, and the tilting plane of the floor changes to accommodate both. The painted still tifein the canvas on the left is bat!, separate from the real still life and indistinguishable fram it. The onion oil the table has shoots which extend into the painted still life, while the apples and blue fabric on the table reappear, with noapparent disjunction, in the painted still life.

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