Art Masterpiece Project Procedure Form
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1 Art Masterpiece Project Procedure Form Artist: Name of Print: Project: Objective: Description: Suggestions: Supplies: Paul Cezanne Still Life with Basket Still Life of Fruit and Bottle/Jar Realistic Drawing and Observation Bring in objects that will look nice together such as red apples, green pear, maybe a porcelain cup and a jar or teapot. The things shouldn t be too complicated or detailed, their geometric shapes should be able to be identified. In class, arrange the items in a beautiful way, let the students help you with the arrangement. It is important that the things do not stagger too much, everything should be visible and still do not simply string the things. It is a good idea to study Cezanne s stillness, he was a master in putting things together in a balanced way and he spent hours, even days on this preparatory step. Have the student draw the still-life. Talk a little about the meaning of still-life, that it means that things sit still, that they can t move or run away, so you do have the time to look closely and to really observe. Make them aware which object is put in front of the other, show them from which side the light comes in from and point out shade. Next the student will color the still-life with watercolor. Encourage them to leave light reflecting areas white. Have them put in shade with darker tones of the color. Show them that a cup is a round form. Let them diefine the background with a light watercolor wash. Bring in many of Cezanne s stillness as an example that he simplified form to geometric shape and celebrate color Items for Still-Life Water Color Paper (10 x10 ) Pencils Erasers Water Colors Brushes in two sizes Water Containers Paper Towels
2 Paul Cezanne Paul Cezanne was born on January 19 th, 1839 in Aix-en-Provence, near the Mediterranean coast in France. His father was the co-founder of a banking firm; the banking firm was very prosperous throughout his life and therefore afforded Cezanne the financial security and support that was unavailable to other artists. Cezanne began to study drawing in boarding school under Joseph Gibert a Spanish Monk at the school. In 1852, he attend College Bourbon, where he continued to draw, then in 1859 complying to his father s wishes he attended the University of Aix where he studied law but also continued to draw. In 1861 against his father s advice and wishes he abandoned law, in favor of art. Cezanne was close friends with a woman who later became a well known author, Emile Zola. They decided to move to Paris to further their art. They moved to Paris in Here Cezanne became acquainted with the Impressionists. He knew Manet and Pissarro. Pissarro and Cezanne initial friendship was that of master and mentor but over the course of the following decade their landscape painting excursions together led to a collaborative working relationship between equals. Because of his friendship with Manet and Pissarro he exhibited with them in the first Impressionist show.
3 Cezanne style 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. His painting seemed to draw more criticism than the other because of the harsh colors he used and his rough paint surface. He did much of his art work with a palette knife. He exhibited with the Impressionists one more time, but never really totally identified with the group. Cézanne's work demonstrates a mastery of design, color, composition and craftsmanship. His often repetitive, sensitive and exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of color and small brushstrokes that build up to form complex fields of images. Cézanne was interested in the simplification of naturally occurring forms to their geometric essentials, he wanted to "treat nature by the cylinder, the sphere, the cone" (a tree trunk may be conceived of as a cylinder, a human head a sphere, for example). Cezanne was a different kind of man. He once refused to shake hands with Manet because he claimed that he, Cezanne had not washed for days and did not want to dirty such a great man as Manet. He was proned to mood swings, where he was sometimes rude, angry, shy and prone to depression. This resulted in a period characterized by dark colors and the heavy use of black.
4 In July 1870 he met and later married a woman named Hortense Fiquet and they had a son named Paul. Due to his depression and mood swings their relationship was often strained and they lived apart for periods of time. Cezanne s father died in 1886 and left him a great deal of money and the family home. He and his family moved to Aix. Cezanne lived there most of the rest of his life. He devoted himself principally to certain favorite themes, portraits of his wife, still life s and landscapes of Provence. He was a slow painter. He is said to have had over 100 sittings for one portrait before he decided not to finish it. It was only after the age of fifty that Cezanne won praise for his work. In 1906 he wrote I am old and ill and have sworn to myself to die painting. One day, Cézanne was caught in a storm while working in the field. Only after working for two hours under a downpour did he decide to go home; but on the way he collapsed. He was taken home by a passing driver. His old housekeeper rubbed his arms and legs to restore the circulation; as a result, he regained consciousness. On the following day, he intended to continue working, but later on he fainted; the model he was working with called for help; he was put to bed, and he never left it again. He died a few days later, on October 22, 1906 at the age of 67. He died of pneumonia and was buried at the old cemetery in his beloved hometown of Aix-en-Provence
5 Cezanne is considered the father of modern art and had a profound effect on Picasso. Cézanne can be said to form the bridge between late 19th century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. The line attributed to both Matisse and Picasso that Cézanne "is the father of us all" cannot be easily dismissed. While Cezanne was alive his art dealer divided his painting into two sizes. He sold them for $64.00 for the large ones and $26.00 for the small ones. In 1964 a Cezanne painting sold for 1.4 million. On May 10, 1999, Cézanne's painting Rideau, Cruchon et Compotier sold for $60.5 million, the fourth-highest price paid for a painting up to that time. As of 2006, it is the most expensive still life ever sold at an auction.
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