Paul Cezanne Cubism
Pablo Picasso regarded Czanne as a "mother hovering over, " Henri Matisse as "father to people." Inevitably, our understanding of Czanne's painting is colored by later on cubism and abstraction, concentrating interest in the formal aspects of their work. Their reduction of the visible globe into basic, fundamental forms, the faceted brushstrokes that apparently reconstruct nature through solely painterly forms, the break and flattening of area - these is visible as origins of contemporary art. Yet Paul Czanne himself stressed that he painted from nature and according to his sensations, trying to realize a "harmony parallel to nature."
Several years later on, in conversation with a reporter, Picasso echoed this view:
It's not exactly what the artist does that really matters, but what he is. Cezanne would not have interested me a little if he'd resided and thought like Jacques-Emile Blanche, regardless if the apple he painted have been ten times because breathtaking. What makes our interest is Cezanne's anxiety - which is Cezanne's class. ”Czanne's insistence on redoing nature based on a system of standard types ended up being important to Picasso's own interest in those days. In Czanne's work Picasso discovered a model of simple tips to distill the primary from nature in order to achieve a cohesive surface that indicated the musician's single sight. Starting in 1907, Picasso started to test out Czanne's strategies alongside fellow artist Georges Braque. Czanne had been a consistent touchstone for two music artists during this time period of collaboration, which in the course of time lead to the creation of Cubism by 1909. Throughout Picasso's stylistic evolution throughout the next seven years, he continued to borrow from and reinterpret Czanne's art.