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The House of the Hanged Dead (1873): The self-breakthrough of the Impressionist period This early work, in the Musée d'Orsay, documents the complex relationship between Cézanne and Impressionism, with sloping roofs and distorted perspectives still bearing expressionist traces, but the short brushstrokes have already revealed the rudiments of color analysis, and the blue-purple shades on the ochre walls foreshadow the later exploration of color structures, and the empty doors and windows in the painting are like missing answers, suggesting the artist's questioning of traditional painting rules.

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Mont Saint-Victoire (1882-1906): a spiritual schema of the geological landscape On the outskirts of Aix-en-Provence, Cézanne spent more than twenty years depicting the same mountain over and over again, now in a late edition of the Philadelphia Museum of Art, in which the mountain is broken down into intertwined patches of color, the slope of the pine trees in the foreground and the movement of the mountains form a dynamic equilibrium, and the painter abandons the aerial perspective and uses the juxtaposition of warm and cold color blocks to express the depth of space: the collision of ochre and ultramarine produces a trembling light effect, and the transition between olive green and earthy yellow suggests geological changes.

This work subverts the decorative function of traditional still life painting, showing Cézanne's unique modeling logic, his idea of using cylinders, spheres, and cones to deconstruct objects directly influenced Picasso's cubist experiments, as art historian Meyer Shapiro said: "In these fruits, Cézanne finds the eternal structure of nature." "

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The Bath Ladies (1898-1905): An eternal dialogue between the human body and nature This large-scale work in the collection of the National Gallery in London shows Cézanne's ultimate exploration of the human form, in which the figures in the bathing scene are neither the ideal beauty of classicism nor the momentary capture of impressionism, but are transformed into an architectural-like composition, with curved limbs forming arch-like structures, and the vertical lines of trees forming a polyphonic symphony with the curves of the human body, and the whole picture is like frozen music.

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链接： last month Sitemap Cézanne foresaw the departure of modern art from perfect anatomy, and the rustic sense of primitivism in the picture directly influenced Gauguin's Tahitian series, which art critic Clement Greenberg believes marks "the beginning of painting to get rid of literary narratives and return to visual essence".

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