Unsurprisingly, it evoked a dramatic response among the audience who placed great emphasis on propriety and classical art traditions.Īs critic Marc de Montifaud described, the painting appeared This version of ‘A Modern Olympia’ was shown at the First Impressionist Exhibition of 1874. This may have been part of a joke among his friends or could also be evidence of a more personal desire existing within Cézanne. Indeed, the male figure in the painting bears a striking resemblance to Cézanne himself. This effect is heightened by the presence of a curtain and the dramatic pose of the servant.Ĭézanne used bright, luminous colours to highlight the contrast between the nude woman and the dark clothes of the seated man and the black servant who has uncovered her body.īut his work is very different to Manet's Olympia, which created a huge scandal when shown at the Paris Salon in 1865.Īccording to Theodore Reff, this painting falls into the category of ironic adoration that reoccurred in Cézanne’s work, as also seen in works like ‘The Eternal Feminine’ from around 1877. The scene is theatrical: it is as though Olympia is an object on display, elevated above the client who is positioned as a spectator. This later version is strikingly different to the earlier piece as Cézanne’s style shows a clear move towards impressionism.Ĭezanne painted his second ‘A Modern Olympia’ while staying with Doctor Gachet, one of his earliest patrons, at Auvers-sur-Oise.Īccording to reports, Cézanne was motivated to revisit the subject during an intense discussion and he painted a quick sketch that was deliberately intended to be shocking to his companions. The earlier work from 1870 is now part of a private collection but the later painting, from 1873-74, is in the Musée d’Orsay. Painting in response to Manet’s ‘Olympia’ (1863), Cézanne executed two versions of ‘Une Moderne Olympia’. They stand out against the black background, creating a dramatic piece that shows Cézanne’s early preference for bold images. He used broad brushstrokes and impasto to build up the shapes of the figures. At the same time, Cézanne utilised a bold palette of red, blue and white, set against darker and more monochromatic elements. This painting is an interpretation of a work by Italian Renaissance painter Sebastiano del Piombo. ‘Christ in Limbo’ is evidence of Cézanne’s early interest in religious painting, drawing on Provençal traditions and classical religious imagery. Over time they were gradually split up and it is unclear how large the original piece would have been. This particular piece was once part of a far larger composition that decorated the walls of Cézanne’s family home near Aix-en-Provence.Īfter the artist’s death, the murals were transposed onto canvas. He used dark colours, drawing on examples from Delacroix, Daumier and Courbet. In his early career, Cézanne was heavily inspired by the old masters.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |