Madame Cézanne Essay
Further into Cézanne’s career, portraiture was common. In his work, Madame Cézanne in a Yellow Armchair of 1890 (Figure 10), Japanese influence cannot be denied. The “great simplification and flattening of modelling and color, the structural anchoring of the figure against the edges of the picture, and the horizontal weighting combined with a diagonal accent,” (Berger 118) that Cézanne used in his painting were common features in Japanese work. Although Cézanne did not specify whether he viewed Japanese art as stimulation, to refute the notion that these techniques were borrowed from the Japanese would be a mistake.
Additionally, “Cézanne’s interest in the Japanese artefacts in Zola’s private collection is demonstrated by his watercolor of …show more content…
For example, in his watercolor Ships at Sunset (Figure 10), Manet “illustrates very clearly his interest in the clearly focused representation of an object – the sail – cut off by the edge of the picture,” (Wichmann 25). This technique of cropping an object to represent distance was borrowed from Hiroshige (Wichmann 25). Manet also featured Far Eastern representations of animals, especially cats, in his works during the latter part of his career. With these, “he drew studies with brush and crayon that were equal to the work of any of the great Oriental draughtsman,” (Wichmann 25). In several instances, Manet turned to the structure of the Japanese fan for inspiration as …show more content…
Several characteristics were borrowed from this artistic form, from the use of color to the way forms were portrayed. Objects such as the wave, the folding screen, and the bridge were critical sources of inspirations to break apart from the standards. Artists such as Edgar Degas, Paul Cézanne, and Édouard Manet began to utilize these newfound techniques in their work once Japanese art was discovered in the West. Each of these individuals partook in studies of the culture in some way or another, leading to positive changes in their works. Without the Impressionists dabbling into great Japanese impact, the intoxicating demeanor to follow would have been
Additionally, “Cézanne’s interest in the Japanese artefacts in Zola’s private collection is demonstrated by his watercolor of …show more content…
For example, in his watercolor Ships at Sunset (Figure 10), Manet “illustrates very clearly his interest in the clearly focused representation of an object – the sail – cut off by the edge of the picture,” (Wichmann 25). This technique of cropping an object to represent distance was borrowed from Hiroshige (Wichmann 25). Manet also featured Far Eastern representations of animals, especially cats, in his works during the latter part of his career. With these, “he drew studies with brush and crayon that were equal to the work of any of the great Oriental draughtsman,” (Wichmann 25). In several instances, Manet turned to the structure of the Japanese fan for inspiration as …show more content…
Several characteristics were borrowed from this artistic form, from the use of color to the way forms were portrayed. Objects such as the wave, the folding screen, and the bridge were critical sources of inspirations to break apart from the standards. Artists such as Edgar Degas, Paul Cézanne, and Édouard Manet began to utilize these newfound techniques in their work once Japanese art was discovered in the West. Each of these individuals partook in studies of the culture in some way or another, leading to positive changes in their works. Without the Impressionists dabbling into great Japanese impact, the intoxicating demeanor to follow would have been