The his work. Although his early work seems scrabble

The artwork above is called The Large Bathers. The artist who drew
this is a famous post-impressionist French painter name Paul Cezanne. He is
superior in various painting style which has greatly affected the 20th
abstract art. Paul Cezanne’s painting from the last few decades have created
new ideal for the development of modern art. Working calmly and quietly, Paul
transformed the agitated power of his earlier years into the creating of a
illustrated language that would go on to shock nearly every essential phase of
the 20th century art.

Paul Cezanne’s painting from the 1860’s is personal, bearing very
little image to the artist’s mature and more significant style. An incredible
attitude of Cezanne’s painting style in the 1860’s is the sense of focus and
sheer will into his work. Although his early work seems scrabble and
questionable in comparison to the artist’s later expressions, they nonetheless
expose a deep extent of feeling. Each painting seems ready to erupt beyond its
restriction and exterior. In addition, each seems to be a perception of an
artist who would either be a maniac or a genius. The world will possibly will
never know, as Paul Cezanne’s true character was anonymous to many, if not all,
of his time.

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Even with all of the oppositions from either family or friends, Paul
Cezanne did receive encouragement from Pisarro, who was a Danish-French
impressionist and a few other impressionists from the 1860’s and enjoyed the
unusual compliment from them.

Paul Cezanne was affected by a number of things when creating The
Large Bathers. Firstly, Cezanne had spent his early years in Paris at the
Louvre museum, copying the painting of the great masters during his time. The
figures of the nudes were all created in Cezanne’s imagination, because he
personally said that it took far more time to work with real life models.


At the end of Paul Cezanne’s career, he created a few series of
bathers artwork. The Large Bathers is being called that way because it was
Cezanne’s biggest composition in the series, moreover it is also the last
painting to be produced.

When producing The Large Bathers Cezanne was trying to create a
piece of art that would be endless. Cezanne did not follow popular painting
trends and felt no burden in confronting the nineteenth century approach.

The Large Bathers, is the largest artwork produced by Paul Cezanne
and because it is also the most explicit in aspect, it has been often set as an
example of his ideal composition and his recovery of classic artwork after its
collapse during the nineteenth century back then.

Some of critics has describe the women in the Large Bathers as
mythical beings in the middle of nature. The trees are acting as their arena
and the figures in the background are sort of looking at their movement. There
is a noticeable triangle shape that forces the viewers to focus on the lake and
the small figures in the background. Even though the movement in the picture
there is an impression of harmony among the bathers. The artwork looks like it
is trying to lure viewers to take a curious peek into their private world.

Paul Cezanne’s scenery, with its serenity lake and what seems to be
a church tower is not really a precise representation of a real suburb. Paul
Cezanne has mention that he created this image using his imagination and
drawings from nature but he intend to figure it out and paint more than what
was on the exterior.

Paul Cezanne has prepared a number of practice artwork before he
started on working the Large Bathers. He analysed on how he wanted the figures
to relate with each other and his previous pieces show that the women mesh with
each other in different ways.

Even though a lot of people most critics think that the Large
Bathers Is in an unpolished state, The Large Bathers is still considered one of
a masterpiece of modern art and has made a scene in television shows as of the
best compositions of all time.











The Large Bathers(ii)

The Large Bathers is surrounded by trees on both side of them. Each
persons body is bent inward, kind of forming a triangular shape and
constructing the lake. Cezanne intentionally did this to keep his nudes in
calculated spaces. For this painting there are at least twenty practice
compositions of the various bathers and their wavering poses. Some of the women
kneel, stand or sit, almost in a proportional formation, creating a few certain
triangles withing the larger triangle of trees. They are confined within the
trees just like an altar is confined within a church. The roof of a church
could provide space, but in Paul Cezanne’s Large Bathers it is nature’s roof,
the trees. The women seems to be preparing a campfire or performing an ancient
ritual, but we cant really tell what they do. A river and two chunk of brown
earth run horizontally, depicting true-to-life distance. Further behind, trees
and the church kind of points upward.






The Large Bathers(iii)

Usually a church is at the highest point of a place, but in this
artwork it is at the centre of the composition and here it has succumb to
nature. Notice that in the background that the shape of the church and the
trees are seemingly same. The foreground trees which cage the women, doesn’t
join at the top, and the middle tree in the far sort of points to an opening,
very expressive of the higher ascension to the celestial world. The church is
within the artwork and a part of this custom space where the women kind of
plays a role of shamans surrounding and acting out a ritual, but not really the
means to an end. Trees for example have kind of replace the church as the
asylum and the vessel to carry them to become deity.


The Large Bathers(iv)

In the artwork above there is a woman sort of pointing towards the
water where there is a figure that looks like a swimmer, that is one of the
detail too calculated to be ignored and certainly something Paul Cezanne wished
to point out. The artwork itself may suggest death, as the artist knew that it
was almost his time to end. According to research, in Greek and Etrusan’s
paintings, where there is swimmers diving into water are thought to represent
that it is diving into the afterlife, although it is not certain that Cezanne
was familiar with those type of paintings. Far beyond the swimmer, there are
two mysterious figure at the other side. When we are looking at the main
artwork, we can sort of see that two or three women in the right maybe diving
in soon. Whereas the other women are making preparations, in naked for their
eventual transformation, the passing from the earth to the afterlife. Notice
that there is a sense of peace and harmony which make me think that Paul
Cezanne must have been at peace when he died.


Figure (v)

For the colour palette Cezanne has used light and dark blues, with a
combination of brownish and bright white colours to create a sunny and cloudy
sky that appears to reach down the small suburb. The trunk of trees has been
shaped with golden honey and oak brown trees. Each of the woman’s skin colour
has been complimented with a comb of chestnut brown hair and areas that have
not been worked on, which represents where the light reflects of their skin,
are bright white. There are also shadow of blue and gray that are intelligently
mixed with their skin. The shades help to give the skin depth and create
curves, for example around the chest.





The Large Bathers is a well-lit piece. The bathers are brighten up
from the right side of the painting, which depicts the small amount of light
that is hitting the bathers on the right. The bather who is laying down has
sort of a light hitting the elbow of her left arm and the underside of the
thigh. However, the nude on the left side of the painting, who is fully
spanning out in front of the lake, is entirely engulf by white light. Both the
bather’s torso and leg are radiant, almost as though Cezanne has intentionally
left his painting unfinished.

The tone and mood set by Paul Cezanne for this painting Is
mysterious. Moreover, this mysterious tone is being puzzled by the figure
swimming in the lake. The seemingly calm waters have been disturbed by the

Cezanne likes used short, hatched brushstrokes to help ensure
surface harmony in his artwork as well as to model individual masses and spaces
as they themselves produced out of paint. In creating the Large Bathers, Paul
Cezanne use an obvious brush stroke that gave his work a seemingly unfinished
painting and was not afraid to leave the footsteps of his working patterns on
his artwork. In the Large Bathers Cezanne used thick of paint on his brush to
create a harmony of blue and green colours.







Cezanne’s work is a form of research. In a 1889 letter he says,
talking about his working in isolation: “I had decided to work in silence till
the day I would have been able to back my attempts theoretically.”
In other words, he’s trying to reconsider the role of the artist in the modern
world and wants to reach to that through his artwork, like how a scientist
would formulate a theory after doing his (or her) research.
In fact, he’s an “impressionist” only in that sense. Visual perception for him
is not the object of his study, but an analytical tool to reach a new form of
expression. A new form of classicism, in another words.
Paul Cezanne was one of the most important of modern painters. After him,
modern art splits in two great currents: the analytical branch, where he came
from, and the expressionist current, which we can say came from Van Gogh.

It is clear that most of Paul Cezanne’s artwork is experimentation,
Cezanne was trying to make Impressionism something stable or sturdy and longer
lasting like the arts in the museums. Cezanne was trying to use large canvases
and appearing at his own way of depicting masses in space. So perhaps rather
than thinking it a finished or unfinished artwork in the most typical way, it
can be though in a way weather or not the artwork has achieve its
experimentational idea by Cezanne.

The Bathers who seemingly looks like goddess, if it is compare with
the rest of his artwork, Cezanne generally intended to walk away from the
western desire to see any female women naked as a goddess, instead Cezanne was
hoping to paint women as realistically and objectively, they are mostly painted
in the same way as the physical objects of Cezannes still-life artworks. One of
the compositions, the triangles that has been noticed easily might suggest that
they are place on some kind of pedestal, before us as divine being or deity. 

The artist meant to leave an unresolved contrast between the painted
artwork and the distort drawn, expressionless faces on the bathers and the
point of the painting is to deepen the mystery.






‘An excellent art could be ugly’. The Large Bathers produced by Paul
Cezanne has impact the representation of the nude more than any other artwork
since the High Renaissance, where Titan and Giorgione has already set the
standard of how figures should be shown in an artwork. The new type of artwork
that Cezanne has created has persevere for over a century, affecting not only
the illustration of the human figure but also few different sytles for example
fauvism, cubism and organic abstraction.

The luxuriance of Cezanne’s legacy was extracted from the complexity
of his techniques, which combines elements with access of solid modelling and
allows the white ground of the artwork to hinder what is represented on it.
This created a noticeable depictions of the human figure, where the faces, shapes
and sizes of the body parts are clearly distorted.

Unfinished, emotionless, expressionless, and in comparison to the
harmony that had define most earlier paintings of Cezanne’s bathers. The Large
Bathers is the one with the most conflict. The most noticeable is the
comparison between the excitement of the nominal subject and the distorted
figures in the landscape.

There are pressure and uncertainty among the figures. The faces of
the bathers are masklike, expressionless, and their bodies and in a weird form.
The Large Bathers gave a sense of disturb rather than delight to viewers. There
are also creepy passages in which the figure’s shoulders and arms of the far
right bather are thrusting forward in a dislocated way.

Out of all 14 bathers in the artwork, six are facing away. This
increases the feeling of isolation  and
also enhances the picture’s mystery by leading our mind to the blurry figures
far from the shore, to the nearly invisible swimmer in the middle of the lake.
Moreover, There is a mysterious figure emerging far from the bush at the far
left side of the painting.

What seems to be an unfinished painting of Cezanne not only troubled
his contemporaries, but also his admirers. Because of the figures distorted
expression and disturbing surface, Paul Cezanne’s painting were considered
ugly, at a time when ugliness was become a main issue in the controversy of
progressive artworks.

Nowadays, we
realize how Paul Cezanne’s lack of finish has given an incredible suggestive
spatial openness, one that reformulate the esthetics and structure of painting,
as well as what seems to be a representation of the human figure.