C. Boulevard des Italien, Paris - Morning Sunlight

V. Translate the text into English.

В картине "Бульвар Монмартр в Париже" Камиль Писсарро запечатлел один из красивейших бульваров столицы Франции. Этот пейзаж написан художником из верхних окон отеля. Зри­тель видит длинную улицу в день ранней весны. Деревья еще без листьев, видимо, только что прошел дождь. Благодаря свобод­ным и быстрым мазкам художнику удалось передать живое ощущение улицы, заполненной пешеходами и потоком катящих­ся экипажей.

Огюста Ренуара называли "певцом счастья". Его искусство радостно и лучезарно. Пейзажная живопись мало увлекала Ре­нуара, в центре внимания живописца был человек. Художник оставил много портретов, главным образом женских. В них нет психологических углублений. Высоким живописным мастерст­вом также отмечены созданные Ренуаром жанровые сцены и натюрморт с цветами.

VI. Summarize the text.

VII. Topics for discussion.

1. The methods of painting of Pissarro and Renoir.

2. The artistic heritage of Pissarro and Renoir.

UNIT XIII CEZANNE (1839-1906)

The leading painter of the late nineteenth century in France, one of the most powerful artists in the history of Western painting, was Paul Cezanne. Son of a prosperous banker in the southern French city of Aix-en-Provance, Cezanne never experienced fi­nancial difficulties. He received some artistic training in Aix. Cezanne arrived in Paris for the first time in 1861, but he never set up permanent residence there. At first Cezanne was interested m the official art of the Salons but soon achieved an understanding of Delacroix and Courbet, and before long of Manet as well, but his early works were Romantic. Only in the early 1870s Cezanne adopted the Impressionist palette, viewpoint, and subject matter under the tutelage of Pissarro. Cezanne exhibited his paintings with the Impressionists in 1874, 1877, 1882.

During most of his independent career Cezanne remained in Aix. His isolation from other artists helped him to concentrate on the formation of a new style of painting. Cezanne's mature style is often interpreted in the light of his celebrated sayings: "I want to do Poussin over again, from nature," "I wish to make of Impressionism something solid and durable, like the art of the museums," and "Drawing and colour are not distinct... The secret of drawing and modelling lies in contrasts and relations of tones."

Among the subjects Cezanne repeatedly studied was Mont Sainte Victoire, the rocky mass that dominates the plain of Aix. His Mont Sainte-Victoire was painted about 1885-1887. Nothing indicates the time of the day or even the season. It neither rains nor snows in this landscape. Time is defeated by permanence. In this picture it is not clear where Cezanne places the observer. It is not certain where the tree is rooted. Some objects are identifiable as houses, trees, fields, but Cezanne's visual threshold is high and below that level nothing is defined. The effect of durability and massiveness is produced by a new use of the Impressionist colour spots. The landscape becomes a colossal rock crystal of colour - a cubic cross section of the world. Its background and foreground planes are established by branches and by the mountain whose rhythms they echo. The constituent planes embrace a great variety of hues of blue, green, yellow, rose, and violet. The delicate differ­entiation between these hues produces the impression of three-dimensional form. To construct form Cezanne has used the very colour patch the Impressionists had used ten years before to dis­solve it. He has achieved from nature a construction and intellec­tual organisation much like that Poussin had derived from the organisation of figures, and made of Impressionism something durable, reminding us of the airless backgrounds of Giotto. Cezanne created a world remote from human experience. The beauty of his colour constructions is abstract, and it is no wonder that many artists of the early twentieth century, especially the Cubists, claimed him as the father of modern art.

Still life was to Cezanne second only to landscape. His Still life with Apples and Oranges was painted between 1895 and 1900. The arrangements of fruits, bottles, plates and a rumpled cloth on a tabletop never suggest the consumption of food or drink; they are spheroid or cylindrical masses. The appearance of reality is neglected; the table has a tendency to disappear under the table-cloth at one level and emerge from it at another, and the two sides of a bottle can be sharply different. Whether Cezanne did not no­tice such discrepancies in his search for the right colour to make a form go round in depth, or whether he decided on deformations consciously, has never been convincingly determined. He cared for subjects as arrangements of form and colour, but they also pos­sessed for him strong psychological significance.

For his rare figure pieces Cezanne chose subjects as quiet, impersonal, and remote as his still lifes. The Card Players, of about 1890-1892, shows three men, two of whom are clad in the blue smock of the farmer labourer, sitting around a table, while a fourth gazes downward, arms folded. The card game had been a favourite subject among the followers of Caravaggio. The quite figures contemplate the cards, themselves planes of colour on white surfaces. The Giotto-like folds of the smock of the man on the right echo in reverse those of the hanging curtain, locking foreground and background in a single construction. Yet the back­ground wall fluctuates at an indeterminable distance like the sky in one of Cezanne's landscapes.

The full beauty of Cezanne's developed style is seen in his Woman with the Coffee-pot, of about 1895. Cezanne's planes of varying hues of blue and blue-violet have built majestic cylinders from the arms and a fluted column from the body. Stability is very important for Cezanne. Yet the door panels in the background tilt slightly to the left, compensating for the turn of the head toward the right, and the placing of the coffee-pot and cup. The adjustments are so exquisite that the removal of one element inflicts the whole picture a fatal blow. Cezanne's search for the exact plane of colour to fit into his structure was so demanding that at times the plane eluded him. Surprising elements are the mysteriously vertical spoon, and the cyl­inders of cup and pot, definitely out of drawing.

By the end of his life Cezanne's development toward abstrac­tion became more evident. The large Bathers, of 1898-1905, is the culmination of his series of nude compositions. The figures were neither painted from life, nor in the open air (women in the eighteenth and nineteenth centuries did not bathe naked in streams and sun them­selves on the banks). The fantasy gave Cezanne the materials with which to build a grand imaginary architecture, composed of strikingly simplified figures, overarching tree trunks, blue sky and white clouds - a modern cathedral of light and colour. The figures and heads re­mained schematic, features are suppressed and mouths are omitted entirely. The end result is a simplification of the human figure that had not been seen since the Middle Ages.