Paintings

Description of the painting by Paul Cezanne “The Marne Coast”

Description of the painting by Paul Cezanne “The Marne Coast”


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Cezanne is called a post-impressionist - studying with the impressionists, spending time in their society, participating in their exhibitions for a while, he still remained himself, without acquiring the habits characteristic of his colleagues.

In adulthood, he found his own style, unlike anyone else, perfected it to subtlety. There is little left of impressionism in it - a rejection of the abundance of black, perhaps. He did not inherit the sparkling joy penetrated by the sun's rays of colors from the Impressionists.

I did not inherit the nature of the smear, the general ideological orientation. Where they raise the detail to the absolute, lift it onto the pedestal, where they focus on the part, Cezanne selects the whole, puts it into the absolute. Not some particularity through which the whole world is shown, but the whole world, fit into one picture, compressed, as if under strong pressure, folded into a single whole.

“The Marne Coast” perfectly illustrates this period of his work. The landscape looks general, unwritten, devoid of detail, and at the same time very static. It is dominated by horizontal lines (the horizon line, the line of the river bank, the line of the bridge, the lines of the house), the reflection in the water of trees and land gives additional immobility. Paints are selected trowels that create an atmosphere of peace - mostly cold shades, the same color flows over, meeting in foliage, in water, and in the sky, giving the picture completeness and integrity.

It would seem - a summer day is clearly depicted, clouds are running across the sky, reflected in the surface of the river, but shades of blue and green prevail, cooling, making immobility perfect, suggesting thoughts of winter, a swamp, something unpleasant. Turning the world in a picture into a work of art, created in order to admire. I do not want to step into it - but it was not created for this.





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