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This is the largest, the last, and in many ways, the most ambitious work from Cézanne's lifelong exploration of the time-honored theme of nudes in a landscape. It is also, perhaps, in its unfinished state, the purest and most serene witness to the man whom Paul Gauguin described as spending "entire days on mountaintops reading Virgil," dreaming of wooded glades populated with beautiful figures who, if not exactly participants in a narrative as such, are full of animation and interaction. Perhaps it is its grand nobility-its authority as something beyond time, "like art in the museums," as Cézanne said-that made it so attractive to many artists.

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The Large Bathers - Paul Cézanne, French, 1839 - 1906 - Google Arts & Culture

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This is the largest, the last, and in many ways, the most ambitious work from Cézanne's lifelong exploration of the time-honored theme of nudes in a landscape.

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Wheatfield with crows - Vincent van Gogh - Google Arts & Culture

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Wheatfield with crows is one of Van Gogh’s most famous paintings and probably the one most subject to speculation. It was executed in July 1890, in the las…

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Van Gogh's paintings of Sunflowers are among his most famous. He did them in Arles, in the south of France, in 1888 and 1889. Vincent painted a total of five large canvases with sunflowers in a vase, with three shades of yellow 'and nothing else'. In this way, he demonstrated that it was possible to create an image with numerous variations of a single colour, without any loss of eloquence.
The sunflower paintings had a special significance for Van Gogh: they communicated 'gratitude', he wrote. He hung the first two in the room of his friend, the painter Paul Gauguin, who came to live with him for a while in the Yellow House. Gauguin was impressed by the sunflowers, which he thought were 'completely Vincent'. Van Gogh had already painted a new version during his friend's stay and Gauguin later asked for one as a gift, which Vincent was reluctant to give him. He later produced two loose copies, however, one of which is now in the Van Gogh Museum.

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Sunflowers - Vincent van Gogh - Google Arts & Culture

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Van Gogh's paintings of Sunflowers are among his most famous. He did them in Arles, in the south of France, in 1888 and 1889. Vincent painted a total of fi...

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Van Gogh's night sky is a field of roiling energy. Below the exploding stars, the village is a place of quiet order. Connecting earth and sky is the flamelike cypress, a tree traditionally associated with graveyards and mourning. But death was not ominous for van Gogh. "Looking at the stars always makes me dream," he said, "Why, I ask myself, shouldn't the shining dots of the sky be as accessible as the black dots on the map of France? Just as we take the train to get to Tarascon or Rouen, we take death to reach a star."

The artist wrote of his experience to his brother Theo: "This morning I saw the country from my window a long time before sunrise, with nothing but the morning star, which looked very big." This morning star, or Venus, may be the large white star just left of center in The Starry Night. The hamlet, on the other hand, is invented, and the church spire evokes van Gogh's native land, the Netherlands. The painting, like its daytime companion, The Olive Trees, is rooted in imagination and memory. Leaving behind the Impressionist doctrine of truth to nature in favor of restless feeling and intense color, as in this highly charged picture, van Gogh made his work a touchstone for all subsequent Expressionist painting.

The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 35

Find out more about The Starry Night at:
mo.ma/starrynight

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The Starry Night - Vincent van Gogh - Google Arts & Culture

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Van Gogh's night sky is a field of roiling energy. Below the exploding stars, the village is a place of quiet order. Connecting earth and sky is the flamel...

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Da dove veniamo? Chi siamo? Dove andiamo?

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Da dove veniamo? Chi siamo? Dove andiamo?

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1897. Olio su tela 139,1 x 374,6 cm.
Boston, Museum of Fine Arts.

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When Gauguin (1848-1903) set off for Tahiti, he hoped to find a wild, primitive landscape, synonymous with liberty. He created this painting during his first stay there (1891-1893).
He twice depicted Teha'amana, the first of his three teenage wives, sat on a sandbank along a lagoon. To the left, she is dressed in traditional Tahitian costume, and gives the painting a slight effect of depth, by the bridge of her stretched leg. To the right, covered by a missionary robe, she appears to be straight in line with the space of the canvas. By the attitude and faces, marked with melancholy, the painter tries to communicate the idea that he languished in the tropics.
The nature painted by Gauguin is synthetic, formed of flattened effects of pure colors. His paintings support pictorial symbolism.

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Tahitian Women on the Beach, 1891 - Paul Gauguin (1848-1903), Paris, Orsay museum - Google Arts & Culture

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When Gauguin (1848-1903) set off for Tahiti, he hoped to find a wild, primitive landscape, synonymous with liberty. He created this painting during his fir...

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Tutta la tela è costituita da abbassamenti di tono dei colori blu, giallo e rosso. Le pennellate si compongono a tasselli, e talvolta si presentano solitarie e sintetiche, come il riflesso sulla bottiglia o il semplice tratto che descrive l'occhio infossato del giocatore di destra.

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Paul Cézanne 1890 - 1894

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MASP - Museu de Arte de São Paulo Assis Chateaubriand
São Paulo, Brasile

Dettagli

Titolo: Mrs. Cézanne in Red

Data: 1890 - 1894

Técnica: Óleo sobre tela

Dimensioni reali: w74 x h93,3 cm

Author: Paul Cézanne

Provenienza: Doação [Gift] Guilherme Guinle, José Alfredo de Almeida, Banco Brasileiro de Descontos, um anônimo [an anonymous], Indústrias Químicas e Farmacêuticas Schering, Moinho Santista S.A.,Moinho Fluminense S.A.,1949

Tipo: Painting

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Mrs. Cézanne in Red - Paul Cézanne - Google Arts & Culture

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La caratteristica comune più evidente di questa tendenza riguarda il trattamento dei colori, che diventano più intensi, più saturi e più contrastanti.

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Alla ricerca di un'espressività più profonda.

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Un colore totalmente innaturale

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Paul Gauguin - L'arte del vivere in modo felice

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La definizione venne coniata dallo storico d'arte Roger Fry nel 1910 per indicare tutti quegli artisti che, a partire dal 1886, iniziarono a disgregare l'omogeneità della visione impressionista, scegliendo di scavare più a fondo nella libertà del colore e ad avventurandosi verso strade non ancora percorse. La novità non riguardava i temi e i soggetti, ma il modo di dipingere.