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Paul Cézanne (1839-1906) painted hundreds of apples. How do you astonish the 1)sophisticated
critics in the art capital of the 19th century with an
apple? You might try painting an apple that looked more exactly like an apple than any ever before painted. Or, you might show people a new way of seeing an apple.
Take a good, long look at the next apple you plan to eat. What is its basic shape: is it shaped like a ball, or an egg? Look at it from the top, from the bottom, and all around it. Is it bright red, orange-red, yellow, green, or is your apple all these colors? Observe the effect of light on its surface.
Cézanne looked at apples – and everything else he painted – very closely. He would study apples,
flowerpots, and 2)rumpled tablecloths until he
understood them as their basic shapes: 3)spheres,
4)cylinders, and 5)cones. The objects in his paintings
are based on these shapes. He made the objects look more real, more three-dimensional, by gradually shifting from one color to another.
His use of color and way of 6)analyzing and 7)depicting objects
inspired the Fauvists注1,
such as Henri Matisse, the Cubists注2, such as Pablo Picasso (who described Cézanne as “the father of us all”), and many other
20th-century painters.
Country and City
Cézanne was born and died in Aix-en-Provence in southern France. His father was a 8)prosperous merchant
and banker, who wanted his son to be a lawyer. But
Cézanne dreamed of becoming a painter and spent the summer of 1861 studying art in Paris. He failed the
9)admission exam to the École des Beaux-Arts注3, but he studied at the Academie Suisse (where he met the painter Camille Pissarro). The shy and unsophisticated young man from the country felt out-of-place among the 10)urbane
Parisians. Many people who later told of their
11)encounters with Cézanne described him as a 12)grungy peasant, rude and unfriendly. These judgments were not entirely false. Cézanne returned to Aix and worked in the family business, but he wasn’t ready to give up his dream of being a painter. Things went much better on his second visit to Paris in 1862, though Cézanne always felt like an outsider there. Even after he was married and had a child, Cézanne spent most of his time in Provence while his wife and son stayed in Paris. Although for most of his life,
Cézanne had to struggle for recognition as a painter, a large inheritance from his father in 1886 meant he could continue painting without having to worry about money.
Cézanne and the Impressionists
In Paris, Cézanne met Camille Pissarro, Claude Monet注4, Auguste Renoir, and Alfred Sisley, who were creating a new style of painting that later became known as Impressionism. In contrast to the more traditional painters of their day, they painted scenes of modern life instead of historical or 13)mythological subjects, they painted out-of-doors instead of in a studio, and they used bright colors and broken 14)brushwork. Their new kind of painting was widely criticized and their paintings were often excluded from the official Paris art exhibition, known as the Salon.
Soon the artists who were rejected from the Salon set up their own exhibitions. In 1863, Cézanne’s work was included in the Salon des Refusés (an exhibition
for artists who had been refused admission to the
official Salon).The first Impressionist exhibition in 1874 also included three paintings by Cézanne.
Early Work
Cézanne’s early paintings tended to be dark and thickly 15)encrusted with paint, often 16)applied with a 17)palette knife instead of a brush. Under the 18)influence of Impressionism, however, he 19)abandoned this early 20)bold style and began painting out-of-doors and using brighter colors.
A New Kind of Painting
Cézanne is called a 21)Post-Impressionist, the name later given to the artists who rejected Impressionism during the late 1880s and 1890s. Some Post-Impressionists,
including Cézanne, decided to take a more analytical
22)approach to painting. He worked very slowly, carefully thinking and rethinking every 23)aspect of his work. In fact, he worked so slowly that the fruit he used for his still lifes would 24)rot, so he started using 25)artificial fruit as his models.
Cézanne also studied how different colors 26)interact when placed next to each other. He 27)ignored the rules of classical 28)perspective, in which all objects are seen from a single view point and get smaller in size and lighter
in color as they go back into the distance. In Cézanne’s
art, different objects in the same painting are seen from different angles. He shows his 29)mastery of these
techniques in Still Life with Apples and a Pot of
30)Primroses. The objects in this painting, such as the apples and the tablecloth, are portrayed without the use of shadow, but through extremely 31)subtle shifts of color. The tabletop is seen from above, the table leg at the right is seen from the front, and the table leg at the left is seen from the side, yet everything seems to make sense as a whole because Cézanne carefully plotted how each
object would relate to the others.
Cézanne painted portraits, scenes of bathers, landscapes, still lifes, and everyday subjects, such as men playing cards. He worked in oil paint and watercolor. By the end of his life, he was highly acclaimed as an artist. An entire room was devoted to his paintings at the 1904 Salon d’Automne in Paris.
保罗·塞尚（1839-1906）画过数百个苹果。如何以一个苹果震慑19世纪艺术之都那些鉴赏力过人的评论家呢？你可以尝试画一个别人从没画得如此逼真的苹果。或者，你可以向人们展示一种看苹果的全新方式。
下次准备吃苹果的时候，好好观察一下。它的基本形状是怎样的：像一个球，还是像一只鸡蛋？把苹果从上往下看、再从下往上看，然后看一看整个苹果。它是鲜红的、橘红的、黄的、绿的，还是包含了所有这些颜色？观察光线对苹果表面上的影响。
塞尚观察苹果——以及任何他画过的物体——都非常细致。他会研究苹果、花盆以及皱巴巴的桌布，直到搞清楚它们的基本形状：球体、圆柱体和圆锥体。在其油画里，物体都以这些形状为基础。他通过颜色的渐变使物体看上去更真实、更立体。他对颜色的运用以及分析、描绘物体的方法启发了如
亨利·马蒂斯等野兽派画家、以巴勃罗·毕加索为代表的立体派画家（毕加索曾把塞尚誉为“众人之父”），以及很多20世纪的艺术家。
游走于乡村与城市
塞尚出生于法国南部的普罗旺斯艾克斯，也在那里辞世。他的父亲是一名富有的商人和银行家，一心想把儿子培养成律师。然而塞尚梦想成为一名画家，他于1861年的夏天前往巴黎学习艺术。虽然他未能通过美术学院的入学试，但得以在瑞士学院学习（他在那里认识了画家卡米耶·毕沙罗）。这位来自乡村、腼腆又单纯的年轻人在举止优雅的巴黎人当中格格不入。许多人在后来谈到与塞尚的接触时都把他说成一个邋遢的乡下人，粗鲁又不友善。这些评价并不是完全错的。塞尚回到艾克斯之后帮忙打理家族生意，但没有打算放弃自己的画家梦。他于1862年再度来到巴黎，情况有了好转，虽然塞尚总觉得自己在那里像个外人。即使在成家立业并有了一个孩子之后，塞尚大部分时间仍然留在普罗旺斯，其妻儿却在巴黎生活。虽然塞尚的大部分人生都在努力争取公众对其画家身份的认同，但他的父亲在1886年给他留下了丰厚的遗产，足以让他继续画画而不必为生计操心。
塞尚与印象派画家
在巴黎，塞尚认识了卡米耶·毕沙罗、克洛德·莫奈、奥古斯特·雷诺阿以及阿尔弗莱德·西斯莱——当时他们在酝酿一种后来被称作“印象主义”的绘画新流派。与当时较为正统的画家不同的是，他们的画不以历史或神话为主题，而是关于现代人的生活场景；他们不在画室里作画，而是在户外创作；而且他们采用明亮的色彩和碎笔触画法。他们新型的绘画方式受到广泛批评，他们的作品常常被巴黎的官方艺术展——“沙龙”拒之门外。
不久，那些被沙龙拒绝的画家举办了自己的展览。1863年，塞尚的作品被收入“落选沙龙画展”（一个专为在官方沙龙中落选的艺术家而设的展览）。在1874年举行的第一届印象派画展中，塞尚也有三幅作品入选。
早期作品
塞尚的早期作品倾向于浓墨重彩，油彩厚重，因为他作画时通常使用调色刀而不是画笔。然而在印象主义的影响下，他放弃了早期这种大胆的风格，开始在户外作画，并使用更明快的色彩。
油画新思潮
塞尚被称为后印象派画家，这是后人对19世纪80年代末到19世纪90年代那批摒弃印象主义的艺术家的称谓。包括塞尚在内的一些后印象派画家决定使用一种更具分析性的方式作画。他创作得非常慢，并反复琢磨作品中的每一个细节。事实上，他画得实在太慢，以致用作静物临摹的水果都烂掉了。于是他开始用假水果作为临摹对象。
塞尚还会研究不同颜色放在一起的互相影响。他无视古典透视法的规则——即从同一个角度观察所有物体，随着距离的变化，越远的物体体积越小，颜色越浅。在塞尚的艺术中，同一幅作品里的不同物体是从不同角度观察所得的。《苹果和报春花》一画便体现出他对这些技巧的准确掌握。这幅作品中的物体，譬如苹果和桌布没有使用阴影，而是通过极其细腻的色彩变化来表现。桌面是从上往下看的，右侧的桌脚是从正面看的，而左侧的桌脚则是从侧面看的，但所有东西作为一个整体看起来很合理，因为塞尚的精心布置让每一件物体都关联到一起。
塞尚画过肖像、入浴者场景、风景、静物以及日常生活场景（比如打扑克的男人）。他的作品包括油画和水彩画。在晚年，塞尚已经成为一位有名的画家。在1904年的巴黎秋季沙龙里，大会用了一整间展览室来专门展出他的作品。
critics in the art capital of the 19th century with an
apple? You might try painting an apple that looked more exactly like an apple than any ever before painted. Or, you might show people a new way of seeing an apple.
Take a good, long look at the next apple you plan to eat. What is its basic shape: is it shaped like a ball, or an egg? Look at it from the top, from the bottom, and all around it. Is it bright red, orange-red, yellow, green, or is your apple all these colors? Observe the effect of light on its surface.
Cézanne looked at apples – and everything else he painted – very closely. He would study apples,
flowerpots, and 2)rumpled tablecloths until he
understood them as their basic shapes: 3)spheres,
4)cylinders, and 5)cones. The objects in his paintings
are based on these shapes. He made the objects look more real, more three-dimensional, by gradually shifting from one color to another.
His use of color and way of 6)analyzing and 7)depicting objects
inspired the Fauvists注1,
such as Henri Matisse, the Cubists注2, such as Pablo Picasso (who described Cézanne as “the father of us all”), and many other
20th-century painters.
Country and City
Cézanne was born and died in Aix-en-Provence in southern France. His father was a 8)prosperous merchant
and banker, who wanted his son to be a lawyer. But
Cézanne dreamed of becoming a painter and spent the summer of 1861 studying art in Paris. He failed the
9)admission exam to the École des Beaux-Arts注3, but he studied at the Academie Suisse (where he met the painter Camille Pissarro). The shy and unsophisticated young man from the country felt out-of-place among the 10)urbane
Parisians. Many people who later told of their
11)encounters with Cézanne described him as a 12)grungy peasant, rude and unfriendly. These judgments were not entirely false. Cézanne returned to Aix and worked in the family business, but he wasn’t ready to give up his dream of being a painter. Things went much better on his second visit to Paris in 1862, though Cézanne always felt like an outsider there. Even after he was married and had a child, Cézanne spent most of his time in Provence while his wife and son stayed in Paris. Although for most of his life,
Cézanne had to struggle for recognition as a painter, a large inheritance from his father in 1886 meant he could continue painting without having to worry about money.
Cézanne and the Impressionists
In Paris, Cézanne met Camille Pissarro, Claude Monet注4, Auguste Renoir, and Alfred Sisley, who were creating a new style of painting that later became known as Impressionism. In contrast to the more traditional painters of their day, they painted scenes of modern life instead of historical or 13)mythological subjects, they painted out-of-doors instead of in a studio, and they used bright colors and broken 14)brushwork. Their new kind of painting was widely criticized and their paintings were often excluded from the official Paris art exhibition, known as the Salon.
Soon the artists who were rejected from the Salon set up their own exhibitions. In 1863, Cézanne’s work was included in the Salon des Refusés (an exhibition
for artists who had been refused admission to the
official Salon).The first Impressionist exhibition in 1874 also included three paintings by Cézanne.
Early Work
Cézanne’s early paintings tended to be dark and thickly 15)encrusted with paint, often 16)applied with a 17)palette knife instead of a brush. Under the 18)influence of Impressionism, however, he 19)abandoned this early 20)bold style and began painting out-of-doors and using brighter colors.
A New Kind of Painting
Cézanne is called a 21)Post-Impressionist, the name later given to the artists who rejected Impressionism during the late 1880s and 1890s. Some Post-Impressionists,
including Cézanne, decided to take a more analytical
22)approach to painting. He worked very slowly, carefully thinking and rethinking every 23)aspect of his work. In fact, he worked so slowly that the fruit he used for his still lifes would 24)rot, so he started using 25)artificial fruit as his models.
Cézanne also studied how different colors 26)interact when placed next to each other. He 27)ignored the rules of classical 28)perspective, in which all objects are seen from a single view point and get smaller in size and lighter
in color as they go back into the distance. In Cézanne’s
art, different objects in the same painting are seen from different angles. He shows his 29)mastery of these
techniques in Still Life with Apples and a Pot of
30)Primroses. The objects in this painting, such as the apples and the tablecloth, are portrayed without the use of shadow, but through extremely 31)subtle shifts of color. The tabletop is seen from above, the table leg at the right is seen from the front, and the table leg at the left is seen from the side, yet everything seems to make sense as a whole because Cézanne carefully plotted how each
object would relate to the others.
Cézanne painted portraits, scenes of bathers, landscapes, still lifes, and everyday subjects, such as men playing cards. He worked in oil paint and watercolor. By the end of his life, he was highly acclaimed as an artist. An entire room was devoted to his paintings at the 1904 Salon d’Automne in Paris.
保罗·塞尚（1839-1906）画过数百个苹果。如何以一个苹果震慑19世纪艺术之都那些鉴赏力过人的评论家呢？你可以尝试画一个别人从没画得如此逼真的苹果。或者，你可以向人们展示一种看苹果的全新方式。
下次准备吃苹果的时候，好好观察一下。它的基本形状是怎样的：像一个球，还是像一只鸡蛋？把苹果从上往下看、再从下往上看，然后看一看整个苹果。它是鲜红的、橘红的、黄的、绿的，还是包含了所有这些颜色？观察光线对苹果表面上的影响。
塞尚观察苹果——以及任何他画过的物体——都非常细致。他会研究苹果、花盆以及皱巴巴的桌布，直到搞清楚它们的基本形状：球体、圆柱体和圆锥体。在其油画里，物体都以这些形状为基础。他通过颜色的渐变使物体看上去更真实、更立体。他对颜色的运用以及分析、描绘物体的方法启发了如
亨利·马蒂斯等野兽派画家、以巴勃罗·毕加索为代表的立体派画家（毕加索曾把塞尚誉为“众人之父”），以及很多20世纪的艺术家。
游走于乡村与城市
塞尚出生于法国南部的普罗旺斯艾克斯，也在那里辞世。他的父亲是一名富有的商人和银行家，一心想把儿子培养成律师。然而塞尚梦想成为一名画家，他于1861年的夏天前往巴黎学习艺术。虽然他未能通过美术学院的入学试，但得以在瑞士学院学习（他在那里认识了画家卡米耶·毕沙罗）。这位来自乡村、腼腆又单纯的年轻人在举止优雅的巴黎人当中格格不入。许多人在后来谈到与塞尚的接触时都把他说成一个邋遢的乡下人，粗鲁又不友善。这些评价并不是完全错的。塞尚回到艾克斯之后帮忙打理家族生意，但没有打算放弃自己的画家梦。他于1862年再度来到巴黎，情况有了好转，虽然塞尚总觉得自己在那里像个外人。即使在成家立业并有了一个孩子之后，塞尚大部分时间仍然留在普罗旺斯，其妻儿却在巴黎生活。虽然塞尚的大部分人生都在努力争取公众对其画家身份的认同，但他的父亲在1886年给他留下了丰厚的遗产，足以让他继续画画而不必为生计操心。
塞尚与印象派画家
在巴黎，塞尚认识了卡米耶·毕沙罗、克洛德·莫奈、奥古斯特·雷诺阿以及阿尔弗莱德·西斯莱——当时他们在酝酿一种后来被称作“印象主义”的绘画新流派。与当时较为正统的画家不同的是，他们的画不以历史或神话为主题，而是关于现代人的生活场景；他们不在画室里作画，而是在户外创作；而且他们采用明亮的色彩和碎笔触画法。他们新型的绘画方式受到广泛批评，他们的作品常常被巴黎的官方艺术展——“沙龙”拒之门外。
不久，那些被沙龙拒绝的画家举办了自己的展览。1863年，塞尚的作品被收入“落选沙龙画展”（一个专为在官方沙龙中落选的艺术家而设的展览）。在1874年举行的第一届印象派画展中，塞尚也有三幅作品入选。
早期作品
塞尚的早期作品倾向于浓墨重彩，油彩厚重，因为他作画时通常使用调色刀而不是画笔。然而在印象主义的影响下，他放弃了早期这种大胆的风格，开始在户外作画，并使用更明快的色彩。
油画新思潮
塞尚被称为后印象派画家，这是后人对19世纪80年代末到19世纪90年代那批摒弃印象主义的艺术家的称谓。包括塞尚在内的一些后印象派画家决定使用一种更具分析性的方式作画。他创作得非常慢，并反复琢磨作品中的每一个细节。事实上，他画得实在太慢，以致用作静物临摹的水果都烂掉了。于是他开始用假水果作为临摹对象。
塞尚还会研究不同颜色放在一起的互相影响。他无视古典透视法的规则——即从同一个角度观察所有物体，随着距离的变化，越远的物体体积越小，颜色越浅。在塞尚的艺术中，同一幅作品里的不同物体是从不同角度观察所得的。《苹果和报春花》一画便体现出他对这些技巧的准确掌握。这幅作品中的物体，譬如苹果和桌布没有使用阴影，而是通过极其细腻的色彩变化来表现。桌面是从上往下看的，右侧的桌脚是从正面看的，而左侧的桌脚则是从侧面看的，但所有东西作为一个整体看起来很合理，因为塞尚的精心布置让每一件物体都关联到一起。
塞尚画过肖像、入浴者场景、风景、静物以及日常生活场景（比如打扑克的男人）。他的作品包括油画和水彩画。在晚年，塞尚已经成为一位有名的画家。在1904年的巴黎秋季沙龙里，大会用了一整间展览室来专门展出他的作品。