Brief analysis of painting techniques of Pissarro and Cezann

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Brief analysis of painting techniques of Pissarro and Cezann

Postby jerryailily » Sun Apr 28, 2013 3:46 am

Pissarro was one of the earliest focusing on outdoor light sketches, and was the only one who participated in all eight impressionist exhibitions. Among all the main painters of impressionism, Pissarro was the most senior, who was modest and honest. In his whole life, he did not waste and always unembellished portrayed his peaceful and pastoral life. He has created more than 2000 works and enjoyed high prestige in his contemporaries. Pissarro was influenced by Coelho's landscapes paintings, and later his works were often named student of Pissarro Coelho.

Pissarro once found Cezanne's talent for painting, and kept close to Cezanne. He was fascinated by the stippling methods of new impressionism. Later he gradually did not satisfy the techniques which were confined to natural or mechanical color separation, and finally combined natural, traditional and his personal feelings to form a plain and simple style of painting. This art style seemed friendlier compared to the exaggerated skills of other painters.

Although Pissarro's oil painting techniques looked very simple, they had very accurate color layers and color control, which was resulting from his in-depth observation. When painting, his strokes were larger which could fast cover the whole painting to spread out a general tone. Then he used a small pen which was usually sable hair brush to patiently and carefully draw the thick and fine brushwork. Some of his works in his mature period were often repeatedly painted for several times. And these multiple overlapping strokes and colors staggered up and down to make very rich colors and also naturally left a thick paint texture. Although Pissarro's works were mainly describing the rural scenery, his figure paintings were also wonderful. This female portrait was his typical work during his stippling period, with colorful, gorgeous, deep, fine and uniform light tone. His stippling method was careful, but not mechanical, as the shape, direction, length and size changes as the tendency of rhythm.

Although Cezanne's oil paintings belonged to impressionism, his color concepts were quite different from those of impressionism. Therefore some painters after impressionism led by Cezanne were called post-impressionism which became watershed division of traditional paintings and modern paintings. In his whole life, Cezanne all worked diligently and conscientiously to cultivate on the canvas, as a loyal farmer plowed in the field. Cezanne tried to explore the logic relationship of color and space and set up permanent form and color order, but also because of this, Cezanne has formed his unique style in the oil painting techniques and materials by the way.

Cezanne loved to use light gray background when painting landscapes. While the characters such as this one Boy in the Red Vest were the cream color, mainly in the thin coating techniques, these backgrounds play an important role in the color harmony. Initially, Cezanne used graphite pencil and adopted dark blue to outline and then used the wide bristle brush for coloring. Cezanne often started from the local place and carried out continuous convergence according to the shape and color, which was usually firm, solid and powerful. The rhythm of color conversion was very natural, creating a physical space and color perspective in the same shape with chromatography from warm to cold colors, like in the shoulder and right hand of lower right. In the convergence of high optical parts and many colors, Cezanne naturally or half unconsciously revealed the canvas ground colors, and black, white, red, green, yellow and blue coordinated with each other, to some extent. After repeated modifications, the powerful contour line not only strengthened the body shaping, but also made the geometric structure of the painting stable and full of tension. Cezanne had to pay attention to actual strength of pen, transparent and opaque color, thick and thin coating of various contrast relations, and took the use of these comparisons to strengthen the body undulation and the beauty of image texture.

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