The Sea of ​​L'Estaque by Cezanne

The Sea of ​​L'Estaque by Cezanne
The Sea of ​​L'Estaque by Cezanne
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Paul Cezannespent many hours inL' Estaque, a place on the French Mediterranean coast, and there he began to make his images conceived from geometric constructions, as can be seen in this picture. A treatment of geometry that would inspire decades later Cubist painters such as Pablo Picasso or Georges Braque, who curiously also traveled toSouth of France and near the coast to create his early Cubist works.

The sea at L'Estaque by Cezanne

The Sea at L’Estaque by Cezanne

It can be seen that the main interest of Cezanne when constructing the entire painting is to make it from those geometric shapes, subtracting a lot of presence from color, which in this This case is based on the use of bluish green tones, brown tones and other greens that are not very intense. However, the fact that color is not the protagonist does not mean that it is not tremendously important in its artistic theory.

You can also see how there is a clear distinction between the smooth paint areas and others that are much more lumpy.

Likewise, his zigzag stroke appears. In fact, in this painting it is one of the first examples in which the gesture of his brushstroke is discovered. And it is that unlike other impressionist and post-impressionist painters, like Pissarro who left dots or Van Gogh that left paste, in theCezanne's case what he leaves is the gesture.

As in other works of his, be they landscapes such as The Mountain of Sainte Victoire, or in his famous still lifes such as Still Life with Plaster, he always seeks the permanent, and he does so through the most naked truth, without stop at the details neither in the external nor accidental charms. Each point of a landscape is not, as for Monet, a place of constant changes of light, but a fragment of a very solid and dense plane, which saturates with color.

And he manages to articulate all those planes, precisely by modulating them with those colors, which is what determines their shape, and at the same time it serves to organize volumes in space. That's why in reality he, more than painting, builds his images and does it from forms inspired by geometry.

Each element, each point of the painting is the result of a long and deep reflection, each color tone is directed towards the rest of the colors of the image to form a whole, a set. He leaves nothing to chance and everything is intimately linked. He left this painting philosophy very clearly explained with a quote:

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