{"id":70251,"date":"2026-10-26T11:30:32","date_gmt":"2026-10-26T09:30:32","guid":{"rendered":"https:\/\/curatorial.ro\/uncategorized-en\/cezanne-admired-by-78-artists-photo-gallery\/"},"modified":"2026-10-26T11:30:32","modified_gmt":"2026-10-26T09:30:32","slug":"cezanne-admired-by-78-artists-photo-gallery","status":"publish","type":"post","link":"https:\/\/curatorial.ro\/en\/art\/cezanne-admired-by-78-artists-photo-gallery\/","title":{"rendered":"C\u00e9zanne, Admired by 78 Artists \/ Photo Gallery"},"content":{"rendered":"

Matisse, Gauguin, Picasso, Signac, S\u00e9rusier, Doig, Warhol, Soulages, Mortensen, and Wesselmann are among the 78 artists who were inspired by Paul C\u00e9zanne\u2019s swimmers, portraits, landscapes, and still lifes. This is evident from the impressive exhibition dedicated to the painter at the Grand Palais in Paris, which was packed with visitors during Art Basel week. Curatorial visited the exhibition.<\/p>\n

\u201cC\u00e9zanne is the bridge between the Impressionists\u2019 and the Neo-Impressionists\u2019 creative approaches,\u201d said Paul Signac in 1897.<\/p>\n

\"cezanne2,

\u201cStill Life with Apples,\u201d Paul Gauguin; \u201cStill Life with an Open Drawer,\u201d Paul C\u00e9zanne; curatorial<\/em><\/p><\/div>\n

While Paul Gauguin steered C\u00e9zanne toward Symbolism, Signac was particularly interested in his technique. According to Signac, C\u00e9zanne attached equal importance to every stroke of color.<\/p>\n

\"Paul

\u201cLes Andelys. La Berge,\u201d Paul Signac; curated by<\/em><\/p><\/div>\n

174 works are on display at the Grand Palais\u201469 by C\u00e9zanne and 105 by 78 other artists who admired him.<\/p>\n

An Artist for Artists<\/strong><\/h2>\n

Paul C\u00e9zanne is often described as an artist for artists. To appreciate his painting\u2014which focuses more on form than on content\u2014one needs the eye of a painter. In fact, from the late 19th century onward, artists were among the first to recognize his value. Before his death in 1906, he was already a topic of discussion in studios and a role model.<\/p>\n

\"Herin

\u201cStill Life with Ivy,\u201d Henri Matisse; curatorial<\/em><\/p><\/div>\n

\u201cCezanne and Us\u201d is the first exhibition to tell a dual story, spanning from the 1880s to the present: that of his fundamental influence and, in contrast, that of the artists who drew inspiration from him andtransformed him into \u201cthe father of us all,\u201d as Picasso put it.<\/p>\n

Because C\u00e9zanne wrote his name without an accent, the exhibition organizers adopted this spelling. A tribute to the great painter.<\/p>\n

\u201cCezanne and Us\u201d thus represents \u201cus\u201d\u2014the artists\u2014and us\u2014those who view Cezanne through their eyes, from a contemporary perspective.<\/p>\n

Peter Doig and Cezanne<\/strong><\/h2>\n

Cezanne\u2019s *The Swimmer* (1885), part of the MoMA collection and the first painting in the exhibition, embodies the artist\u2019s radicalism, which would go on to fascinate the artists who followed him. Its timeless strangeness resonates with the mystery of Symbolist works, from Gauguin to Doig. Its geometry and sculptural quality foreshadow Cubist nudes and herald the dawn of abstraction, as well as the canvases of Jasper Johns.<\/p>\n

\"Paul

\u201cLe Baigneur\u201d \u2014 Paul C\u00e9zanne, \u201cBather\u201d \u2014 Peter Doig; curated by<\/em><\/p><\/div>\n

Just like Cezanne\u2019s \u201cGrand Baigneur,\u201d Peter Doig\u2019s swimmer stands alone before a landscape. But while the former tilts his head downward, with his hands on his hips and one foot stepped forward, the latter holds his head upright and his hands at his chest, motionless. Doig, a follower of German Romanticism and Symbolism, sees something else in Cezanne\u2019s painting: not so much the brushstrokes or the permeable relationship between figure and background, but rather the enigmatic nature of the character.<\/p>\n

Roger Fry and C\u00e9zanne<\/strong><\/h2>\n

Roger Fry, a British artist and critic, played a decisive role in bringing Paul C\u00e9zanne to prominence, particularly among the artists of the Bloomsbury Group. In the exhibitions he organized in London on Post-Impressionism (1910 and 1912), he presented C\u00e9zanne as a key figure linking Impressionism to the artists of the early 20th century.<\/p>\n

\"Roger

\u201cCopy After a Self-Portrait by Ceyanne,\u201d Roger Fry; curatorial<\/em><\/p><\/div>\n

As a sign of admiration, he copied Cezanne\u2019s self-portrait, which had belonged to the art dealer Percy Moore Rurner before being purchased by the National Gallery in 1925. Alberto Giacometti also created a copy of a \u201cSelf-Portrait\u201d by Paul Cezanne in 1937, a work that is featured in the exhibition.<\/p>\n

\"Maurice

\u201cStill Life,\u201d 1907, Maurice de Vlaminck; curatorial<\/em><\/p><\/div>\n

Maurice de Vlamick and Pablo Picasso drew inspiration from C\u00e9zanne\u2019s still lifes featuring apples, and between 1917 and 1919, Modigliani painted \u201cLe Jeune Apprenti,\u201d inspired by the French artist\u2019s portraits.<\/p>\n

\"Modigliani,

\u201cLe Jeune Apprenti\u201d \u2014 Amedeo Modigliani, \u201cLa Femme \u00e0 la cafeti\u00e8re\u201d \u2014 Paul C\u00e9zanne; curated by<\/em><\/p><\/div>\n

\u201cPainting from life does not mean copying, but rather capturing sensations,\u201d Cezanne said.<\/p>\n

Pierre Soulage and C\u00e9zanne<\/strong><\/h2>\n

When he saw the \u201cPaul Cezanne\u201d exhibition at the Paul Rosenberg Gallery in 1939, Pierre Soulage said he experienced \u201cthe shock of living art.\u201d He would turn to abstraction after the war.<\/p>\n

\"Pierre

\u201cPainting 162×130 cm, June 29, 1956,\u201d Pierre Soulage; curatorial<\/em><\/p><\/div>\n

In the exhibition at the Grand Palais, in the work \u201cPeinture 162×130 cm, June 29, 1956,\u201d from the Centre Pompidou collection, Soulages depicts a visible interplay of brushstrokes applied to the surface of the canvas.<\/p>\n

\"C\u00e9zanne

\u201cCinq Baigneuses,\u201d Paul C\u00e9zanne; curatorial<\/em><\/p><\/div>\n

The exhibition traces the history of an unparalleled legacy, which unfolds both through an interplay of influences and through the recognition of a shared master, beginning with his earliest followers: in the 1880s and 1890s, at a time when C\u00e9zanne, weary of failure, had given up trying to exhibit his works, several painters were astonished to discover his work in Tanguy\u2019s father\u2019s store. His formal radicalism strengthened their pursuit of a \u201cpure\u201d art, already heading down the path of abstraction.<\/p>\n

\"C\u00e9zanne

\u201cCezanne et nous\u201d; curatorial<\/p><\/div>\n

The exhibition then explores the key moments in the artist\u2019s rise to prominence, beginning by highlighting the importance of the art dealer Ambroise Vollard, his vast collection, and the first exhibitions he dedicated to the artist between 1895 and 1906. It also mentions the first acquisitions by museums, the posthumous exhibition at the 1907 Salon d\u2019Automne, and the major international exhibitions of the 1910s.<\/p>\n

\"C\u00e9zanne

\u201cCezanne et nous\u201d; curatorial<\/em><\/p><\/div>\n

The exhibition illustrates the diversity of interpretations of C\u00e9zanne\u2019s work within the European and international avant-garde movements of the 1910s, which called into question the relationship between art and reality and, alongside C\u00e9zanne, on the idea that \u201cart is a harmony parallel to nature.\u201d<\/p>\n

\"Tom

\u201cStill Life #29,\u201d Tom Wesselmann; curated by<\/em><\/p><\/div>\n

This rich interpretation, present from the very beginning, serves as the central theme of the exhibition. It shows how, beginning with C\u00e9zanne, the triumph of modern art and the formalism associated with it\u2014the reduction of painting to its fundamental compositional elements\u2014are constantly being reinterpreted or transcended.<\/p>\n

\"Picasso

\u201cLes Pains,\u201d Pablo Picasso; curatorial<\/em><\/p><\/div>\n

The artist has become one of the undisputed pioneers of modern Western art and continues to be regarded, in the postwar period, by the key figures of a revival of abstractionism in Europe and the United States\u2014including both adherents of lyrical and optical abstractionism and those of \u201chard-edge\u201d painting. This nuanced history, in which everyone defends their own Cezanne just as much as the path they are exploring, is presented here.<\/p>\n

The exhibition \u201cCezanne et nous\u201d is on view in Paris through January 17, 2027.<\/p>\n

Main photo: Paul Cezanne in Aix-en-Provence, by Gertrud Osthaus; curatorial<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Matisse, Gauguin, Picasso, Signac, S\u00e9rusier, Doig, Warhol, Soulages, Mortensen, and Wesselmann are among the 78 artists who were inspired by Paul C\u00e9zanne\u2019s swimmers, portraits, landscapes, and still lifes. This is evident from the impressive exhibition dedicated to the painter at […]<\/p>\n","protected":false},"author":4,"featured_media":70228,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"none","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"categories":[6965],"tags":[7048,8658,7051,8657],"class_list":{"0":"post-70251","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art","8":"tag-exhibition","9":"tag-grand-palais","10":"tag-inspiration","11":"tag-paul-cezanne"},"_links":{"self":[{"href":"https:\/\/curatorial.ro\/en\/wp-json\/wp\/v2\/posts\/70251","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/curatorial.ro\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/curatorial.ro\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/curatorial.ro\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/curatorial.ro\/en\/wp-json\/wp\/v2\/comments?post=70251"}],"version-history":[{"count":0,"href":"https:\/\/curatorial.ro\/en\/wp-json\/wp\/v2\/posts\/70251\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/curatorial.ro\/en\/wp-json\/wp\/v2\/media\/70228"}],"wp:attachment":[{"href":"https:\/\/curatorial.ro\/en\/wp-json\/wp\/v2\/media?parent=70251"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/curatorial.ro\/en\/wp-json\/wp\/v2\/categories?post=70251"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/curatorial.ro\/en\/wp-json\/wp\/v2\/tags?post=70251"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}