Paul Cezanne :

In Paul Cezanne's quest to explore the possibilities of color, watercolors had a major role. They were studies for his paintings and were often key to understand those works, yet they offered him an aesthetic that painting simply couldn't achieve. Knowing all this, we could still consider them proper artworks in their own right, which toward the end of the artist's, they actually were. The most notable examples of Cezanne's watercolors are those of Mont Sainte-Victoire, close to Aix-en-Provence.

Introduction:
Born on January 19, 1839, Paul Cezanne was a French Post-Impressionists whose works served as the foundation for modern art. In particular, Cezanne's was a forerunner of Cubism, influencing the great minds of artists such as Pablo Picasso. Bridging the gap between late 19th century Impressionism with the new 20th century modern art, Cezanne's work demonstrated a mystery of the principles of art spanning from landscape painting to portrait. This article will explore the artistic mindset of Cezanne as well as his greatest works. Making Impressionism Solid and Enduring: Trained as a painter, Cezanne initially accepted the principles of Impressionist art and took great inspiration from artists like Camille Pissarro. Eventually, Cezanne came to a realization that Impressionism lacked one critical ingredient: structure. Armed with this new revelation, Cezanne desired to "make Impressionism something solid and enduring," which naturally led him to formulate a new approach to art. Cezanne does not aim for hyperrealistic depictions. Instead, his goal was to have a structure behind the fleeting visuals of Impressionist art. Furthermore, he believed that lines, planes, colours and light should all synthesize together in a unified order. To achieve this, Cezanne explored the qualities above and their interrelationships through careful examination of hue, saturation and value. These experimentations became the foundations for his compositions, which would go on to influence Post-Impressionists and beyond.

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