Paul Cezanne was a painter who understood and cherished art, a notion that made him comfortable with his brush that he was with people. Moreover, he is known as one of the most influential artists of the twentieth-century paintings. As post impressionist artist, Paul (1839-1906) has inspired generations of modern artists. Through his distinct method of using a building form and color and analytics approach to the nature-inflected artist and art of Fauvists, Cubists, and a number of successful generations of avant-garde artist. Paul began painting at his birthplace in France during the 1860s, he used dramatic tonal contrast and incorporated them with thick layers of pigment. One of Paul’s significant works is the Mont Sainte-Victoire Seen from the Bibemus Quarry, which is an oil painting at the Baltimore Museum of Art.
On its first appearance, the picture of the Monte Sainte-Victoire the mountain is considerably seen vaguely at a distance, but the broad viewing panorama gives a better view and responses to the beautiful artwork. Coming closer the Cezanne comes out even closer appearing to the peak appearing even more accessible. Moreover, instead of suspending the painting observation just about the valley the painter places him between the main object which is an abyss and the quarry across where its void one views the distinctive opposite rocks and the mounting peaks. In this case, the landscape depicted has become gigantic pedestal or rock which is enclosed by trees. For instance, on one particular it rises in sheer and unbroken slope while the other is strangely animated line; however it changes its course in some abrupt breaks. Distinctively, one notices the peak as a particular object with a different profile. Moreover, the painting has depicted an old and classic symmetric and natural pyramid, with a deep and vertical cleft at the base, which splits the quarry wall into two unstable and tilted trunks which the add a twitchy effect in this scenery of pressure and heat.
Notably, there is the taste and use of vertical place, as seen in the painting and have a typical style of the late age; this is realized in this scenery with a grandiose force, however; appearing with another expressive sense. Moreover, the mountain is distinct as the object near it, it is even more distinctive with the kind of aspect used in its drawing, and this is the drawing of the outline with the vaguer and disappearing silhouettes of the tall trees beneath it. Apparently, as one moves from the foreground to the distance the objects themselves become large, in an exclusive and emotional aspect. Moreover, the massive tree at the upper right seemingly belongs to the same space of the region as the mountain, but only when one follows the wavy line of its continuous trunk at the edge of the canvas when you realize its particular place at the forefront. However, a similar green shade is seen in the forefront and the distance, while uniting the separate panes in the similar scheme of accents. Apparently, the strong and contrasting chord is the orange rocks and blue skies, which also binds the most distance and nearest spaces together. Besides, a distinct scale of lavender rose, and some purple tones extend across the same depth.
Personally, the concept implied by the artist presents a beautiful art of the depiction of nature; looking at it in a different perspective the painting presents various types of themes, exceptionally and distinctively in every one of them. Firstly, it depicts beauty; the vividness of the mountains from any standpoint from the painting presents an artistic depiction of the natural beauty of the landscape. Moreover, the green trees show the life exemplified by nature and it continues manifestation of natural life. On the other hand, the mountain as seen in a far angle also depicts the intrinsic beauty of physical features and their power against us. In essence, the trees portray the continuous existent and rigidity despite the condition human beings put the environment against, this is an illustration of this rigidity. Evidently, through this depiction, the artist is able to capture one’s attention and appreciate natural landscapes’ beauty. Although this form of art has been used by many artists, Paul is able to resent it in a distinct way by combining several aspects, of life nature and those that do not have a life. For example, the mountain does not have a life but continue to exist while the trees have life thus the deep green depiction they illustrate.
Particularly, the painting use of a paintbrush and the use of oil presents the painter’s creativity in the application of artistic tools, through the use of this, he is able to bring out several colors and exhibit them to landscape painting with each color distinctively providing a specific part of the painting. However, despite the painting being several decades old, he is able to recognize the importance of colors such as violet lining and the blues skies. Moreover, the painter’s artistic depiction of these colors in an oil painting provides an illusion of creativity and professionalism. For instance, the blue skies present various shades; this distance notion is evidence of the painters talent and the utilization of the color informally to illustrate his artistic impression. Moreover, the aspect of shade also applied to other parts of the painting provides a distinction of each aspect, for instance, the shades of green in the trees have helped it to be specifically recognizable from other parts of the painting.
Through the painters portraying different aspects of the environment in the use of oil and brush depicts his vivid understanding and actualization of nature, for instance; personally, I think the quarry represents the human involvement in the environment, the trees the continuity of life and the mountain the natural resources of the earth itself. Through a distinct color illustration, the painter has illustrated his understanding of nature in a possible perspective, moreover, through the use of different possibilities of colors the painter presents how vivid nature is eyes to the eyes of human beings. For instance, one clearly differentiates the sky and the mountains, an aspect that most painters do not realize, but the artistic expression of Paul is clearly visible in this piece of art.
Evidently, the artist is able to create an imperceptible transition of light in the blue skies the quarry and the trees; he is able to blend between colors with brush strokes so subtle that the naked eye cannot detect. Moreover, the same stroke provides shades in a manner that various aspects are realized, for instance, all the aspects, trees, quarry, mountain and skies have been placed without the use of the border. Evidently, the artist has realized this conceptual skill with an oil painting, depicting compositeness and talent, a theme that should be incorporated in contemporary art. Moreover, the actualizing of this brush strokes are evident in other paintings but have a distinct feeling when presented in landscape painting like the one in the museum.
In conclusion, the painting at BMA presents a visually satisfying art of the late period on the landscape, a period that oil painting dominated the art world with each artist presenting different forms of its worth. However, Paul has visually transformed a landscape with various forms of nature to painting that has remained relevant to date.
Moreover, the painting provides one with a visual concept of the environment striking a feeling of relief through the rigidity it exemplifies in the various colors it has. The painting use of nature as a subject is appropriate in the notion that nature is a natural aspect and its indulgence in humans will always remain, in addition, the landscape art’s beauty promotes a positive conception of the art society. Lastly, such paiting presents a distinct lesson on how to approach and provide a visual concept that is appealing, moreover, Paul’s work continue to provide consciousness on the landscaping art works to various visitors of the BMA art gallery.