Landscape of the Jas de Bouffan is a painting by French artist Paul Cézanne.
Paul Cézanne was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cézanne can be said to form the bridge between late 19th century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. The line attributed to both Matisse and Picasso that... Cézanne "is the father of us all" cannot be easily dismissed. Cézanne's often repetitive, sensitive and exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields, at once both a direct expression of the sensations of the observing eye and an abstraction from observed nature. The paintings convey Cézanne's intense study of his subjects, a searching gaze and a dogged struggle to deal with the complexity of human visual perception. The Cézannes came from the small town of Cesana now in West Piedmont, and it has been assumed that their name came from Italian origin.more
The National Museum of Art, Architecture and Design in Oslo is the national museum of art of Norway. It was established on 1 July 2003 through a merger of the Norwegian Museum of Architecture, the Museum of Decorative Arts and Design, the Museum of Contemporary Art, the National Gallery of Norway, and the National Touring Exhibitions. Its directors have been Sune Nordgren , Anne Kjellberg , Allis Helleland , Ingar Pettersen and Audun Eckhoff .... Chairmen of the board have been Christian Bjelland and Svein Aaser . Among its collection is one of the versions of The Scream by Edvard Munch.more
Post-Impressionism is the term coined by the British artist and art critic Roger Fry in 1910 to describe the development of French art since Manet.... Fry used the term when he organized the 1910 exhibition Manet and the Post-Impressionists. Post-Impressionists extended Impressionism while rejecting its limitations: they continued using vivid colours, thick application of paint, distinctive brush strokes, and real-life subject matter, but they were more inclined to emphasize geometric forms, to distort form for expressive effect, and to use unnatural or arbitrary colour. The Post-Impressionists were dissatisfied with the triviality of subject matter and the loss of structure in Impressionist paintings, though they did not agree on the way forward. Georges Seurat and his followers concerned themselves with Pointillism, the systematic use of tiny dots of colour. Paul Cézanne set out to restore a sense of order and structure to painting, to "make of Impressionism something solid and durable, like the art of the museums". He achieved this by reducing objects to their basic shapes while retaining the bright fresh colours of Impressionism.more