Paul Cezanne, Pines And Rocks Essay

capital of Minnesota Cezanne, Pines and Rocks, 1896-99 Oil on Canvas Museum of Modern Art This simple characterisation of a small, intimate landscape is a good example of capital of Minnesota Cezannes mastery of the impressionist style. The scene is of a rocky path, perhaps a hiking trail on the side of a mountain, and a a couple of(prenominal) trees that veil the sky in patches of leaves. Cezannes method of characterization is quite an interesting, in that he paints each stroke like a surface of discolor, creating an overlapping mosaic. The palette he chose is also remarkable with bright, almost cartoonish Acherontic glasses of pigment that give an underlying sense of realism to the painting. Looking at Cezannes crap a lot makes one wonder if impressionism is a knowledge of light world cast on objects or of life being cast out from the object.The overall feel of a painting is often determined by the way each brushstroke is applied to the canvas. Cezannes work resembles a mosaic piece, except his blocks of color are intermixed and overlap eachother. distributively brushstroke rests on its own plane in the painted space, giving the painting a sense of depth unique to the three-dimensional information of the trees false in the distance and the boulders on the ground. The thick, dark outline of the trees and rocks also augment depth to the piece, separating the shaded trail from the bright midday sky. Using a secondary imagination, one can almost pick off individual leaves from the unfledged and brown patches of paint used to represent them.Cezannes choice of color is exceptional in expressing the particular mood in a scene, as shown in this painting. A rich blend of purples, reds, and browns in the rocks and tree boxers nicely compliments the bright blue sky and green foliage. The dull, subdued tones of the rocks give weight and gravity to the scene while the light and dark greens seem to dance in the winds of the sky blue background. tinder and shadows are also well done to add the final touch modality of depth to the piece.