Mont Sainte Victoire Seen From The Bibemus Quarry by Cezanne
One of Cezanne's countless extensive works is the view of Mont Sainte Victoire from the Bibemus Quarry. The work depicts a mountain looming above a pile of stones.
Furthermore, the attractiveness is enhanced by the trees in the front and some near the summit. The vibrant optical work is created by the flawless blend of the colors.
Mont Sainte Victoire Seen From The Bibemus Quarry Painting
The use of quick, voluntary, and loose brush strokes to convey nature and the beautiful color scheme to the composition; With a reddish orange hue at the base of the Bibemus quarry and a subtle shade of blue in the distance, Cezanne asserted that the Monte Sainte Victoire was a beautiful painting.
Despite being a sluggish painter, he was able to convey a variety of themes in his work. His ability to depict landscape paintings with such sensitivity and efficiency was incredible.
The work of art is amazing, capturing a panoramic vista of the mountain's splendor. His scene painting techniques bring forth the authenticity of life. Drawing the artwork from a lower level requires him to use his imagination to create a colossal sketch that conveys power and valor.
The mountain is located in the southern area of France and is associated with many mythological ideas. The ability of Cezanne to create a chromatic image with dimensional brushstrokes was a stronghold in modern painting. His ability to create exquisite still life paintings was a plus to his work.
Paul Cézanne Style in Mont Sainte Victoire
His artistic abilities were clear as he attempted to depict emotions and life-changing experiences in a painting, which made him stand out and make him a pioneer for some of the world's most famous artists.
The summit was seen at a great distance in early photographs of Mont Sainte-Victoire, and its position in the expansive landscape gave it a stronger sense of peace. Cézanne depicts the summit closer within this painting, although it's considerably more difficult to reach than previously.
Instead of holding the spectator above the valley, he creates an abyss viewpoint with the quarry, through which he may see the opposing cliffs and the rising peak.
The environment is dramatic as a result of this process, packed with straining, titanic energy; nonetheless, these are beyond the observer's sphere, beyond proximity.
The mountain is set on a massive pedestal of rock surrounded by trees, like a heroic sculpture. While one side climbs in a sheer, uninterrupted slope, while the other, a curiously agitated line, abruptly reverses its trajectory.
We recognize the pinnacle on the mountain for the first time as an unique object with a distinctive feature, or with two sides, similar to a human face.
It has lost its traditional symmetry and has evolved into a more complex, dynamic shape. At the same time, due to its spatial location - near to the top portion of the painting and right above the quarry's sidewalls - its ascent, or straining upward motion, is more obvious.
A deep vertical chasm at its concave base, dividing the quarry wall in two and defined by unstable, skewed trunks, adds to the agitated effect in this implementation of high forces and heat, yet there is no broad vertical plain, no vast base of earth, to calm the innate structure.
The late-style penchant for the vertical direction, which we saw in the Louvre still life, is reproduced in this landscape with magnificent intensity, but in a different expressive meaning. The mountain is as prominent as the nearest objects, and much more so when compared to the woods below, which have more hazy (and often vanishing) outlines.
The items grow larger as we move first from background to the distance, like in a primitive objective standpoint.
The large mass of the tree in the upper right appears to come from the same realm of space as the hill, and it is only when we trace the wavy path of its trunk along the canvas's edge that we realize its true location in the foreground.
Greens in the front and distant are very similar, combining their many planes in the same accent scheme. The most opposing chord, the orange stones and blue sky, also connects the farthest and nearest space.
Across that depth is a scale of purple, rose, and purplish tones. This closer view, like the still lifes, is related to greater intensity of emotion. Before Cézanne, there were few landscapes in which tangerine and blue were used in such a big, bright contrast.
As he grew older, Cézanne sequestered himself in the countryside of Aix-en-Provence, avoiding the Parisians who insulted him so frequently. With his artistic tools, he continues to explore the areas where he spent his boyhood.
He broke away from the painters of his time and underlined the distinctiveness of his style. Instead of disintegrating the forms as in this painting, he emphasizes the contours, carves the dimensions, and protrudes the masses.
He also avoids using little delicate strokes to break down the light, instead choosing for layering and a broad brushstroke. The rich emerald of the trees contrasts sharply with the brilliant ocher of the rocks, creating a striking and contrasting scene.
Despite the reality that it is vibrating, this scene has a weight to it. Against the geometrical surface of the Bibémus ocher plateau, the Sainte-Victoire mountain rises majestically and massively.
It manifests as a representation of nature's eternal and unchangeable forces. The artist seems to be striving to transport us to a state of grace. The deep blue sky draws the spectator's eye away from the quarry's fiery and restless depths before climbing the mountain up towards the heavenly vault.
According to specialists, it marks a transition from the world of deadly cravings to the world of moderation and tranquility. Cézanne is more interested with expressing himself here than with being truthful to reality, with reconstructing the world with a hue and density balance.
Where to view the Mont Sainte Victoire?
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