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See also
Self-portrait in a Convex Mirror (book)
Notes
References
Hartt, Frederick, History of Italian Renaissance Art, (2nd edn.)1987, Thames & Hudson (US Harry N Abrams), ISBN 0500235104
Parmigianino, Cecil Gould. ISBN 1-55859-892-8
Parmigianino: The Paintings, Mary Vaccaro. ISBN 88-422-1131-1
Parmigianino: The Drawings, Sylvie Beguin et al. ISBN 88-422-1020-X
The Story of Art, E.H. Gombrich, London : Phaidon Press, Ltd., 1995 ISBN 0-7148-3247-2
Parmigianino and European Mannerism Kunsthistorisches Museum Vienna in English
External links
Media related to Parmigianino at Wikimedia Commons
Parmigianino's biography, style and artworks
Parmigianino Biography at the National Gallery
Parmigianino Gallery at MuseumSyndicate
Prints & People: A Social History of Printed Pictures, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Parmigianino (see index)
Rossetti, William Michael (1911). "Parmigiano" . Encyclopædia Britannica. Vol. 20 (11th ed.). p. 853.
Paul Bril (1554 – 7 October 1626) was a Flemish painter and printmaker principally known for his landscapes. He spent most of his active career in Rome. His Italianate landscapes had a major influence on landscape painting in Italy and Northern Europe.
Life
Paul Bril is believed to have been born in Antwerp although his birthplace may have been Breda. He was the son of the painter Matthijs Bril the Elder. Paul and his older brother Matthijs likely started their artistic training with their father in Antwerp. Paul may also have been a student of the Antwerp painter Damiaen Wortelmans who was specialised in the decoration of harpsichords.
Matthijs moved to Rome probably around 1575. Here he worked on several frescoes in the Vatican Palace. It is believed Paul joined his brother in Rome around or after 1582.
When Matthijs died in 1583, his brother likely continued his work, picking up many of Matthijs' commissions. Paul's earliest known works date from the late 1580s. He established his reputation with commissions from Pope Gregory XIII in the Collegio Romano. His success was assured after Pope Sixtus V became his principal patron. Bril was part of a team specialized in landscape painting and thus participated in almost every assignment which entailed decorative landscapes, such as in the Basilica di Santa Maria Maggiore, the Vatican Palace and the Scala Santa. Another important early commission was the fresco cycle in the Santa Cecilia in Trastevere in Rome of around 1599.
Pope Clement VIII also became his patron and gave the artist a commission for a monumental seascape on the Martyrdom of St. Clement. Paul Bril completed this commission in the Vatican Palace's Sala Clementina in collaboration with the brothers Giovanni and Cherubino Alberti (1600–02/3). In 1601 Paul received another major commission, to paint a series of large canvases featuring properties of the Mattei family. Paul further painted landscape frescoes in the Casino dell'Aurora of the Palazzo Pallavicini-Rospigliosi in Rome.
His patrons were among the most influential people in Rome and included members from the Colonna, Borghese, Mattei and Barberini families in Rome as well as Cardinal Federico Borromeo in Milan, Cardinal Carlo de’ Medici in Florence and Duke Ferdinando Gonzaga in Mantua.
In 1621, Paul Bril became director of the Accademia di San Luca, the artists' academy in Rome. This was a clear sign of the high esteem in which he was held by his fellow artists in Rome as he was the first foreigner to hold this position.
He had many students including his son Cyriacus Bril, Luigi Carboni, Balthasar Lauwers, Willem van Nieulandt II, Pieter Spierinckx, Agostino Tassi and Hendrick Cornelisz Vroom. Karel Philips Spierincks may also briefly have been his pupil.
Paul Bril died in Rome in 1626.
Work
Paul Bril initially painted in the late Mannerist style developed by his brother. These early landscapes are in the Flemish tradition inaugurated by Joachim Patinir and Pieter Bruegel the Elder and further developed by his own brother. Works from this early period were characterised by a picturesque arrangement of landscape elements and violent contrasts between light and dark. These early paintings also show strong contrasts of forms to create a sense of dramatic motion. Bril contrasted steep cliffs with chasms or dark, twisting trees growing from hills next to flat, sunlit pastures.
His style changed during his stay in Rome. His compositions became calmer and his style more classicising around 1605. This may have been due to the influence of Annibale Carracci and Adam Elsheimer. The works from this period have lower horizons and less abrupt transitions from foreground to background. The subjects are typically pastoral or bucolic scenes and mythological subjects. This late style had a strong influence on the development of Flemish landscape painting and was crucial to Claude Lorrain's formation of the classical landscape.
Agostino Tassi may have been Paul's pupil. Tassi later became the master of Claude Lorrain. Paul Bril thus forms one of the links between the panoramic views of Joachim Patinir and the ideal landscape evolved by Nicolas Poussin and Claude Lorrain. Bril is considered a precursor of the Dutch Italianates such as Cornelius van Poelenburgh and Bartholomeus Breenbergh, and, to a certain extent, of the Flemish and Dutch genre painters active in Rome known as the Bamboccianti.
Paul also painted small cabinet paintings on copper and panel commencing from the 1590s. Some of these he signed with a pair of glasses, a pun on the Flemish word bril which means "glasses". These small-scale paintings depicted subjects that he and his brother had rendered before on a large scale, such as tempestuous seascapes, hermits in the wilderness, travelling pilgrims, peasants among ancient ruins, hunters and fishermen.
A prolific draftsman, his drawings were popular with collectors and were copied by the many students who worked with him in his studio, which was a popular destination for Dutch and Flemish artists visiting Rome.
He often collaborated on paintings with Johann Rottenhammer. According to a dealer's letter of 1617, Rottenhammer painted the figures in Venice and then sent the plates to Rome for Bril to complete the landscape. Bril also collaborated with his friends Jan Brueghel the Elder and Adam Elsheimer, whom he both influenced and was influenced by. His collaboration with Elsheimer is shown in a painting now in Chatsworth House. Bril introduced Jan Brueghel the Elder to Cardinal Federico Borromeo, who subsequently became Brueghel's most important patron. He also let the Dutch landscape artist Bartholomeus Breenbergh live in his Roman residence for many years.
See also
River View with Rocks, oil on copper anonymous copy of an original by Bril
References
Further reading
Peter and Linda Murray, The Penguin Dictionary of Art and Artists. Fifth Edition: Revised and Enlarged (Penguin Books, London, 1988), 51.
Carla Hendriks, Northern Landscapes on Roman Walls: The Frescoes of Matthijs and Paul Bril. (Florence : Centro Di della Edifimi, c2003).
Rudolf Baer, Paul Bril: Studien zur Entwicklungsgeschichte der Landschaftsmalerei um 1600. (Munich: J.B. Grassi, 1930).
Hanno Hahn, Paul Bril in Caprarola. Miscellanea Bibliothecae Hertzianae, Roma, 1961.
Francesca Cappelletti, Paul Bril e la pittura di paesaggio a Roma, 1580-1630. (Rome: Ugo Bozzi, c.2006).
Louisa Wood Ruby, Paul Bril: The Drawings. (Turnhout: Brepols, 1999).
Anton Mayer, Das Leben und die Werke der Brueder Matthaeus und Paul Brill. (Leipzig: K.W. Hiersemann, 1910).
Giorgio T. Faggin, Per Paolo Bril, in Paragone, CLXXXV, 1965.
External links
Media related to Paul Bril at Wikimedia Commons
Paul Cézanne ( say-ZAN, UK also siz-AN, US also say-ZAHN; French: [pɔl sezan]; 19 January 1839 – 22 October 1906) was a French Post-Impressionist painter whose work introduced new modes of representation and influenced avant-garde artistic movements of the early 20th century, whose work formed the bridge between late 19th-century Impressionism and early 20th century Cubism.
While his early works were influenced by Romanticism – such as the murals in the Jas de Bouffan country house – and Realism, Cézanne arrived at a new pictorial language through intense examination of Impressionist forms of expression. He altered conventional approaches to perspective and broke established rules of academic art by emphasizing the underlying structure of objects in a composition and the formal qualities of art. Cézanne strived for a renewal of traditional design methods on the basis of the impressionistic colour space and colour modulation principles.
Cézanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne's intense study of his subjects.
His painting initially provoked incomprehension and ridicule in contemporary art criticism. Until the late 1890s it was mainly fellow artists such as Camille Pissarro and the art dealer and gallery owner Ambroise Vollard who discovered Cézanne's work and were among the first to buy his paintings.
In 1895, Vollard opened the first solo exhibition in his Paris gallery, which led to a broader examination of Cézanne's work. Both Henri Matisse and Pablo Picasso are said to have remarked that Cézanne "is the father of us all".
Life and work
Early years and family
Paul Cézanne was born on 19 January 1839 at 28 rue de l'Opera in Aix-en-Provence, the son of the milliner and later banker Louis-Auguste Cézanne and Anne-Elisabeth-Honorine Aubert. His parents married on 29 January 1844, after the birth of Paul, and his sister Marie in 1841. His youngest sister Rose was born in June 1854. The Cézannes came from the commune of Saint-Sauveur (Hautes-Alpes, Occitania). On 22 February, he was baptized in the Église de la Madeleine, with his grandmother and uncle Louis as godparents, and became a devout Catholic later in life. His father, Louis Auguste Cézanne (1798–1886), a native of Saint-Zacharie (Var), was the co-founder of a banking firm (Banque Cézanne et Cabassol) that prospered throughout the artist's life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance.
His mother, Anne Elisabeth Honorine Aubert (1814–1897), was "vivacious and romantic, but quick to take offence". It was from her that Cézanne got his conception and vision of life. He also had two younger sisters, Marie and Rose, with whom he went to a primary school every day.
At the age of ten Cézanne entered the Saint Joseph school in Aix. Classmates were the later sculptor Philippe Solari and Henri Gasquet, father of the writer Joachim Gasquet, who was to publish his book Cézanne in 1921, a testament to the life of the artist. In 1852 Cézanne entered the Collège Bourbon in Aix (now Collège Mignet), where he became friends with Émile Zola, who was in a less advanced class, as well as Baptistin Baille—three friends who came to be known as "Les Trois Inséparables" (The Three Inseparables). It was probably the most carefree time of his life as the friends swam and fished on the banks of the Arc. They debated art, read Homer and Virgil and practiced writing their own poems. Cézanne often wrote his verses in Latin. Zola urged him to take poetry more seriously, but Cézanne saw it as just a pastime. He stayed there for six years, though in the last two years he was a day scholar. In 1857, he began attending the Free Municipal School of Drawing in Aix, where he studied drawing under Joseph Gibert, a Spanish monk.
At the request of his authoritarian father, who traditionally saw in his son the heir to his bank Cézanne & Cabassol, Paul Cézanne enrolled in the law faculty of the University of Aix-en-Provence in 1859 and attended lectures for the study of jurisprudence. He spent two years with his unloved studies, but increasingly neglected them and preferred to devote himself to drawing exercises and writing poems. From 1859, Cézanne took evening courses at the École de dessin d'Aix-en-Provence, which was housed in the art museum of Aix, the Musée Granet. His teacher was the academic painter Joseph Gibert (1806–1884). In August 1859 he won second prize in the figure studies course there.
His father bought the Jas de Bouffan (House of the Wind) estate that same year. This partly derelict baroque residence of the former provincial governor later became the painter's home and workplace for a long time. The building and the old trees in the park of the property were among the artist's favorite subjects. In 1860, Cézanne obtained permission to paint the walls of the drawing room, and created the large-format murals of the four seasons: spring, summer, autumn and winter (today in the Petit Palais in Paris), which Cézanne ironically signed as Ingres, whose works he did not appreciate. The winter picture is additionally dated 1811, alluding to Ingres' painting Jupiter and Thetis, painted at that time and on display in the Musée Granet.
Going against the objections of his banker father, he committed himself to pursue his artistic development and left Aix for Paris in 1861. He was strongly encouraged to make this decision by Zola, who was already living in the capital at the time and urged Cézanne to abandon his hesitancy and follow him there. Eventually, his father reconciled with Cézanne and supported his choice of career, on condition that he begin a regular course of study, having given up hope of finding Paul as his successor in the banking business. Cézanne later received an inheritance of 400,000 francs from his father, which rid him of all financial worries.
Studies in Paris
Cézanne moved to Paris in April 1861. The high hopes he had set in Paris were not fulfilled, as he had applied to the École des Beaux-Arts and was turned down. He attended the free Académie Suisse, where he was able to devote himself to life drawing. There he met Camille Pissarro, ten years his senior, and Achille Emperaire from his hometown of Aix. He often copied at the Louvre from works by old masters such as Michelangelo, Rubens and Titian. But the city remained alien to him, and he soon thought of returning to Aix-en-Provence.
Initially, the friendship formed in the mid-1860s between Pissarro and Cézanne was that of master and disciple, in which Pissarro exerted a formative influence on the younger artist. Over the course of the following decade, their landscape painting excursions together, in Louveciennes and Pontoise, led to a collaborative working relationship between equals.
Zola's faith in Cézanne's future was shaken. In June he wrote to their childhood friend Baille: "Paul is still the excellent and strange fellow I knew at school. To prove that he hasn't lost any of his originality, I have only to tell you that as soon as he got here he talked about returning." Cézanne painted a portrait of Zola that Zola had asked for to encourage his friend, but Cézanne was unsatisfied with the result and destroyed the picture. In September 1861, disappointed by his rejection at the École, Cézanne returned to Aix-en-Provence and worked again in his father's bank.
In the late autumn of 1862 he moved to Paris again. His father secured his subsistence level with a monthly sum of over 150 francs. The traditional École des Beaux-Arts rejected him again. Again Cézanne attended the Académie Suisse, which promoted Realism. During this time he got to know many young artists, after Pissarro also Claude Monet, Pierre-Auguste Renoir and Alfred Sisley.
In contrast to the official artistic life of France, Cézanne was under the influence of Gustave Courbet and Eugène Delacroix, who strove for a renewal of art and demanded the depiction of unembellished reality. Courbet's followers called themselves "realists" and followed his principle Il faut encanailler l'art ("One must throw art into the gutter"), formulated as early as 1849, which means that art must be brought down from its ideal height and become a matter of everyday life. Édouard Manet made the definitive break with historical painting, concerned not with analytical observation, but with the reproduction of his subjective perception and the liberation of the pictorial object from symbolic burdens.
The exclusion of the works of Manet, Pissarro and Monet from the official salon, the Salon de Paris, in 1863 provoked such outrage among artists that Napoleon III had a “Salon des Refusés” (salon of the rejected) set up next to the official salon. Cézanne's paintings were shown in the first exhibition of the Salon des Refusés in 1863. The Salon rejected Cézanne's submissions every year from 1864 to 1869. He continued to submit works to the Salon until 1882. In that year his artist friend Antoine Guillemet became a member of the Salon jury. Since each jury member had the privilege of showing a picture of one of his students, he passed off Cézanne as his student and secured his first participation at the Salon. He exhibited Portrait de M. L. A., probably Portrait of Louis-Auguste Cézanne, The Artist's Father, Reading "L'Événement", 1866 (National Gallery of Art, Washington, D.C.), although the painting was hung in a poorly lit spot in the top row of a secluded hall and received no attention. This was to be his first and last successful submission to the Salon.
In 2022 a portrait was discovered beneath the 1865 Still Life with Bread and Eggs when the Cincinnati Art Museum's museum's chief conservator, Serena Urry, removing the painting from an exhibit in which it had been included and examining it for potential maintenance requirements, noticed unusual patterns in the cracking and "on a hunch" had it x-rayed. Because Cézanne dated few paintings, it is believed to be the earliest firmly dated portrait by the artist. Museum curators believe it is likely a self-portrait; if so it may also be one of the earliest depictions of the artist, who was in his 20s the year he painted the still life.
In the summer of 1865, Cézanne returned to Aix. Zola's debut novel La Confession de Claude was published, it was dedicated to his childhood friends Cézanne and Baille. In the autumn of 1866, Cézanne executed a whole series of paintings using the palette knife technique, mainly still lifes and portraits. He spent most of 1867 in Paris and the second half of 1868 in Aix. At the beginning of 1869 he returned to Paris and met the bookbinder's assistant Marie-Hortense Fiquet, eleven years his junior, at the Académie Suisse
L'Estaque – Auvers-sur-Oise – Pontoise 1870–1874
On 31 May 1870, Cézanne was best man at Zola's wedding in Paris. During the Franco-Prussian War, Cézanne and Hortense Fiquet lived in the fishing village of L'Estaque near Marseille, which Cézanne would later visit and paint frequently, as the place's Mediterranean atmosphere fascinated him. He avoided conscription for military service. Although Cézanne had been denounced as a deserter in January 1871, he managed to hide. No further details are known as documents from this period are missing.
After the Paris Commune was crushed the couple returned to Paris in May 1871. Paul fils, the son of Paul Cézanne and Hortense Fiquet was born on 4 January 1872. Cézanne's mother was kept a party to family events, but his father was not informed of Hortense for fear of risking his wrath and so as not to lose the financial allowances that his father gave him to live as an artist. The artist received from his father a monthly allowance of 100 francs.
When Cézanne's friend, the crippled painter Achille Emperaire, sought refuge with the family in Paris in 1872 due to financial hardship, he soon left his friend however "[...] it was necessary, otherwise I would not have escaped the fate of the others. I found him here abandoned by everyone. […] Zola, Solari and all the others are no longer mentioned. He's the strangest guy imaginable."
From late 1872 to 1874, Cézanne lived with Hortense and their son Paul in Auvers-sur-Oise, where he met the doctor and art lover Paul Gachet, later the painter Vincent van Gogh's doctor. Gachet was also an ambitious hobby painter and made his studio available to Cézanne.
In 1872, Cézanne accepted an invitation from his friend Pissarro to work in Pontoise in the Oise Valley. Pissarro, as a sensitive artist, became a mentor to the shy, irritable Cézanne, whome he was able to persuade to turn away from the darker colours, and gave him advice to "Always only paint with the three primary colours (red, yellow, blue) and their immediate deviations," and refrain from linear contouring, defining shapes from the gradation of the colour tonal values. Cézanne felt that the Impressionist technique was bringing him closer to his goal and heeded his friend's advice. Pissarro later reported: "We were always together, but still each of us kept what counts alone: our own feelings."
First Impressionist group exhibitions from 1874
The young painters in Paris did not see any support for their works in the Salon de Paris and therefore took up Claude Monet's plan for their own exhibition, which had been made in 1867. From 15 April to 15 May 1874, the first group exhibition of the Société anonyme des artistes, peintres, sculpteurs, engravers, later known as the Impressionists, took place. This name derives from the title of the exhibited painting Impression soleil levant by Monet. In the satirical magazine Le Charivari, the critic Louis Leroy described the group as "Impressionists" and thus created the term for this new art movement. The place of exhibition was the studio of the photographer Nadar on Boulevard des Capucines.
Pissarro pushed through Cézanne's participation despite concerns from some members who feared Cézanne's bold paintings would harm the exhibition. Cézanne was influenced by their style but his social relations with them were inept—he seemed rude, shy, angry, and given to depression. In addition to Cézanne, Renoir, Monet, Alfred Sisley, Berthe Morisot, Edgar Degas and Pissarro, among others exhibited. Manet declined participation, for him Cézanne was "a mason who paints with a trowel". Cézanne in particular caused a sensation, arousing indignation and derision from the critics with his paintings such as the Landscape near Auvers and the Modern Olympia. In A Modern Olympia, created as a quote from Manet's 1863 painting Olympia, which was often reviled, Cézanne sought an even more drastic depiction and in addition to the prostitute and servant, also showed the suitor, whose figure is believed to be a self-portrait.