Paul Cézanne - Bathers at Rest (Bathers at rest) - fine art print

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Paul Cezanne exhibited Bathers at Rest at the third impressionist exhibition in 1877. In the 1870s he had been working closely with Camille Pissarro, who encouraged him to paint directly from nature-a central tenet of the impressionist approach. Cezanne wrestles here with the naturalist lessons of Pissarro and his colleagues but ultimately throws off the yoke to produce one of the great masterworks of his career, a painting unlike anything that had come before it. The canvas shows a group of male bathers in a landscape around Aix-en-Provence, with Mont Sainte-Victoire towering in the distance. Two bathers wade in the water, another reclines on the grass, and a fourth seems to be either stretching or undressing. Despite their physical proximity, there is no interaction among the figures; each occupies a separate zone and looks in a distinctly different direction. If critics in 1877 were perplexed by the bathers' strange behavior, they also disapproved of their aggressively strange anatomies. The gender of the reclining figure, for example, is difficult to read, and the bather in the foreground--to whom Cezanne would return years later, in his Bather of 1885 (The Museum of Modem Art, New York)--stands with hunched shoulders and pawlike hands of a jarring reddish color. In this figure especially, the paint is so thick as to be almost sculptural. Across his torso, the colors shift suddenly in patches of green and yellow, while a disruptive blue shadow cuts into his shoulder, its sharp edge mimicking the shape of the mountain. In Bathers at Rest, the impressionist concern with the fleeting effects of light and atmosphere is exchanged for something much more structural. Paint is deployed to build solid forms that are insistent in their physicality--the nude bodies, for example, which are reiterated in the structure of the landscape. Clouds are not misty and vaporous, as one might expect, but thick, material entities that seem carved into the sky. Perhaps the most radical moment in this picture is the bright green patch of light falling in a perfect triangle. Cezanne is working from nature, observing it intently and yet developing his own idiosyncratic vocabulary for representing it. This was the central contradiction of the artist's project, and he would struggle with it, to brilliant result, for the rest of his life. Martha Lucy, The Barnes Foundation: Masterworks (New York: Skira Rizzoli, 2012), 161.

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The work of art was painted by the male French artist Paul Cézanne. The painting measures the size: Overall: 32 3/8 × 39 13/16 in (82,2 × 101,2 cm). Oil on canvas was used by the European artist as the medium of the piece of art. This artwork is included in the Barnes Foundation's digital art collection, which is located in Philadelphia, Pennsylvania, United States of America. With courtesy of: Courtesy of the Barnes Foundation, Merion and Philadelphia, Pennsylvania (license - public domain).Additionally, the artpiece has the following creditline: . Moreover, alignment is in landscape format and has an image ratio of 1.2 : 1, meaning that the length is 20% longer than the width. The painter Paul Cézanne was an artist, whose artistic style can primarily be classified as Impressionism. The European artist was born in 1839 and passed away at the age of 67 in the year 1906.

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