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House of Père Lacroix by Paul Cézanne (4991373007)

House of Père Lacroix by Paul Cézanne (4991373007)
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House of Pe?re Lacroix by Paul Ce?zanne ) French: La Maison du pere Lacroix, Auvers-sur-Oise?La Maison du pere Lacroix, Auvers-sur-Oise (House of Pere Lacroix)title QS:P1476, fr:La Maison du pere Lacroix, Auvers-sur-Oise? label QS:Lfr, La Maison du pere Lacroix, Auvers-sur-Oise? labe... Read more

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House of Père Lacroix by Paul Cézanne (4991373007)

House of Pe?re Lacroix by Paul Ce?zanne ) French: La Maison du pere Lacroix, Auvers-sur-Oise?La Maison du pere Lacroix, Auvers-sur-Oise (House of Pere Lacroix)title QS:P1476, fr:La Maison du pere Lacroix, Auvers-sur-Oise? label QS:Lfr, La Maison du pere Lacroix, Auvers-sur-Oise? label QS:Len, La Maison du pere Lacroix, Auvers-sur-Oise (House of Pere Lacroix) label QS:Lde, Das Haus des Pere Lacroix; House of Pere Lacroix, 1873 by Paul Cezanne, oil on canvas To brighten Cezannes dark palette knife, Pissarro told him Never paint except with the three primary colors.... The bright hues and quickly worked brushstrokes reveal here the effect of Pissarros influence. Greens and yellows contrast in the foreground, and multihued vertical drags of the brush recreate watery reflections. Cool shadows contrast with the orange of a tiled roof. Light emphasizes the blond planes of the building, which is shaded with blues, greens, and mauves, and where broad strokes and heavier paint convey texture. The elaborate signature and date are unusual in Cezannes work. Perhaps he intended it for public exhibition--at the urging of Pissarro, three of his works were included in the first impressionist show--or for a patron. In 1873 Cezanne moved to the village of Auvers, where this was painted. It was near Pissarros home, and the two of them often painted side by side during 1873 and 1874. Auvers was also home to Dr. Gachet, a collector who would later care for the despairing Van Gogh. Cezanne may have hoped Gachet would purchase his work, which was ignored by the public. Cezanne returned to Provence, and after inheriting his fathers large estate in 1886, largely abandoned efforts to promote his work. He did not realize commercial success until he was in his fifties. National Gallery of Art, Washington, D. C. online collection

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Media ID 26531994

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