Paul Cezanne's Approach to Watercolor

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Paul Cezanne's Approach to Watercolor발음듣기

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Watercolor is a fascinating medium in that the color and the working of it make it look absolutely spontaneous, and in fact the difficulty of it is extraordinary.발음듣기

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The great American painter John Singer Sargent describes watercolor as "an act of making the best of an impending disaster."발음듣기

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The fluid pigment can never be completely controlled.발음듣기

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An undesired color or mark cannot be removed.발음듣기

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New layers of color transform those already on the surface.발음듣기

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And the brilliance of the white paper must also be considered.발음듣기

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A certain point, it's too much.발음듣기

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At a certain point, you have ruined it and the decision to stop is a critical aspect of this.발음듣기

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A watercolor can never hide how it was made.발음듣기

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Let's look through the layers and trace C?zanne's unique work in process.발음듣기

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Traditionally an artist filled in a pencil sketch with color wash.발음듣기

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But in C?zanne's watercolors, pencil lines actually go over the paint.발음듣기

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Pencil is an active part of the overall composition.발음듣기

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The white paper beneath also plays a critical role.발음듣기

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Notice how the tablecloth, napkin and pitcher are almost entirely defined by the white paper.발음듣기

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This white center holds together the ambitious composition and imparts light across the surface.발음듣기

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The least painted surface creates the most powerful visual presence.발음듣기

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Watercolorists tend to apply colors in quick succession, allowing them to pool and mix.발음듣기

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But C?zanne allowed each color to dry before adding other colors.발음듣기

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The tapestry shows off this time-consuming technique.발음듣기

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Colors hover kaleidoscopically over and under each other.발음듣기

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C?zanne's approach took its toll on the artist.발음듣기

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In 1904 C?zanne wrote, "I progress very slowly, for Nature reveals herself to me in very complex ways."발음듣기

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