Paul Cezanne's Approach to Watercolor

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Paul Cezanne's Approach to Watercolor

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.

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

The fluid pigment can never be completely controlled.

An undesired color or mark cannot be removed.

New layers of color transform those already on the surface.

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

A certain point, it's too much.

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

A watercolor can never hide how it was made.

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

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

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

Pencil is an active part of the overall composition.

The white paper beneath also plays a critical role.

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

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

The least painted surface creates the most powerful visual presence.

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

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

The tapestry shows off this time-consuming technique.

Colors hover kaleidoscopically over and under each other.

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

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

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Paul Cezanne's Approach to Watercolor발음듣기

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

The fluid pigment can never be completely controlled.발음듣기

다른 번역문 등록

An undesired color or mark cannot be removed.발음듣기

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

A certain point, it's too much.발음듣기

다른 번역문 등록

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

다른 번역문 등록

A watercolor can never hide how it was made.발음듣기

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

Pencil is an active part of the overall composition.발음듣기

다른 번역문 등록

The white paper beneath also plays a critical role.발음듣기

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

The tapestry shows off this time-consuming technique.발음듣기

다른 번역문 등록

Colors hover kaleidoscopically over and under each other.발음듣기

다른 번역문 등록

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

다른 번역문 등록

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

다른 번역문 등록

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