{Modern Art [continued (15)]}[Extracts from source text with ms notes][12th May 1991]

[Redbook10:67-68][19910512:1718fi]{Modern Art [continued (15)]}[Extracts from source text with ms notes][12th May 1991]

19910512.1718

[continued]

‘The starting point of Paul Cézanne was, by contrast, vigorous to the point of violence. In 1866[ce] he evolved a palette-knife style, combining handling derived from Courbet with the gray tonality of Manet; its rough-hewn crudity had a consistency that was in essence new. His alternative style in the 1860s[ce], with curling brushstrokes related to Daumier, was equally virile and it was often applied to subjects of erotic violence.

The unbridled force of Cézanne's early work gave the first sign of qualities that were to become characteristic of modern art. Though exceptional, it was not unparalleled; in Italy during the 1860s[ce], the Russian painter of historical & scriptural themes, Nikolay Nikolayevich Ge, produced sketches with loose expressive brushwork that has sometimes a resemblance to Cezanne's.’

*

* – [ibid (Encyclopaedia Britannica 25:368)]

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