Drawing was central to Cezanne's indefatigable search for solutions
to the problems posed by the depiction of reality. Many of his
watercolours are equal to his paintings, and he himself made no
real distinction between painting and drawing. This book's six
chapters are arranged thematically covering the whole range of
Cezanne's oeuvre: works after the Old Masters such as Michelangelo
and Rubens; his period as one of the Impressionists; his
exploration of both portraiture and the human figure, including the
magnificent bathers; his interaction with landscape, particularly
in his native Provence and the dominating form of Mont
Sainte-Victoire; and finally the magisterial still lifes. In the
Introduction, as well as throughout the book, Lloyd sets the
drawings and watercolours in the context of Cezanne's life and
overall artistic development. The result is a greater understanding
of the process that led to some of the most absorbing art ever
produced.
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