Cézanne and Renoir: Impressionist victory over the Royal Palace of Milan


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Thanks to the 100 and 50 years since the beginning of Impressionism, the Palazzo Reale in Milan presents 52 works – donated to the meeting of the Musée d’Orsay and the l’Orangerie – by two pillars of the historical past of works of art: Paul Cézanne and Pierre-Auguste Renoir. With robust and robust geometry in the first, with harmonious and delicate shapes in the second, the 2 French masters seduced the exhibition with their varied works of art, which told the story of friendship and variety of fashion. Curated by Cécile Girardeau and Stefano Zuffi and open until June 30, the exhibition reveals valuable canvases from the nineteenth century to the early twentieth century, expertly curated by art seller Paul Guillaume.

In 1860 Cézanne and Renoir developed a deep relationship, based mainly on mutual admiration, through which Renoir became a visitor to his colleague on a number of occasions in the south of France – in Aix-en-Provence – and on the Côte d’Azur. ‘Azur. Cézanne finds in Renoir a very good humor and pleasure in portraiture, while the latter teaches his good friend the meaning of classicism, kindness and composition. The subjects of the two artists are numerous, although they have completely different types and concepts: nevertheless life, panorama, swimmers, creative nudes, portraits of family and friends.

Cézanne and Renoir: leaders of impressionism in the Palazzo Reale in Milan

photo gallery50 photos


In the cool air

From the main room we see the distinction in options and colors – delicate and delicate – that separates the portrait of Claude (“Claude Renoir and clown”), Renoir’s son, from the cold and dark of Hortense Fiquet (“Portrait de Madame Cézanne ) “), Cézanne’s wife. As researchers of proper aerial portraiture, Renoir focused on harmony in his landscapes using rapid brushstrokes, a delicate climate and the energy of color, while Cézanne paid attention to the composition and energy of the brushstroke. The landscapes are also completely different: Renoir loves the foaming sea view or the tranquility of the Seine, Cézanne paints the deserted park of Château Noir. in Provence, not removed from the quarries of Bibémus: the absence of figures and the mysterious overlapping of stone edges, trunks and branches that fill your entire floor of the canvas.

Still alive

In each of them, still lifes are of beautiful significance: Renoir is impressed by the coloring of glossy flowers, juicy pink peaches and delicate peaches (as in “Fleurs dans un vase”, 1898; “Pêches”, 1881); On the contrary, Cézanne avoids the sensuality of his colleagues’ options and compares with analytical precision the delicate and lightweight apples he places on empty tables with clear edges (“Vase paillé, sucrier et pommes”, 1890-1894). Renoir’s seductive and romantic bathers with truthful pores and skin and delicate hair are beautiful, impressed by the historical mythology and the eighteenth century French portrait: “Boucher’s ‘Bathing Diana’ is the main portrait that won me over and I found it irresistible the whole time. my life.” , because it occurs in past love. But unlike Cézanne’s swimmers (“Trois baigneuses”, 1874-1875), robust ladies’ triangles are inserted into the body of nature, leaving no room for voluptuous nudity and with two bushes with straight, diagonal trunks as a background

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The exhibition ends with a document documenting how much influence the two painters had on the next technology, by evaluating the two works of Cézanne and Renoir with the work of Pablo Picasso (Cézanne, “Pommes et biscuits”, 1880; Picasso, “ Grande stille”, 1917, “Femme nue couchée”, 1906, “Grand nu à la draperie”, 1921-1923;