When the painter Paul Cezanne was 51 years old, he created this portrait of himself. Out of all the portraits of Cezanne that his wife has painted, this particular picture by Paul Cezanne is the most animated and full of affection. It goes without saying that it also reveals a trace of sorrow in the woman. Despite this, her face is quite serious and delicate, giving the impression that it is large and fat. The painter places a strong emphasis on the expressive arc curve, which is full of diverse sections of the characters, in order to improve the bodily stereo sense together with the color contrast. This is the primary reason for these emotions. Cezanne’s portraits are difficult to appreciate because, first and foremost, you have to let go of the basic notion of the image. Portraiture has been believed to be in accordance with our pleasure or to express the substance of the character for a very long time, at least before to the period of Cezanne. Portraits should convey the life and appearance of the subject being depicted. Naturally, in the real works, the artist will focus on according to the variables of their personality, societal custom, and the will of the main character. This is something that will be done. While some painters make an effort to recreate the subject’s physical look, others are more interested in depicting the personality and mental condition of the figure. When depicting portraits of aristocracy and kings, it is imperative that we place an emphasis on the social rank and power of these individuals. Additionally, we need to investigate various tales, etc. In light of this, the first thing that the painter has to take into consideration is, of course, the composition of the portrait, as well as the ornamental and props, sceneries, and backdrop modeling. On the other hand, this portrait that we are looking at does not seem to provide any information on the model. According to what we are able to observe in the post-impressionist picture, we are able to know. There is Mrs. Cezanne, who is seated on a chair and wearing blue and purple clothing. The look on her face is likewise quite rigid and without any vitality, and her posture is exceedingly characteristic. Even Mrs. Cezanne’s face is not particularly distinct since the faces of Mrs. Cezanne in a number of other photographs are different from one another. An attitude like this is the only one that can create a model that has no activity, not even the slightest suggestion of a dynamic state. It is estimated that Cezanne has at least thirty different ways to characterize himself. A painting is the only medium that displays him holding a palette and facing the canvas in order to demonstrate his status as a painter. Similar to the backdrop, the objects and the background of the artwork do not have any significance. Can you tell me about Cezanne’s interests? When it comes to the paintings, this is the core of shape. Occasionally, when we look at his works, we could get the impression that he is just interested in displaying color and form. On point of fact, Cezanne wrote to his friend Jonson Gasquet, “It takes a great deal of time to evaluate the models and execute them in the canvas.” In other words, the meaning of this sentence is that he ought to first conduct an analysis of the characteristics of models, and then proceed to implement the findings of the analysis in the canvas. In order for Cezanne to finish a portrait, he has to go through both of these processes.
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