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180:. In both, the landscape is subjective and the viewpoint of the observer is paramount—the landscape is representational and perceived differently by each character. According to Berman, "The foreground is the observer's space". In the Cézanne, nature becomes an extension of the observer's mental landscape, and in Hemingway it is a representation of each viewer's need for inclusion within the natural order.
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described as giving "a rushing force to the image." The dark brown trees on the slope's ledge have twisted trunks and rest on unsteady ground, while the trees in the mid-ground are painted in black and form a descending arch which moves inwards towards the centre of the canvas before merging with the
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The colors are oppressively dark, while the thickly painted, quick brushwork adds to the urgent violence of the scene. With the exception of the red rooftops and the greens of the trees in the foreground, the colours and the tones are monotonous and gloomy. The whites, greys and blacks are used
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saw the painting as making a statement on social and political transformation and wrote of the political context in which it was created, "what is our response to those red-roofed houses which are held, as if in a vice, between a leaden sky and a sliding block of snow?"
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evidences CĂ©zanne's new-found facility in depicting the deep space of a landscape, it is marked by an emotional intensity closer in spirit to the turbulence of his early figure works than to the structural complexity of the later landscape paintings.
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The diagonal of the hill cuts across the painting from left to right, dividing avalanche on one side and gloom on the other. The hill sweeps down until it rests just above the red roof of a barely visible house at its foot—an effect that art critic
131:. He soon moved to L'Estaque, where he painted a number of landscapes. Critics differ in their interpretation of this painting; some see it as wholly personal, others as a response to the war with Prussia. Supporting the latter view,
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ominous overhanging clouds. Given the angle of the hill and the depth from which the houses are viewed, it is difficult to imagine where the observer is supposed to be positioned.
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Berman, Ronald. "Translating
Modernism: Fitzgerald and Hemingway". University of Alabama Press, 2011. 59.
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the following decade, and a painting ise formally similar to early 20th-century than contemporaneous art.
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was painted in a single session. It is one of only two snow-laden winter subjects CĂ©zanne painted.
104:, with a steep hillside covered in a drift of melting snow underneath a foreboding dark grey sky.
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Writer Ronald Berman drew comparison between CĂ©zanne's treatment of this landscape and the way
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Filled with intense emotion, the painting has been described as similar to the work of
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28.75 cm Ă— 36.25 cm (11.32 in Ă— 14.27 in)
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Mont Sainte-Victoire and the
Viaduct of the Arc River Valley
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La
Montagne Sainte-Victoire vue du bosquet du Château Noir
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170:with emotional scope in his 1926 novel on the
88:is a c. 1871 oil-on-canvas painting by French
561:Portrait of Madame CĂ©zanne with Loosened Hair
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127:in 1870 to evade military service during the
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531:Chestnut Trees and Farm at Jas de Bouffan
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96:. It shows a view from the outskirts of
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292:. University of Chicago Press, 2003.
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546:Mont Sainte-Victoire with Large Pine
145:mostly for emotional impact. Though
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585:Still Life with Peaches and Pears
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593:View of the Domaine Saint-Joseph
278:. Harry N. Abrams., Inc., 1995.
318:Analecta Husserliana, Volume 81
673:Pipe Smoker Leaning on a Table
288:Athanassoglou-Kallmyer, Nina.
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665:Portrait of Ambroise Vollard
617:Rideau, Cruchon et Compotier
634:Portrait of Gustave Geffroy
484:Portrait of Louis Guillaume
320:Springer Publishing, 2001.
233:Athanassoglou-Kallmyer, 216
196:Athanassoglou-Kallmyer, 111
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392:The Overture to Tannhäuser
316:Tymieniecka, Anna-Teresa.
166:imbues the Irati River in
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306:. Harry N. Abrams, 2004.
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16:Painting by Paul CĂ©zanne
626:The Boy in the Red Vest
468:View of Auvers-sur-Oise
400:L'Estaque, Melting Snow
147:L'Estaque, Melting Snow
133:Anna-Teresa Tymieniecka
113:L'Estaque, Melting Snow
100:, a small village near
85:L'Estaque, Melting Snow
25:L'Estaque, Melting Snow
743:Still Life with Teapot
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569:The Banks of the Marne
415:The Hanged Man's House
805:Marie-Hortense Fiquet
577:Pierrot and Harlequin
438:L'Après-midi à Naples
787:Mont Sainte-Victoire
727:The Bunch of Flowers
642:Bridge Across a Pond
601:The Basket of Apples
453:The Eternal Feminine
290:CĂ©zanne and Provence
900:Landscape paintings
868:Corbarimys cezannei
129:Franco-Prussian War
847:The Impressionists
177:The Sun Also Rises
90:Post-Impressionist
77:Private collection
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839:Homage to CĂ©zanne
711:Pyramid of Skulls
523:House in Provence
384:The Negro Scipion
378:List of paintings
326:978-1-4020-1709-4
302:Schapiro, Meyer.
276:CĂ©zanne Paintings
257:978-0-8173-5665-1
123:CĂ©zanne moved to
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862:CĂ©zanne (crater)
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807:(model and wife)
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850:(2006 series)
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94:Paul CĂ©zanne
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858:(2016 film)
790:(1904–1906)
782:(1890–1895)
746:(1902–1906)
738:(1898–1905)
735:The Bathers
730:(1902–1904)
722:(1902–1904)
704: 1900
689: 1900
676:(1895–1900)
658: 1892
645:(1895–1898)
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609: 1893
588:(1888–1890)
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554: 1887
539: 1886
508: 1884
495:(1882–1885)
487:(1879–1882)
479:(1879–1882)
461: 1877
446: 1876
408: 1871
224:Adriani, 63
140:Description
884:Categories
184:References
119:Background
66:Dimensions
471:(1879–80)
371:Paintings
102:Marseille
98:L'Estaque
125:Provence
74:Location
831:Related
815:Museums
304:CĂ©zanne
266:Sources
168:Navarre
92:artist
798:Family
771:Series
754:(1904)
719:Forest
714:(1901)
668:(1899)
660:–1896)
637:(1895)
572:(1888)
526:(1885)
518:(1885)
418:(1873)
395:(1869)
387:(1867)
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58:Medium
53:c.1871
40:Artist
322:ISBN
308:ISBN
294:ISBN
280:ISBN
253:ISBN
50:Year
886::
701:c.
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215:^
201:^
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