Bridging the Gap: A Comparison of Pissarro and Cézanne Paul Cézanne and Camille Pissarro were ii impressionist artists who sh ard a friendship that greatly influenced their ar devilrk. The two artists collaborated on their art represent, sharing equal scene techniques and depicting similar subject matter. This cooperation is explored in the special exhibit Pioneering Modern picture: Cézanne and Pissarro 1865-1885, on display at the Los Angeles County Museum of Art. The comparison of Pissarros thin Bridge, Pontoise, 1875, and Cézannes The Bridge at Maincy, more or less Melun, 1879-1880, demonstrates the mutually practiced relationship that existed between these two artists. Pissarros work measures 25 13/16 by 32 1/16 inches, a few inches larger than Cézannes, which measures at 23? by 28¾ inches, and some(prenominal) works are in the traditionalistic style of oil on canvas. Pissarro and Cézanne have both depicted a landscape, which was typical of Impressionist subj ect matter, and it is affirmable that both works were painted en plein air, French for in open air, outside the studio as was also park among the Impressionists. These two representations of bridges were completed deep down five years of each other, and it is easy to spot the parallels that Cézanne makes in his establishment to the subject of Pissarro. This can be seen by breaking the compositions shine to the shine up, mid-ground, and background. The composition in both paintings is linear, with the action going crosswise the width of the canvas and creates a very stable judgment. some(prenominal) works include a touch of trees in the foreground that obscures the linear perspectiveers observation of the bridge and have the feeling of being the objects ambient to the viewer. In Pissarros painting, the pair of trees appears in the composition on the serious side of the bridge, partially blocking the view of the bridge without hybridisation the... If you want to get a t! otal essay, order it on our website: OrderCustomPaper.com
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