Mani Nandini Sharma & Ila Gupta
Department of Humanities and Social Sciences, Indian Institute of Technology, Roorkee, Uttarakhand. India. Email: manisharma2075@gmail.com.
Volume 6, Number 3, 2016 I Full Text PDF
Article DOI: 10.21659/chitro.v6n3.10
Received December 02, 2016; Accepted December 25, 2016; Published January 26, 2017
Abstract
Cezanne is a painter who existed in the era of discoveries, there was law of relativity as well as discontinuous travel of light. Despite all the scientificised discoveries and inventions, Cezanne was seeking inspiration from nature. Nature was the sole inspirer of him. Nature, he wanted to tap, the structure of, underneath in his paintings. During the times earlier to mid nineteenth century, symmetry was essential aspect of art as understructure, as in Piero della Francesca’s artworks. During mid nineteenth century art was paving way to new paradigms. Painters display emotion, sentiment, capturing of form, structure, composition with line, color or form to fathom their artistic instincts. Here in this paper I display the luminous use of color by Cezanne and use of hidden geometry in the painting of Mont Sainte Victoire to elucidate his traits to capture nature to its truest form, asymmetry. In understructure also, this asymmetry is vocal in the pentagon formed at the focal point of painting. Our earth is the worthy example of asymmetry. As nature (earth) is asymmetrical so we find traits of asymmetry in Cezanne’s understructure of painting. The inspiration of the artist lay in nature, so was his treatment of painting.
Keywords: Font Geometry, Symmetry, Asymmetry, Pentagon, Nature