© Michael Price Inc.
| Chromatic Spaces No. 11 Oppède le Vieux |
| Chromatic Spaces No. 10 Red Sky over Mont Sainte-Victoire |
| Chromatic Spaces No. 9 Mont Sainte-Victoire |
| Chromatic Spaces No. 7 Blue Tree and Mont Sainte-Victoire |
| Chromatic Spaces No. 6 Homage to Cézanne, Mont Sainte-Victoire |
| Chromatic Spaces No.4 Homage to Cézanne, Monte Sainte-Victoire |
| Chromatic Spaces No. 5 Mont Sainte-Victoire (the other side) |
| Chromatic Spaces No.3 Homage to Cézanne, Mont Sainte-Victoire |
| Chromatic Spaces No.2 Homage to Cézanne, Mont Sainte-Victoire |
| Chromatic Spaces No.1 Homage to Cézanne, Mont Sainte-Victoire |
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| There were a variety of exhibitions reviewing the complexity of his oeuvre. On this web-page, I shall present my personal response to Cézanne. My interest lies in the colour space that the artist created which seems to find very little commentary in exhibition catalogues. In 2001, I painted my first landscape as a “Chromatic Space” based on my initial drawings from the area around Aix-en- Provence including the Montagne Sainte- Victoire. This painting was my first “Homage to Cézanne” after seeing an exhibition titled “Cézanne Finished – Unfinished” at the Kunstforum in Vienna in 2000. Since then, I have painted over a dozen landscapes of the Provence exploring new possibilities within the framework of the landscape as a chromatic space, i.e. a colour space which is determined by the pigment particle size of the crystals and minerals. The nineteenth century witnessed a complete revolution of artist's materials. A new colour industry, based on the growing number of chemically synthesized pigments was developing rapidly. The changes in artist's pigments from natural and mineral to synthetic, was initially one of the slowest revolutions in the history of art. There were new blues, greens and yellows all particularly important for landscape painting. This combined with the invention of the collapsible metal tube in the mid 1840's was to completely change the way artists worked. Although I have found very little research on the subject, I presume Cézanne, like most of his contemporaries, purchased his tubes of colour from a 'colourman'. With paint in tubes, it was possible to be truly mobile and work outdoors. Cézanne’s palette was composed of the following colours; yellows: a brilliant yellow, naples yellow, yellow ochre, raw sienna; reds: vermillion, red ochre, burnt sienna, madder lake, fine crimson lake, burnt lake; greens: Veronese green , emerald green, green earth; blues: cobalt, ultramarine, Prussian blue; peach black. Except for burnt sienna and the madder lakes, most of these colours are opaque in oil, therefore to create a relatively translucent paint layer, Cézanne had to use turpentine to thin the oil paint. My Homage to Cézanne explores the painterly aspect of translucency so obvious in his water colours and some of his late landscapes, especially those which led to the question - finished or unfinished. Compared to modern synthetic pigments, mineral pigments such as azurite (blue), lapis lazuli (blue) and malachite (green) are by nature translucent. |
| Chromatic Spaces No.8 Roussillon |