Abstract
With reference to two early paintings, Portrait of Achille Emperaire (ca. 1867) and Portrait of Louis-Auguste Cezanne, Father of the Artist, Reading ‘L'Evenement’ (1866), this article argues that the younger Cezanne's works from his Paris years were motivated by deliberate strategies aimed to formulate the artist's aesthetic, political, and social concerns in opposition to what he perceived as the bourgeois stalemate perpetrated by the State and the Ecole des Beaux-Arts. To this end, Cezanne intentionally juggled artistic genres, styles, and techniques, in a spirit that ranged from militant earnestness to parodic lampooning. His polemical vehemence echoed that of Zola's pamphleteering art reviews and conformed with the writer's vision of the rebellious and innovative singularity of the modern artistic genius.
Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
