Chevrel book 'The Science of Color' provided them with invaluable assistance in thinking about the expansion of color. Based on the achievements of Impressionism, Cezanne (1839-1906) logically come to their new color system construction paintings. He wanted to make of impressionism something 'solid', which should form the basis of color and formal patterns of his paintings. Hoping to come to a new rhythmic and formal constructions, Cezanne used the developed by the pointillist technique of separation for color modulation of the entire surface of the paintings. Under color modulation he understood it transitions from cold to warm, from light to dark or dim (deaf) to the luminous.
Subjecting the solution to this principle throughout the picture plane, he reached their new sound, impressive vitality. Titian and Rembrandt have used a color modulation only in the depiction of persons and human figures. Cezanne also worked through the whole picture in its formal, rhythmic and chromatic unity. In his still lifes 'Apples and oranges' is a new unity is extremely obvious. Cezanne sought to recreate nature on a higher level.
For this, he first used the effects of contrasts of cold and warm tones that give a feeling of light airiness. Cezanne, Bonnard and after him, painted entirely built on contrasts of cool and warm tones. Henri Matisse (1869-1 954) refused to color modulations and turned to an impressively simple and bright color planes, placing them in a heartfelt subjective equilibrium with respect to each other. Together with Braque, Derain, Vlaminck he belonged to the Parisian group 'Wild'.
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