The Misunderstood Portraits of Hortense Fiquet Cezanne

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Paul Cézanne was a French painter known as the father of modern art. He was the first post-impressionist painter of the 19th century and his catalogue of work is distinct and widely known throughout the world. Of his collection, the twenty six oil paintings of his wife, Hortense Fiquet Cézanne had been met with the harshest review. In Emotion, Color, Cézanne (The Portraits of Hortense), Susan Sidlauskas attempts to explain why this group of paintings was so boldly criticized, as well as delving into how the artist used a unique sense of color to portray a duality of emotion within each piece. Sidlauskas begins the article with a brief history of Hortense Fiquet Cézanne. Fiquet and Cézanne married after a nearly twenty year affair. It has been said the couple lived together only sporadically, though the sheer amount of portraits, that of which only surpassed by the artists own self-portraits, hint at something else altogether. The portraits of Fiquet were considered “contained reactions”, ranging from anger to boredom to pity. “Because her representations evade the usual interpretive categories, Fiquet Cézanne has been either demonized or objectified” or simply ignored. Traditionally, a woman depicted in portraiture should appear to be pleased, and/or willing to be pleasing. In the article, Sidlauskas goes on to explain how Cézanne was not meaning to paint a beautiful portrait in the traditional sense, but instead his goal was to portray the duality of an individual within a single piece. He did this by intentional use of color and specific brush strokes to achieve the desired effect. Much of this came about during the time various theories of emotion were being published, most notably Darwin’s Expressions of the Emotions. These books of expressions often guided artists in how to depict certain ranges of emotion. Cézanne did not feel as though one had to paint a
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