Paul Cezanne

Painter

Paul Cezanne was born in Aix-en-Provence, Provence-Alpes-Côte d'Azur, France on January 19th, 1839 and is the Painter. At the age of 67, Paul Cezanne biography, profession, age, height, weight, eye color, hair color, build, measurements, education, career, dating/affair, family, news updates, and networth are available.

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Date of Birth
January 19, 1839
Nationality
France
Place of Birth
Aix-en-Provence, Provence-Alpes-Côte d'Azur, France
Death Date
Oct 22, 1906 (age 67)
Zodiac Sign
Capricorn
Profession
Engraver, Lithographer, Painter
Paul Cezanne Height, Weight, Eye Color and Hair Color

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Paul Cezanne Religion, Education, and Hobbies
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Education
Académie Suisse, Aix-Marseille University
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Paul Cezanne Life

Paul Cézanne (1939 – 22 October 1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century model of artistic discovery to a new and radically different world of art in the twentieth century. Cézanne is said to have built the bridge between late 19th-century Impressionism and the early twentieth century's new line of artistic inquiry, Cubism.

Though Romanticism, such as the murals in the Jas de Bouffan country house, and Realism, he arrived at a new pictorial language through extensive analysis of Impressionist styles of expression. He ditched perspective and broke with Academic Art's established guidelines and pushed for a reform of traditional design methods based on the impressionistic color space and color modulation principles. The repetitive, exploratory brushstrokes of Cézanne are extremely recognizable and immediately identifiable. He used planes of color and small brushstrokes to create intricate fields. The paintings depict Cézanne's ardent investigation of his subjects. Both Matisse and Picasso are said to have said that Cézanne "is the father of us all."

His painting provoked incomprehension and ridicule in modern art criticism. It was mostly fellow artists, such as Pissarro and Ambroise Vollard, who discovered Cézanne's work and were among the first to buy his paintings before the late 1890s. Vollard's first solo exhibition in his Paris gallery opened in 1895, sparking a broader inquiry into the artist's work.

Life and work

Paul Cézanne was born in Aix-en-Provence, son of the milliner and later banker Louis-Auguste Cézanne and Anne-Elisabeth-Honorine Aubert. After Paul and his sister Marie (born 1841)'s birth on January 29, 1844, his parents were the sole parents married. Rose, his youngest sister, was born in June 1854. The Cézannes came from Saint-Sauveur's commune (Hautes-Alpes, Occitania). Paul Cézanne was born in Aix-en-Provence on January 1939. He was baptized in the Église de la Madeleine on February 22, alongside his grandmother and uncle Louis as godparents, and later in life, he became a devout Catholic. Louis Auguste Cézanne (1798–1886), a native of Saint-Zachanne (Var), was the co-founder of a banking company that prospered throughout the artist's life, providing him financial protection that was otherwise unobtainable to the majority of his contemporaries and resulting in a substantial inheritance.

Anne Elisabeth Aubert (1814-1977), his mother, was "vivacious and romantic, but quick to take offence." Cézanne got his conception and vision of life from her. Marie and Rose, his two younger sisters with whom he went to a primary school every day, were also his brother, who died.

At the age of ten, Cézanne entered the Saint Joseph school in Aix. Philippe Solari and Henri Gasquet, the father of writer Joachim Gasquet, who was planning to publish his book Cézanne in 1921, was a tribute to the artist's life. Cézanne's 1852 "Les Trois Inseparables" referred to a more advanced class in Aix (now Collège Mignet), where he became friends with Émile Zola, a less advanced student, as well as Baptistin Baille—three friends who came to be identified as "Les Trois Inseparables). The friends swam and fished on the banks of the Arc, making it possibly the most carefree time of his life. They discussed art, read Homer and Virgil, and even started writing their own poems. Cézanne used to write his Latin verses often. Zola encouraged him to read poetry more often, but Cézanne dismissed it as merely a pastime. He worked for six years, but in the last two years, he was a day scholar. He began attending the Free Municipal School of Drawing in Aix, where he studied drawing under Joseph Gibert, a Spanish monk.

Paul Cézanne joined the University of Aix-en-Provence in 1859 and attended lectures on jurisprudence at the request of his authoritarian father, who traditionally saw in his son as the heir to his bank Cézanne & Cabassol. He spent two years with his unloved studies but then largely abandoned them and instead concentrated on drawing exercises and writing poems. From 1859, Cézanne attended evening classes at the École de dessin d'Aix-en-Provence, which was on display in the Musée Granet's art museum in Aix. Joseph Gibert, an academic painter, was his tutor (1806-1854). He received his second prize in the figure studies course at the University of August 1859.

The Jas de Bouffan (House of the Wind) estate was purchased by his father the same year. This partially derelict baroque villa of the former provincial governor became the painter's home and workplace for a long time. The artist's favorite subjects were the house and the old trees in the park. Cézanne's in1860 gained permission to paint the walls of the drawing room's murals and created the large-format murals of the four seasons: spring, summer, fall, and winter (today in the Petit Palais in Paris), which Cézanne referred to as Ingres, whose works he did not admire. The winter photo is also dated 1811, alluding to Ingres' painting Jupiter and Thetis, which were on display in the Musée Granet at the time and on display.

He committed himself to continue his artistic growth and left Aix for Paris in 1861 in defiance of his banker father's objections. Zola, who was still living in the capital at the time, was strongly encouraged to make this decision and advise Cézanne to ignore his hesitancy and follow him there. His father reconciled with Cézanne and backed his choice of career on the understanding that he re-elects Paul as his successor in the banking industry. Cézanne's father's inheritance of 400,000 francs removed all financial concerns from his life.

In April 1861, Cézanne came to Paris. He had hoped to set in Paris but was turned down. He attended Académie Suisse, where he was able to dedicate himself to life drawing. He met Camille Pissarro, ten years his senior, and Achille Emperaire from Aix, his hometown. He often copied works from old masters such as Michelangelo, Rubens, and Titian at the Louvre. However, the city remained foreign to him, and he soon considered returning to Aix-en-Provence. The relationship between Pissarro and Cézanne in the mid-1960s was one of master and disciple, in which Pissarro wielded a formative influence on the younger artist. Equals' collaborative working relationship developed over the course of the next decade during their landscape painting trips together in Louvec and Pontoise.

As a result of Zola's excitement in Cézanne's future, he wrote to their childhood friend Baille in June: "Paul is still the most talented and strange fellow I ever encountered at school." I have to tell you that as soon as he arrived here, he didn't lose any of his originality.' Cézanne created a portrait of Zola that Zola had ordered him to paint to inspire his friend; but Cézanne was dissatisfied with the result and destroyed the portrait. Cézanne returned to Aix-en-Provence in September 1861, feeling lethargic about his apprehension at the École. He later worked in his father's bank.

But he returned to Paris in the late fall of 1862. With a monthly bill of over 150 francs, his father obtained his subsistence level. He was dismissed again by the traditional École des Beaux-Arts. He attended Académie Suisse, which emphasized Realism. He got to know several young artists during this period, including Pissarro, Pierre-Auguste Renoir, and Alfred Sisley.

Cézanne was under the influence of Gustave Courbet and Eugène Delacroix, who yearned for a revival of art and demanded a representation of unembellished truth in contrast to France's formal artistic life. Courbet's followers branded themselves "realists" and followed his motto Il faut encanailler l'art ("One must throw art into the gutter"), which means that art must be brought down from its peak and become a part of everyday life. Édouard Manet made the definitive departure from historical painting, not concerned with scientific inquiry, but rather with the reproduction of his subjective impression and the liberation of the pictorial object from symbolic burdens.

Manet, Pissarro, and Monet's exclusion from the official salon, the Salon de Paris, in 1863, sparked such outrage among artists that Napoleon III's "Refusés" (salon of the rejected) stood outside the official salon. In the first exhibition of the Salon des Refusés in 1863, Cézanne's paintings were on view. From 1864 to 1869, the Salon rejected Cézanne's submissions every year. He continued to submit works to the Salon until 1882. Antoine Guillemet, a Cézanne acquaintance, became a member of the Salon jury in that year. Since each jury member had the opportunity to display a photograph of one of his students, he dismissed Cézanne as his pupil and secured his first appearance at the Salon. Portrait de M. L. A., Probably Portrait of Louis-Auguste Cézanne, The Artist's Father, 1866, Washington, D.C.), although the painting was on view in a poorly lit room in a secluded gallery and attracted no attention. This was supposed to be his first and last successful entry to the Salon.

Cézanne returned to Aix in the summer of 1865. It was Zola's debut novel La Confession de Claude that was published in the United States, and it was dedicated to his childhood friends Cézanne and Baille. Cézanne created a complete collection of paintings using the palette knife technique in the autumn of 1866, mainly still lifes and portraits. He spent the bulk of 1867 in Paris and in Aix's second half. He returned to Paris at the beginning of 1869 and met bookbinder assistant Marie-Hortense Fiquet, eleven years his junior, at the Académie Suisse.

Cézanne was the best man at Zola's wedding in Paris on May 31, 1870. Cézanne and Hortense Fiquet lived in L'Estaque, near Marseille, which Cézanne would revisit and paint often as the place's Mediterranean atmosphere captivated him during the Franco-Prussian War. He did not register for military service. Despite the fact that Cézanne had been proclaimed a deserter in January 1871, he managed to hide. Since records from this period are missing, no further details are known.

The pair returned to Paris in May 1871 after the Paris Commune was shattered. Paul fils, the son of Paul Cézanne and Hortense Fiquet, was born on January 4th, 1872. The mother of Cézanne was kept a party to family occasions, but his father was not told of Hortense for fear of losing his money because his father gave him to live as an artist. The artist received a 100 francs monthly allowance from his father.

When Cézanne's companion, the crippled painter Achille Emperaire, fled with the family in Paris in 1872 due to financial difficulties, he soon left his cousin but "[...] it was imperative" otherwise, otherwise I would not have survived the others's fate. I was found abandoned by everyone here. [...] Zola, Solari, and many others are no longer mentioned. He's the oddest guy imaginable."

Cézanne lived with his wife and his children in Auvers-sur-Oise, where he first encountered physician and art lover Paul Gachet, later painter Vincent van Gogh's doctor. Gachet, a life painter, also made his studio available to Cézanne.

Cézanne accepted an invitation from his colleague Pissarro to work in Pontoise's Oise Valley in 1872. Pissarro, a discerning artist, became a mentor to the shy, irritable Cézanne, who was able to persuade him to abandon the darker shades on his colour palette and give him the advice: "Always paint with the three primary colors (red, yellow, blue) and their immediate deviations." In addition, he should refrain from linear profiling, as the shape of things emerges from the gradual gradation of the colour tonal values. Cézanne felt that the Impressionist method was bringing him closer to his goal and that he listened to his friend's advice. "We were always together, but each of us carried what matters alone: our own emotions," Pissarro later explained.

The young painters in Paris did not have any support for their work in the Salon de Paris and so decided against Claude Monet's proposal for their own exhibition, which had been unveiled in 1867. The first group exhibition of the Société anonyme des artistes, peintres, sculpteurs, engravers, later known as the Impressionists, took place from 15 April to May 1874. The name derives from Monet's title of the exhibited painting Impression soleil levant. Louis Leroy, a critic, referred to the group as "Impressionists" in the satirical magazine Le Charivari, which also coined the term for the present art movement. The studio of photographer Nadar on Boulevard des Capucines was the subject of the show.

Despite concerns that Cézanne's bold paintings might damage the show, Pissarro pushed through Cézanne's participation, despite fears from some members who feared that Cézanne's bold paintings might damage the exhibition. Cézanne was influenced by their style, but his social interactions with them were inept—he was rude, shy, angry, and depressed to depression. Among the many others on display were Cézanne, Renoir, Monet, Alfred Sisley, Berthe Morisot, Edgar Degas, and Pissarro. For him, the manet refused to participate, Cézanne was "a mason who paints with a trowel." Cézanne in particular sparked curiosity and derision among the critics, who evoked indignation and skepticism with his paintings such as the Landscape near Auvers and the Modern Olympia. Cézanne wanted a more realistic representation of the prostitute and servant in A Modern Olympia, which was often dismissed, in addition to Manet's 1863 painting Olympia, which was often mocked, although the suitor's figure is shown to be a self-portrait.

The exhibition was a financial loss, as the final reports revealed a net deficit of over 180 francs for each of the participating artists. The Hanged Man's House in Cézanne was one of the few photographs that might be sold. Count Doria, a collector, bought it for 300 francs.

Victor Chocquet, the customs inspector and art collector who, mediated by Renoir, bought three of his paintings and became his most faithful collector and whose commissions provided some financial assistance in 1875. Cézanne did not attend the group's second exhibition, but rather displayed 16 of his works in 1877's third exhibition, which in turn drew widespread criticism. "This peculiar looking head, the colour of an old boot, may give [a pregnant woman] a shock and cause yellow fever in the fruit of her womb's fruit before its entry into the world," reviewer Louis Leroy said of Chocquet's portrait of Chocquet. It was the last time he had displayed with the Impressionists. Julien "Père" Tanguy, a painter who aided the young painters by giving them paint and canvas in exchange for paintings, was another patron.

Victor Chocquet's father discovered the long-hidden friendship between Hortense and their illegitimate son Paul in March 1878. He cut the monthly bill in half and Cézanne's Cézanne entered a difficult period in which he had to ask Zola for support. However, in September, he relented and decided to give him 400 francs for his family. Cézanne continued to migrate between the Paris area and Provence until Louis-Auguste, who had a studio built for him at his house, Bastide du Jas de Bouffan, in the early 1880s, while Cézanne continued to migrate between the Paris area and Provence. This was on the upper floor, with an extended window allowing in the northern light but also interrupting the line of the eaves; this feature remains. Cézanne has returned to L'Estaque, where he has remained a resident. In 1882, he painted with Renoir and Monet, then toured Renoir and Monet in 1883.

Cézanne worked in Pontoise with Paul Gauguin and Pissarro in 1881; Cézanne returned to Aix at the end of the year. Gauguin was later accused of stealing his "little pleasure" from him, while Gauguin, on the other hand, only painted chinoiseries. Cézanne joined Renoir in Aix in 1882 and - for the first time – in L'Estaque, a tiny fishing village near Marseille, which he also visited in 1883 and 1888. The Bay of Marseille seen from L'Estaque was one of the first two stays. Cézanne stayed in Gardanne, a small hilltop town near Aix-en-Provence, where he created many paintings whose faceted shapes were already anticipating the cubist style in the fall of 1885.

By now, Cézanne's long-friendship with Émile Zola had become more distant. In 1878, a wealthy summer house in Médan, where Cézanne had visited him often from 1879 to 1882, which caused him to question himself.

Zola, who regarded his childhood friend as a failure, published his roman à clef L'oeuvre from Rougon-Macquart's novel cycle in March 1886, but the painter, Claude Lantier, did not achieve his goals and committed suicide. Zola paired Sandoz with painter Lantier in his novel to emphasize the similarities between fiction and biography. While Monet and Edmond de Goncourt intended Édouard Manet in the fictional painter's tale, Cézanne found himself reflecting in numerous ways. He formally thanked him for handing over the instructions that were ostensibly related to him. For a long time, it was believed that contact between the two childhood friends had ceased forever. Letters have been sent recently to debunk this. A letter from 1887 shows that their friendship continued for at least some time after.

Paul Cézanne and Hortense Fiquet were married in Aix on April 28, 1886, in the presence of his parents. Hortense's marriage was not based on love, as their union had long since broken down. Cézanne was shy of women and afraid of being touched, a childhood disorder that began when a classmate kicked him from behind on the stairs when he first learned about it. Rather, the marriage was intended to protect the interests of the son of the now fourteen-year-old Paul, whom Cézanne adored as a legitimate son. The Cézanne family remained in Provence in the early 1880s, save for brief sojourns in the United States. The change reflects a new liberation from the Paris-centered impressionists and a definite preference for the south, Cézanne's native soil. At L'Estaque, Hortense's brother had a house within sight of Montagne Sainte-Victoire. This mountain's paintings from 1880 to 1883, as well as others from 1885 to 1888, are often described as "the Constructive Period."

Hortense was the person most often depicted by Cézanne amid their tense friendship. Hortense's 26 paintings are from the 1870s to the early 1890s. She stayed stamina and patiently through the strenuous sessions. Cézanne's father's death, Cézanne's widowhood, his mother and siblings inherited his estate, which included the Jas de Bouffan estate, in October 1886, making Cézanne's financial situation much easier. "My father was a genius," he said in retrospect, "he left me an amount of 25,000 francs." By 1888, the family was living in Jas de Bouffan, a large house and grounds with outbuildings, which gave the family a new sense of security. This house, which had recently reduced grounds, is now owned by the city and is only accessible by the public on a limited basis as of 2001.

Cézanne grew up in Paris and then in Aix, France, without his family. Renoir visited him in January 1888, and the two worked together in Jas de Bouffan's studio. Cézanne developed diabetes in 1890, making it all the more difficult for him to cope with his fellow human beings. Cézanne and her son Paul spent a few months in Switzerland in the hopes that the tense association with Hortense could be restored. The attempt was ineffective, so he returned to Provence, with Hortense and Paul fils going to Paris. Hortense's return to Provence but in separate living quarters was triggered by a financial need. Cézanne and his mother and sister were able to coexist in the Czech Republic. He converted to Catholicism in 1891.

He exhibited three of his sculptures at the Brussels company Les XX in the same year. The Société des Vingt, or Les Vingt for short, was a Belgian artist or artist living in Belgium, including Fernand Khnopf, Théo van Rysselberghe, James Ensor and his siblings Anna and Eugène Boch.

With Pissarro, he attended Monet's exhibition at the Durand-Ruel Gallery in May 1895. He was ecstatic, but Monet's best period was 1868, when he was even more influential by Courbet. Cézanne, a student of the Académie Suisse, and Achille Emperaire, a French author, traveled to Le Tholonet, where he lived in the "Château Noir" on the Montagne Sainte-Victoire. In his paintings, he often used the mountains as a theme. At the nearby Bibémus quarry, he rented a hut; Bibémus became another motif for his paintings.

In November 1895, Ambroise Vollard, an aspiring gallery owner, opened Cézanne's first one-man exhibition. He displayed a collection of 50 of about 150 works sent by Cézanne as a gift in his gallery. Vollard began seeing Degas and Renoir in 1894 when he was selling a bundle of Manet in his tiny shop, and the pair exchanged Manet labours for their own work with him. Vollard also developed collaborations with Pierre Bonnard and Édouard Vuillard, as well as Père Tanguy, a well-known painter, in the same year. Vollard was able to purchase works by three artists who were still unknown at the time: Cézanne, Gauguin, and van Gogh. Monet was the first purchaser of a Cézanne painting, followed by colleagues like Degas, Renoir, Pissarro, and later art collectors. Cézanne's work increased by a hundredfold, while Vollard's, as always, profited from his stocks.

A Cézanne painting was acquired by a museum for the first time in 1897. Hugo von Tschudi bought Cézanne's landscape painting On the Couleuvre near Pontoise, Cézanne's The Mill on the Courageoire near Pontoise in the Durand-Ruel Gallery for the Berlin National Gallery.

On October 25, 1897, Cézanne's mother died. He sold the now nearly abandoned house "Jas de Bouffan" in November 1899 and converted to a tiny city apartment in Aix-en-Provence, but the intended purchase of the “Château Noir” property could not be realized. Mme Bremond, a housekeeper, was hired to look after him until his death.

Meanwhile, the art market continued to respond positively to Cézanne's paintings; Pissarro wrote from Paris in June 1899 about the auction of the Chocquet collection from his estate: "These include thirty-two Cézannes of the first rank [...]." For the first time, the Cézannes will sell at very high prices, with some selling for the first time, but they were still "far below those for paintings by Manet, Monet, or Renoir."

In 1901, Maurice Denis' monumental painting Hommage à Cézanne was on view in Paris and Brussels. The photograph is from Ambroise Vollard's gallery, which includes a photograph titled "Remembering Life with Bowl of Fruit" by Cézanne – which was previously owned by Paul Gauguin. André Gide, a writer from Hommage à Cézanne, donated the book to the Musée du Luxembourg in 1928. It is currently on display in the Musée d'Orsay, Paris. Odilon Redon is in the foreground on the left, interviewing Paul Sérusier opposite him. Édouard Vuillard, the poet, with a top hat, Vollard behind the easel, Patrick Denis, Ker-Xavier Roussel, Pierre Bonnard, and Marthe Denis, the painter's wife, are all represented from left to right, as shown from left to right.

Cézanne's 1901 purchased a piece of land north of Aix-en-Provence along the Chemin des Lauves, a narrow road on a high road where he had his studio built on the Chemin des Lauves in 1902, which is now open to the public. He arrived in 1903 and worked there. He created The Bathers, a large-format painting that could flow in the Les Lauves studio, but not so much light could flow through it. Despite the envoguement, Zola died in the year 2000, leaving Cézanne in mourning. His health worsened with age; he suffered from depression in old age, which expressed himself in growing mistrust of his fellow human beings to the point of delusions of persecution.

Despite the artist's growing success, hateful press reports debuted, and he's been sent several threatening letters. Cézanne's paintings were not well-received among Aix's petty bourgeoisie. Henri Rochefort returned to the auction of paintings that had been in Zola's custody and published in L'Intransigeant, a highly critical journal titled "Love for the Ugly" on March 9, 1903. When seeing the paintings of "an ultra-impressionist named Cézanne," Rochefort explains how spectators had allegedly suffered with laughing fits. The people of Aix had been outraged, and for several days, L'Intransigeant's copies had appeared on Cézanne's doormat, demanding that he leave the area "he was dishonouring." "I don't know the world and the world doesn't hear me," said old Cézanne to his coachman. He divorced Hortense from the family's inheritance and declared his son Paul to be the sole heir when Cézanne died with a notary in September 1902. The mementos of his mother's mother are said to have been smuggling.

He appeared for the first time at the newly founded Salon d'Automne in 1903. Émile Bernard, a painter and art theorist, first visited him for a month in February 1904 and published an article about him in L'Occident magazine in July. Cézanne was still living on a vanitas journey, with three skulls on an oriental rug. During his stay, Bernard noticed that this painting changed color and form every day, although it seemed complete from day one. "All in his way, he worked was a reflection with a brush in his hand," he characterized it later. Cézanne's growing anxiety in his letters since 1896, as well as phrases such as "life is beginning to be deadly monotonous for me" were repeated. An exchange of letters with Bernard continued until Cézanne's death; he first published his memoirs Souvenirs sur Paul Cézanne in the Mercure de France in 1907; and in 1912 they appeared in book form.

With the skills of Cézanne, an entire room of the Salon d'Automne was furnished from October 15 to November 1904. In 1905, an exhibition was held in London, where his work was also displayed; the Galerie Vollard exhibited his works in June; and the Salon d'Automne followed in turn from 19 October to 25 November with ten paintings. On April 13, 1906, art historian and patron Karl Ernst Osthaus, who founded the Museum Folkwang in 1902, spent the day in the hopes of buying a work by the artist. Gertrud's wife was photographed for the final time in Cézanne, according to her. Osthaus's book A Visit to Cézanne, which was published in the same year, recalled his visit.

Despite the later successes, Cézanne was only ever able to achieve his goals. "I want to tell you that as a painter I'm getting more clairvoyant to nature, but that it's also really difficult for me to understand my feelings." I can't get to the ferocious depth that unfolds before my eyes, but I don't have the richness of color that animates nature.

Although working in the field, Cézanne was caught in a storm on October 15, 1906. He wanted to go home after two hours of working; but along the way, he collapsed and lost consciousness. He was taken home by a passing driver of a laundry cart. He had severe pneumonia as a result of hypothermia. To revive the circulation, his old housekeeper rubbed his arms and legs; as a result, he regained consciousness. Cézanne went out into the garden to work on his last painting, Portrait of the Gardener Vallier, and wrote an ardent letter to his paint store, complaining about the paint delivery delay, but then fainted. Vallier, a man who was serving, was begging for assistance; he was taken to bed and never left it. The housekeeper sent Hortense and son Paul a telegram, but they arrived too late. He died a few days later, on October 22nd, 1906, at the age of 67, and was buried at the Saint-Pierre Cemetery in Aix-en-Provence.

Source

Why Cezanne's Provence is so photo perfect: An investigation into the artist's hometown, Aix, is also worth a visit

www.dailymail.co.uk, October 10, 2022
Michael Hodges discovers the sights and sounds of Cezanne on his tour, as well as stays at a luxurious spa-hotel set among vineyards and olive trees.

In Aix-en-Provence, follow artist Cezanne's footsteps into his charming home city

www.dailymail.co.uk, September 23, 2022
Martin Symington leads a Cezanne-themed walking trail in Aix-en-Provence, the artist's'sundrenched, easygoing' birthplace, ahead of his forthcoming retrospective of the artist's work at Tate Modern in London. It leads him to Atelier de Cezanne, his airy studio on Lauves Hill, which has been 'left pretty much as it was; canvasses and oils, baskets of ripe red apples, whiffs of linseed, and a paint-splattered ladder.' He also admires the view of Montagne Sainte-Victoire, the majestic mountain that appears in many of Cezanne's paintings. 'Lives and breathes Cezanne,' Aix-en-Provence says.

Paul Allen, the co-founder of Microsoft, is expected to take the showdown

www.dailymail.co.uk, August 26, 2022
In one of the largest art auctions in history, late Microsoft co-founder Paul Allen's billion dollar art collection will go under the hammer this November. Christie's said in a tweet that the fabled auction house would sell more than 150'masterpieces' from Allen's foundation. The collection spans more than 500 years of art history, although the work's value is more than $1 billion. The auction is titled: 'Visionary: The Paul G. Allen Collection'.' Allen died in October 2018 at the age of 65, as a result of non-Hodgkin's lymphoma, a rare form of cancer. He never married and had no children. Allen's net worth was estimated to be over $20 billion at the time of his death. Allen left the majority of his fortune to charity in 2010. This November, Christie's Rockefeller Center will host an auction. The correct date was not known.