Post-Impressionism · 1839–1906 · French

Paul Cézanne

Cézanne modelled form by shifting from warm to cool color rather than from light to dark, laying small, deliberate patches of color side by side.

Across 7 works, the colors are mostly gray (27%), brown (27%) and blue (17%). On average the canvases are mid-toned, moderately saturated and warm. Signature colors, used far more here than across the collection: pewter, light blue, slate, blue black and muted teal.

Color print

The swatches covering most of these canvases, averaged over every work, dark to light.

• MG 221 blue black 6.7% of canvas
• MG 222 charcoal 5.7% of canvas
• MG 214 pewter 5.1% of canvas
• MG 215 grey 4.4% of canvas
• MG 216 dark grey 4.4% of canvas
• MG 218 graphite 4.0% of canvas
• MG 210 slate 3.7% of canvas
• MG 211 dark slate 3.6% of canvas
• MG 208 pigeon grey 3.5% of canvas
• MG 209 cool grey 3.1% of canvas
• MG 223 soot 3.1% of canvas
• MG 213 light grey 2.9% of canvas
• MG 175 stone 2.9% of canvas
• MG 217 iron 2.9% of canvas
• MG 095 muted azure blue 2.8% of canvas
• MG 176 taupe 2.5% of canvas

Measurements

Lightness

0.51

Contrast

0.54

Vividness

0.037

Warmth

+0.31

Complexity

208 cells

Hue range

0.69

Focus

0.09

Works

• The Boy in the Red Vest, 19th century
• Jeune Fille au piano (Girl at the Piano - The Overture to Tannhauser), 1869
• Mardi Gras, 1888
• The Card Players, 1890
• Mont Sainte-Victoire seen from Bellevue, 1892
• Rideau, Cruchon et Compotier, c. 1893
• Mont Sainte-Victoire, 1903