What caused Paul Cezanne to boldly proclaim “The day is coming when a single carrot, freshly observed, will set off a revolution.”

Was it a meal his mother prepared? Or perhaps when he had a bitter dispute with his father, and broke away from his family, that in his determination to succeed, he stubbornly continued to create many fixations in his determination to create his own vision. Or???

During his years of studies in Paris we can find in all sorts of books that Paul played beyond the boundaries of “how to do things” properly. He constantly went against the rules much to the chagrin of his schooling years and went against the grain on the regulations on “how to do this” plus on “the laws” of how to do things properly.

Paul Cezanne just could no do what was not proper to him. He needed to be himself by remaining true himself by always breaking the laws in order to express his originality. In his “visions” he become one of the greatest renaissance masters in the world-

He reaped “glory” later on in life through years of hard work. Even though he received much rejection, he received much respect in the later years in life. But he left us with more than the legacy of statements upon carrots.

What did Paul Cezanne’s impressionistic legacy impressionistically leave us with? Perhaps we all need to grasp and imagine all the more about the legacy of possible “what if” sides to this passionate, intense and extremely sensitive enigmatic man understand in the spiritual side of him. He was an.

Paul Cezanne left us all with the essence and hint of an unsolved mystery. His spiritual side hints of mysteries on how he filled his space with artistic pursuit. What about the colours, techniques and more?

But what happened before he made an effort to reconcile with his estranged wife and took her with their son on a trip to where and why did it happen?

Even through he married and had a child, he continued to live and work in his family home. In the first years, his wife and child were models for many drawings and paintings, but later in life? Things changed. But what and why? There was always much intense passion to his characters but perhaps more intensity in his later years, but was this in a secret side to Paul?

Was Paul Cezanne a puzzle to never resolved, or found in re-found in bit and bites as tasty morsel as compared the power of how the “carrot” came about to gain such a powerful courageous statement for Paul Cezanne to make at that point in his life.

Was there a secret in the literature his dear childhood friend Emil Zola’ left us, in his novel ’L’Oevre’ (The Masterpiece 1886) a hint in his male character that reveals much by using Cezanne’s "passion for the physical beauty of women, and insane love for nudity desired but never possessed.”

Pablo Picasso noted how Cezanne’s lived in a constant state of anxiety. It was and still is noted that his inner struggles were to be of artistic and sexual in nature. Various people that studied him noted that it was “the interdependence of his sexual and artistic anxiety showed some intricate parts of his eternal conundrum where one lies one of the mysterious sources of creativity.”

Every day Paul Cezanne painted and was very seldom satisfied with his work. Even if he was “cerebral” in his quality of work, it always bothered him that, no one understood or appreciated what he was doing other than his Impressionist friends.

But it was his fine tuned inner force of interrelationships of colour, space, composition, structure, and expressiveness that made Paul sand out. These qualities harmoniously were so harmoniously heard in such a fine tuned state: beautiful yet powerful music.

Cezanne skilfully juggled all the variables of painting: each stroke had to carry its weight in proper place, colour, value, spatial relationship, drawing, and expressive function.

Paul left more than just myself with powerful emotions in his paintings. Keep in mind that IF he believed that a painter should form his own conclusions, based on a lifetime of work and study, before nature, then what about our beliefs were upon him? Or did he even really care, but perhaps someone did. Was it Julienne?

His work was carefully constructed. All of it invented an new type of space and his trillion, millions of touches, retouches, and dips he takes were so tenderly sublime. HE shared his heart-breaking; they were painted with the highest form of love – that which sacrifices even oneself for the expression which is ultimately for the universe.

It is written and said that his painting were like Beethoven’s music; powerful and irrefutable akin the affirmation of the human voice.

Was there more to those parts of the power that lay in the pictorial structure? More behind the motor to what he constructed on the canvas within the architecture, the skeleton? Within the colours hung upon and hidden behind the subject matter. The structure WAS the subject matter. So solid, so philosophically solid, hush.

What about the enigma of the Carrot? Was there something so powerful in the classical, Greek sculptured sense and beauty of the three-dimensional perfection astounding Paul Cezanne, but the carrot?

How could Picasso claim tjat Cezanne was living in “extreme anxiety” and perhaps knew more on how he simply wouldn’t give up until either he felt the picture finally was perfectly unified and resolved, or that it would never be? Or in the latter case, he might even in frustration destroy it, or at worse leave it in a field.

But how hard is it t0 perhaps understand all the more in Paul. His paintings were all more than the sum of their parts said, or doing.

What did Paul mean by “We live in a rainbow of chaos.” Or could we just take time to imagine a little more bout Paul Cezanne the man.

Imagine Paul’s face as he dared to utter what he did, but shyly? PR boldly upon meeting Julienne? Or risked to Julienne in the Tuscany’s but where there? He is but a missing puzzle vividly waiting a luxury that caused an impact on him to inspire or cause her, or the, to do what? And where^

Try on the size of impressionistic moments that allow the fit of contrast and brave new contrasts in colour. Was Paul so impressed by choice of colours worn so well causing him to sigh to his friends, “let’s go visit Julienne again” in Tuscany, the food and wine’s right.

“Ah but a little bit more of Julienne” he’d chuckle. Or was it that it was that there was something so special? Or him the way in or how she created an impact on him, like mom? Or just in her special way she’d prepare meals for him, or them, or with his fiends that also impressed Pablo Picasso as well?

Or could it be, in that special sensual ways Julienne could create and gourmet to any green salad so it seems brighter and more witty? Or how about those special moments to allow immortalizing in sensitive touch of discovery with mutual respect? Or desire in desire immortalization in any moment?

Oh to be eternally remembered, but how was best? By all the symbolisms wrapped up in a moment glorious moment or omen through the homage to a “single carrot” – a love that transcends time in declaration, since love can be expressed a unique manner never to be forgotten.

Such an impression created the impressionistic. Perhaps through one light and delightful romance to last a lifetime it caused Paul to whisper out loudly “Right now a moment of time is passing by! We must become that moment.”

Perhaps this was declared during a once-upon-a-time meal time shared, on one beautiful blustery Winter evening in Tuscany, while stolen moments of courting were sweet and humbled by and over a warm dense carrot and apple soup? But was the desired one from Tuscany, London, or at better yet from Paris when Paul uttered boldly “With an apple I will astonish Paris.”

Other times when he stated “When I judge art, I take my painting and put it next to a God made object like a tree or flower. If it clashes, it is not art.” But was that just during a “Once-upon-a-time-ago” that rich, ripe perfumed kisses planted promise to perhaps to his wetting flustered brow that also inspired more than just slightly powerful quotes. That set his “bright carrot carrots carousel” paintings to life, and it also added spice and flame to the stimulation of his mental linguistic talents. His quotes set fire to my imagination and with this I now run off to bed in dreams in further state of ruminations.

Loving I shall quote Paul Cezannes quotes to you in my good-bye “Right now a moment is fleeting by! Capture its reality in paint! To do that we must put all else out of our minds. We must become that moment, make ourselves a sensitive recording plate, give the image of what we actually see, forgetting everything that has been seen before our time.” and perhaps in another time of rapt folly, I shall but weave a contribution to my reflection.



Joined October 2007

  • Artist

Artist's Description

Reflective on more to know why about the existence of Carrot’s Julienne.

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