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Student Artwork Guide

Self-Portrait (Puskin)

Name Class Date

Paul Cézanne, Self-Portrait (Puskin). Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Paul Cézanne topimpressionists.com/en/artists/paul-cezanne/
Artist’s dates
1839 – 1906
Medium
Oil On Canvas
Movement
Post-Impressionism Artists who kept the bright colour of Impressionism but pushed shape and feeling further than the eye really sees.
Period
19th Century
Artistic style
Introspective, Expressive
Influences
Cézanne, Impressionism
Notable elements or techniques
Geometric forms,
Subject or theme
Self-Portraiture

In context

Self-Portrait (Puskin) — Paul Cézanne

When might this have been painted?

  1. 1830
  2. 1840
  3. 1850
  4. 1860
  5. 1870
  6. 1880
  7. 1890
  8. 1900

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 67 at death.

Shaded: the lifetime of Paul Cézanne (1839–1906) every dated painting, decade by decade

First works: up to 1875 Main working years: 1875–1894 Late works: from 1894

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: topimpressionists.com/en/art/similar/paul-cezanne-self-portrait-puskin-5ZKDPN-en/

Colours

Measured from the image

    Main colour

    Yellow Green #bfbb2b

    Catalogued palette

    • #BFBB2B
    • #312A1E
    • #7A752E
    • #4B4326

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Yellow Green
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Bold How much the colours differ in lightness and saturation across the picture.
    Harmony
    Unified Palette How well the colours work together, from clashing to fully unified.
    Brightness
    Shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Balanced Soft How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Paul Cézanne over the last twelve months — 71 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 50.7%
    2. 2 United States of America 9.9%
    3. 3 Hong Kong 8.6%
    4. 4 Singapore 7.9%
    5. 5 France 5.2%
    6. 6 Italy 2.6%
    7. 7 Spain 2.5%
    8. 8 Germany 1.4%
    9. 9 Romania 1.3%
    10. 10 Brazil 1.3%
    11. · 61 other countries 8.6%

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Paul Cézanne

    1. 1 The Card Players, 1893 2.5%
    2. 2 Large Bathers (Philadelphia), 1905 1.8%
    3. 3 The Card Players, 1892 1.8%
    4. 4 Basket of Apples, 1895 1.5%
    5. 5 Mont Sainte-Victoire (Courtauld), 1887 1.3%
    6. 6 The bay from l'estaque, 1886 1.2%
    7. 7 Cardplayers, 1893 1.2%
    8. 8 The Lac d'Annecy, 1896 0.9%
    9. 9 Curtain, Jug and Fruit, 1894 0.8%
    10. 10 Landscape with Viaduct - Mont Sainte-Victoire, 1885 0.7%
    11. 11 The Kitchen Table, 1888 0.7%
    12. 12 View of L'Estaque and Chateaux d'If, 1885 0.7%
    13. 13 Mont Sainte-Victoire (Barnes), 1892 0.7%
    14. 14 Chateau Noir, 1904 0.6%
    15. 15 Still life with apples,c.1890, eremitaget 0.6%
    16. 16 Mountains in Provence, 1890 0.6%
    17. 17 The House of Pere Lacroix in Auvers, 1873 0.6%
    18. 18 The Eternal Woman, 1877 0.5%
    19. 19 House of the Hanged Man, Auvers-sur-Oise, 1873 0.5%
    20. 395 Self-Portrait (Puskin) this painting 0.1%

    Together these works take 19.3% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 998 works by this artist, of which 767 were looked at at least once. This painting ranks 395 of them, with 0.1% of that attention. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Self-Portrait (Puskin) — Paul Cézanne

    Paul Cézanne’s Self-Portrait (Puskin): A Window into Modern Consciousness

    Paul Cézanne's Self-Portrait (Puskin), painted around 1876-1880, isn’t merely a likeness; it’s a profound meditation on the act of seeing itself. This intimate canvas, now residing within the Puschkin Museum in Moscow, offers a rare glimpse into the artist's evolving mind – a pivotal moment where Impressionism began to yield to the nascent explorations that would define his revolutionary Post-Impressionist style. More than just a portrait, it’s a carefully constructed visual puzzle, inviting us to contemplate Cézanne’s relationship with both himself and the world around him.

    The painting immediately draws the eye with its deliberate simplicity. Cézanne presents himself in a relatively neutral pose, seated before a plain, almost austere, wall adorned with a subtle floral wallpaper. He wears a dark jacket, his hands resting lightly on his lap – gestures that suggest both contemplation and a quiet reserve. Yet, it’s not this straightforward depiction that holds the most significance. Instead, Cézanne employs a masterful manipulation of color and form to create an atmosphere of layered depth and emotional resonance. The palette is restrained, dominated by muted blues, ochres, and browns, but these aren't applied with the fleeting brushstrokes characteristic of Impressionism. Instead, Cézanne builds up his forms through numerous small, broken strokes – a technique he would later refine to an extraordinary degree. These individual marks coalesce into solid planes of color, creating a sense of volume and weight that feels remarkably sculptural.

    Crucially, Cézanne’s use of color is anything but naturalistic. He deliberately distorts the hues, employing unnatural shades – particularly in the rendering of his face and hands – to heighten their expressive power. The cool blues and greens used for the skin create a sense of distance and introspection, while the warm browns suggest an inner intensity. This departure from traditional portraiture reflects Cézanne’s growing interest in exploring the underlying structure of objects rather than simply capturing their appearance. He's not interested in replicating reality; he’s striving to represent how we perceive it – a core tenet of his evolving artistic philosophy.

    The background wallpaper, with its repeating geometric patterns, plays an equally vital role. Cézanne doesn’t treat it as a mere decorative element but rather as a structural framework for the composition. He meticulously integrates the pattern into the overall design, echoing shapes and lines within the portrait itself. This creates a fascinating interplay between the figure and his environment, suggesting that Cézanne sees himself as an integral part of the natural world – a theme that would become increasingly prominent in his later works. The subtle diagonal lines of the wallpaper, for instance, mirror the contours of his face, subtly unifying the two elements within the painting.

    Beyond its formal innovations, Self-Portrait (Puskin) possesses a palpable emotional depth. Cézanne’s gaze is direct and unwavering, yet there's also an underlying sense of melancholy or perhaps even quiet resignation. It’s as if he’s inviting the viewer to share in his internal world – a world characterized by both intense observation and profound introspection. This painting represents a crucial turning point in Cézanne’s career, marking a decisive shift away from Impressionism towards a more personal and expressive style that would profoundly influence the course of modern art. It's a testament to the power of seeing, not just with the eyes, but with the entire being.

    The Post-Impressionist Context

    Cézanne’s Self-Portrait (Puskin) stands as a cornerstone of the Post-Impressionist movement. Emerging in the late 19th century, Post-Impressionism wasn't simply a rejection of Impressionism; it was an evolution—a response to its limitations and a bold exploration of new artistic possibilities. Influenced by artists like Vincent van Gogh, Paul Gauguin, and Georges Seurat, Post-Impressionists sought to move beyond the purely optical representation of reality, delving into subjective experience, emotional expression, and formal experimentation.

    Unlike Impressionists who focused on capturing fleeting moments of light and color, Post-Impressionists were more concerned with conveying their own individual perceptions and emotions. Cézanne’s work exemplifies this shift through his deliberate manipulation of form, color, and perspective. He broke away from the traditional rules of linear perspective, flattening space and emphasizing the underlying structure of objects. This approach paved the way for Cubism, a revolutionary art movement that would further deconstruct reality into geometric forms.

    Furthermore, Post-Impressionists explored a wider range of stylistic approaches than their Impressionist predecessors. The movement encompassed diverse styles, including Les Nabis (known for their muted palettes and symbolic imagery), Neo-Impressionism (which emphasized scientific color theory), Symbolism (which sought to express abstract ideas through evocative images), Cloisonnism (characterized by flat planes of color separated by dark outlines), the Pont-Aven School (focused on depicting rural landscapes with a stylized realism), and Synthetism (emphasizing the geometric construction of forms). Cézanne’s work, with its emphasis on structure and form, aligns particularly closely with the principles of Synthetism.

    Influence and Legacy

    Cézanne's radical approach to painting profoundly impacted the development of modern art. His exploration of color and form served as a crucial bridge between Impressionism and Cubism, inspiring generations of artists to challenge traditional conventions and explore new ways of representing reality. Pablo Picasso famously declared that Cézanne “destroyed all perspective,” recognizing the artist’s revolutionary influence on his own work.

    Artists like Matisse and Braque built upon Cézanne's innovations, developing techniques for analyzing objects into their geometric components – a process directly influenced by Cézanne’s systematic approach to form. His emphasis on structure and volume also resonated with the early Cubists, who sought to represent multiple viewpoints simultaneously within a single image.

    Beyond its direct influence on Cubism, Cézanne's work continues to inspire artists today. His exploration of color, form, and perspective remains relevant, demonstrating the enduring power of his artistic vision. Reproductions of Self-Portrait (Puskin) are frequently used in art education as a case study for understanding the transition from Impressionism to modernism – a testament to its lasting significance.

    Availability for Purchase

    AllPaintingsStore offers meticulously crafted, hand-painted oil reproduction reproductions of Paul Cézanne’s Self-Portrait (Puskin). Each artwork is created by skilled artists who painstakingly recreate the original's nuances – from the subtle shifts in color to the textured brushstrokes – ensuring a faithful and captivating representation. Whether you are an art collector, interior designer, or simply someone seeking to bring a touch of artistic brilliance into your home, our reproductions provide an exceptional opportunity to experience the beauty and significance of this iconic masterpiece.

    Explore the available sizes and options on our website: AllPaintingsStore. Bring the contemplative spirit of Cézanne’s Self-Portrait (Puskin) into your space and connect with a pivotal moment in art history.

    Artist and museum

    Artist

    Paul Cézanne

    Born in Aix-en-Provence, France

    The Architect of Form

    Paul Cézanne was born in Aix-en-Provence, France, into a family with deep roots in the local banking industry. His father, Louis-Auguste Cézanne, helped found the Banque Cézanne et Cabassol, providing a level of financial stability that many of his contemporaries lacked. This security allowed Paul to move away from the legal studies his father had planned for him. Though he initially studied law at the University of Aix-en-Provence, he abandoned those studies in 1860 to focus entirely on painting. His early years were spent in the company of friends like Émile Zola, and together they shared a childhood of swimming and fishing along the banks of the Arc River.

    The early works of Cézanne often carried the weight of Romanticism, utilizing dark palettes and heavy, expressive brushwork. He was influenced by the dramatic tonal contrasts found in the tradition of Eugène Delacroix. However, his approach began to shift as he moved toward Paris. He sought a way to move beyond the fleeting light captured by the Impressionists. Instead of merely recording a passing moment, he wanted to find the permanent structure within nature. He looked at a mountain or a piece of fruit and saw the underlying geometry—the cones, spheres, and cylinders that form the bones of the world.

    A New Way of Seeing

    Cézanne developed a technique characterized by small, repetitive, and constructive brushstrokes. He layered these patches of color to build up volume and texture, creating a sense of solidity. This method allowed him to explore spatial relationships without relying on traditional single-point perspective. In many of his compositions, objects appear independent within the space, often presented from multiple viewpoints at once. This rejection of classical perspective rules helped create a new pictorial language.

    His subject matter was deeply tied to his surroundings in Provence. The Mont Sainte-Victoire became a recurring presence in his work, appearing in approximately eighty different paintings and watercolors over many years. He also found profound meaning in the simplest objects. His still lifes, featuring items like apples, jars, and cups, were not mere decorations but intense studies of light, shadow, and mass. Through these works, he demonstrated how color modulation could define shape without the need for traditional shading.

    The Bathers (Les Grandes Baigneuses)

    Mont Sainte-Victoire series

    Still Life with Apples and a Pot of Primroses

    Portrait of Émile Zola

    The Card Players

    A Lasting Influence

    By the time of his death in 1906, Cézanne had fundamentally altered the direction of modern painting. His emphasis on geometric form and multiple perspectives provided a foundation for the Cubist movement. Artists such as Pablo Picasso and Georges Braque drew heavily from his analytical approach to nature. His use of bold, non-naturalistic color also left an impression on the Fauvists, including Henri Matisse. He moved art away from the imitation of reality toward a construction of visual experience based on perception and structure.

    Where to read more

    Find this online

    QR code linking to the download page for Self-Portrait (Puskin)

    topimpressionists.com/en/art/download/paul-cezanne-self-portrait-puskin-5ZKDPN-en/

    Cite this artwork

    MLA
    Cézanne, Paul. Self-Portrait (Puskin). n.d., https://topimpressionists.com/en/art/paul-cezanne-self-portrait-puskin-5ZKDPN-en/
    APA
    Cézanne, Paul (n.d.). Self-Portrait (Puskin) [Painting]. https://topimpressionists.com/en/art/paul-cezanne-self-portrait-puskin-5ZKDPN-en/
    Chicago
    Paul Cézanne. Self-Portrait (Puskin). n.d. https://topimpressionists.com/en/art/paul-cezanne-self-portrait-puskin-5ZKDPN-en/
    Harvard
    Cézanne, Paul (n.d.) Self-Portrait (Puskin). Available at: https://topimpressionists.com/en/art/paul-cezanne-self-portrait-puskin-5ZKDPN-en/

    Look closely

    Self-Portrait (Puskin) — Paul Cézanne

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: self-portrait, cézanne, post-impressionism. Do you agree? What would you add, or take away?
    4. Look back at The Card Players (1893), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Post-Impressionism: Artists who kept the bright colour of Impressionism but pushed shape and feeling further than the eye really sees. Where can you see that in this work?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Self-Portrait (Puskin) — Paul Cézanne

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. Which art movement is most closely associated with Paul Cézanne’s ‘Self-Portrait (Puskin)’?

      • A Impressionism
      • B Post-Impressionism
      • C Cubism
    2. 2. What is a key characteristic of Cézanne’s use of color in this self-portrait?

      • A Naturalistic representation of colors
      • B Unnatural or modified colors to convey depth and volume
      • C Monochromatic palette with subtle variations
    3. 3. The painting’s composition incorporates elements from what artistic principle?

      • A Linear perspective
      • B Sfumato
      • C Geometric simplification
    4. 4. What does the background wallpaper in ‘Self-Portrait (Puskin)’ primarily represent?

      • A A purely decorative element
      • B An integral part of the composition, echoing forms within the portrait
      • C A distraction from the subject
    5. 5. Considering Cézanne’s broader artistic trajectory, ‘Self-Portrait (Puskin)’ can be seen as a bridge between which two movements?

      • A Realism and Romanticism
      • B Impressionism and Fauvism
      • C Impressionism and Post-Impressionism

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1B · 2B · 3C · 4B · 5C

    Check any answer against the catalogue record for this painting

    Questions & Answers

    How much light do the colors of "Self-Portrait (Puskin)" appear to reflect?

    The colors of "Self-Portrait (Puskin)" show a dark luminance.

    How do movement and era meet in "Self-Portrait (Puskin)" by Paul Cézanne?

    "Self-Portrait (Puskin)" belongs to the Post-Impressionism movement, and its creator worked in the 19th-Century era.

    What mood does "Self-Portrait (Puskin)" by Paul Cézanne express within Post-Impressionism?

    The reflective emotion of "Self-Portrait (Puskin)" accompanies its Post-Impressionism style.