Paul Cézanne was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cézanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne's intense study of his subjects.
保罗-塞尚（Paul Cézanne）是一位法国艺术家和后印象派画家，他的作品为19世纪艺术概念过渡到20世纪全新不同的艺术世界奠定了基础。塞尚经常重复、探索性的笔触具有很强的个人特点，可以被清楚地识别。他使用彩色平面和小笔触，逐渐形成复杂的区域。 这些画作传达了塞尚对他的主题的深入研究。
During the last 30 years of his life, Paul Cézanne painted the same objects (the green vase, the rum bottle, the ginger pot, and the apples) over and over again. His interest was not in the objects themselves but in using them to experiment with shape, color, and lighting. He arranged his still lifes so that everything locked together. "Painting from nature is not copying the object," Cézanne wrote, "it is realizing one's sensations." He consistently drew attention to the quality of the paint and canvas, never aiming for illusion. Edges of objects run into each other; for example, a black arabesque seemingly escapes from the blue cloth to capture an apple in the center; the sinuous curves of the blue ginger pot's rattan straps merge with other straps on the body of the bottle behind. Giving form and mass to objects through the juxtaposition of brushstrokes and carefully balanced colors and textures, he gave the painting a sense of comforting stability.
在生命的最后30年里，塞尚一遍又一遍地画着同样的东西(绿色花瓶、朗姆酒瓶、姜罐和苹果)。他的兴趣不在于这些物品本身，而在于用它们来试验形状、颜色和光线。他精心安排了静物，把所有东西都联系在一起。塞尚写道：“描述自然并不是抄袭物体，而是发现自己的感受。”他不断地让人们注意到颜料和画布的质感，从不追求幻想的事物。物体的边缘会相互碰撞；例如黑色的藤蔓花纹似乎正从蓝色的布料中生长出来，要去触碰位于画面中心的苹果；蓝色姜壶的藤条与后面瓶身上的其他带子融合在一起。他通过并置的笔触、精心平衡的色彩和纹理，赋予物体形式和质量，给这幅画一种舒适的平衡感。
We present today's painting thanks to the J. Paul Getty Museum. : )
感谢保罗-盖蒂博物馆与我们分享今天的画作。:)
