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As a young man in Paris, Cézanne had learned his art not only from his impressionist colleagues but also through studying old masters in the Louvre. On the other hand, it is possible to see this so–called portrait as an entity of shapes and colors.
As much as Paul Cézanne’s Boy in a Red Waistcoat (1888–1890) is a portrait of a wistful young man, this painting is equally an abstract exercise in arranging colors and shapes.
The boy's pose is that of an academic life study, and for some art historians it has recalled the languid elegance of 16th–century portraiture. As a young man in Paris, Cézanne had learned his...
Cézanne painted four oil portraits of this Italian boy in the red vest (in British English, a waistcoat), all in different poses, which allowed him to study the relationship between the figure and space. [3] The most famous of the four, and the one commonly referred to by this title, is the one which depicts the boy in a melancholic seated pose with his elbow on a table and his head cradled ...
30 sie 2011 · The Boy in the Red Vest (Le Garçon au gilet rouge), also known as The Boy in the Red Waistcoat, is a painting (Venturi 681) by Paul Cézanne, painted in 1889 or 1890. It is a fine example of Cézanne's skilled, nuanced, and innovative mature work after 1880.
Cézanne played with the tradition of reformed and classical portraiture—making things off-balance, outlined, blurred out, and often shifting the focus. For example, in Madame Cézanne in the Conservatory (pictured above), Hortense's hands are almost fully unfinished, while, in contrast, the tree in the background has a wide range of value ...
The long melancholy figure, with its sad grace, recalls the aristocratic Italian portraits of the sixteenth century in which activity has been arrested by introspection and doubt. Vague as they are, the boy's features are delicately drawn; we cannot help noting his shyness and troubled inner life.
