Comparing Cézanne's Bathers And Leda With The Swan

Compare and contrast Cézanne’s Bathers (Plate 1.3.4) with Correggio’s Leda with the Swan (plate 1.3.8). This essay will compare and contrast Cézanne’s Bathers (Plate 1.3.4) with Correggio’s Leda with the Swan (plate 1.3.8). It will discuss the art techniques used and how they distinguish the differences between traditional and modern work.
The subject matter between both of the paintings is very similar- both depict nude human bodies (mostly female) within nature environment. The scene in Correggio’s Leda with the Swan is painted in a detailed, realistic manner where the depiction of forms is accurate and there is no distortion. In Cézanne’s Bathers the figures are of realistic proportion but the faces lack expression. They are blurred out which makes it feel less personal and does not allow the viewer to attach sentiment to human expression. This suggests that the pieces analysed are opposite to each other, meaning Cézanne’s lack of accurate realistic expression makes it a modern piece of art compared to Correggio’s classical work.
The illusion of depth is created in both works although different techniques have been used.
Cézanne uses strong horizontal and vertical elements (the river, the path and scaling of the trees). The background is exposed to light as much as main figures which makes it much flatter than Correggio’s piece. Some 3D modelling can be seen in the bodies but, unlike Correggio’s, mostly they appear flat due to lack of recreation of the certain features of the bodies (blurred faces, lack of muscle and bone definition, unrealistically textured hair). In Correggio’s work the sense of depth is created by scaling of the figures which are painted appropriately smaller in the background, snippets of pale mountains through the branches and the light source coming from the right. These factors also contribute towards the realism of the
painting.
Both paintings are of the same medium- oil on canvas; however the brushwork is extremely different. Cézanne’s big, loose, painterly brushstrokes are best visible in the nature elements of the canvas. Meanwhile neat and minimal brushwork of Correggio requires close examination to be seen as the painting seems smooth and realistic, almost like an actual photo. The colour range of these paintings is also very different. Compared to Correggio, Cézanne uses a wider range of colour: brown, yellow and orange accents in hair and trees, shades of blue and white in sky and water. The lightness of the colours contributes to reflecting positive, warm, lively mood of the painting. Correggio uses darker, earthier colours in the nature elements, apart from the snippets of pale blue sky and mountains. The main figures are light coloured, some red and blue accents seen in the clothing.
Correggio, unlike Cézanne, uses a wide range of tone. The background is mostly covered by the trees, making the whole scene rather dark. Due to the background not being exposed, all of the viewer’s attention is focused on the bright, direct and clearly visible foreground. This is significant here as it makes the contrast more dramatic emphasising the importance of the figures in the foreground and makes the picture even more realistic. In Cézanne’s Bathers the tonal range is narrow making the contrast rather subtle and the scene less realistic. The viewer is more distanced from the scene than s/he is in Correggio’s Leda with the Swan which gives an impression that the viewer of Bathers is almost observing from afar.
550
References:
AA100 Illustration Book (2008), p 8; 12.
“Inside Art” (2014) AA100 online activity.
Harrison C. (2008) “Cézanne”, AA100 Book, Chapter 3.