luences of the Impressionist style. This influence was especially strong after 1872, when Cezanne became an apprentice to the Impressionist artist Camille Pissarro (Schapiro, p. 25). In Cezanne's later works, the passion and "intense feeling" of his youth returned, although it was in a "new form" (Schapiro, p. 28). In the words of Meyer Schapiro, Cezanne's later paintings "are as passionate as the romantic pictures of his youth; only they are not images of sensuality or human violence, but of nature in a chaos or solitariness responding to his mood" (p. 11). An example of this later style can be seen in Cezanne's Quarry and Mont Sainte-Victoire (1898-1900), a work which shows the artist's concern with both color and the underlying geometric shapes of nature. The images of this painting are made up of "violent" patterns of color; at the same time, however, the work is carefully articulated in terms of its composition. This painting also shows Cezanne's detached observation of nature in that the viewer is isolated from the subject matter (the mountain) by the deep quarry which lies in the foreground.
Paul Cezanne's unique style of painting came about because he had his own theories regarding the creation of pictorial art. One of his goals in painting was to depict the forms and structures underlying natu
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