Paul Cézanne - More revelations that mean so much to contemporary style

One of the true prodigy's of Cézanne was Emile Bernard, who was a regular student under the great master, and also one of my favourite turn of the 20th Century painters.  It is said that whilst Cezanne encouraged Bernard to be true to nature, what this actually meant was one does not need to represent exactly what you see.  It also means that one is not to just make a superficial representation (Becks-Malorny, Ulrike. 2001, "Cézanne" Page 47).  Emile Bernard quoted him as saying

"We should not be satisfied with strict reality, the re-forming process that a painter carries out as a result of his own personal way of seeing things gives new interest to the depiction of nature.  As a painter, he is revealing something which no one else has ever seen before and translating it into the absolute concepts of painting. - that is, into something other than reality."

One of the keys to how Cézanne made this transformation into something else was his use of colour and his approach to reject the more classical ways of representing space.  He did this by choosing to use specific colours that induce an "emotional" response (in my opinion, and others too), which inculcate the feelings of space and emptiness.  this is an interesting concept that needs some effort to get your head around. Nevertheless, it works!  The way Cézanne used "cold" colours of blues and greens to suggest back 'space' in paintings, but yet through their subtle application he can manipulate the viewer's comprehension to see areas of a painting in these colours as 'further back' / behind / distant as our brain manifests these sensations.  The use of these colours also depends upon the values of "warmer" colours of reds and ultimately yellows to bring objects forward in a painting.  the combination of both renders the sensation of perspective, even though, in some of Cézannes paintings (such as The Chateau De Médan, 1879 - 1881, - Glasgow Art Gallery & Museams), there is only little evidence of traditional 3 point perspective which is seen only in the left of the painting in the actual Chateau itself.  The subject of interest to Cézanne was the house of his life-long friend, Emile Zola, who stayed for some time in one of the properties of the Chateau out-buildings.
http://collections.glasgowmuseums.com/media/35_53_01_S.jpg
(Due to copyright legislation by Glasgow Museums, I am unable to provide a copy of the painting within this blog-site)