As important perspectives for interpreting the modernity of works, time and space are presented to the audience through many different forms of presentation. This article will analyze the temporality and spatiality in painting as well as the relationship between painting and color through the example of Cezanne's works. Through the analysis of the visual form of his works, this article explores the relationship between the generation, construction, and temporality of his works.

Yushu Liu. A Brief Analysis of Temporality and Spatiality in Painting—Illustrated by Cezanne's Works. Frontiers in Art Research (2024) Vol. 6, Issue 4: 71-75. https://doi.org/10.25236/FAR.2024.060412.

[1] Sun Zhouxing, "Experience of Things and the Definition of Art," Academic Circle, Issue 10, 2019.

[2] Graham Harman, Toward Speculative Realism: Essays and Lectures, translated by Hua Chaorong, Changjiang Literary and Art Publishing House, 2020, p. 193.

[3] Shen Yubing, "On the Visual Mechanism of Impressionism," Chinese Art, 2021(3): 7-21.

[4] Joachim Gasquet, The Studio of Cezanne: Conversations with Joachim Gasquet, translated by Zhang Xiaoming and Xu Di, Zhejiang Literature and Art Publishing House, 2007, p. 142-160.

[5] Clement Greenberg, Art and Culture, translated by Shen Yubing, Guangxi Normal University Press, 2009, p. 60.

[6] Michael Fried, Manet's Modernism or, The Face of Painting in the 1860s, University of Chicago Press, 1996, pp. 291-292.