英语翻译We also notice aspects of Cezanne’smature style that are

英语翻译
We also notice aspects of Cezanne’smature style that are more conspicuous here than in the Self-Portrait and maypuzzle us at first.The forms are deliberately simplified and outlined withdark contours,and the perspective is “incorrect” for both the fruit bowl andthe horizontal surfaces,which seem to tilt upward.The longer we study thepicture,the more we realize the rightness of these apparently arbitrarydistortions.When Cezanne took these liberties with reality,his purpose was touncover the permanent qualities beneath the accidents of appearance.All forms innature,he believed,are based on the cone,the sphere,and the cylinder.Thisorder underlying the external world was the true subject of his pictures,buthe had to interpret it to fit the separate,closed world of the canvas.
To apply this method to landscape became the greatest challenge ofCezanne’s career.From 1882 on,he lived isolation near his hometown of Aix-en-Provence,exploring its environs as Claude Lorraine and Corot had explored theRoman countryside.One feature,the distinctive shape of a mountain called MontSainte-Victoire,seemed almost to obsess him.Its craggy profile loomingagainst the blue Mediterranean sky appears in a long series of compositions,such as the monumental late work in figure 986.There are no hintshuman presence here houses and roads would only disturb the lonely grandeur ofthis view.

楼主你等一下哈,量有点大
再问： 好哒
再答： 楼主翻译好了： 我们同时也注意到塞尚成熟画风的某些方面在这里的体现比在自画像中更加显著，这可能让我们一开始就感到迷惑。形式明显是被故意简化并且整体采用黑色轮廓勾勒外形，这种观点对于果盘和静物表面的绘画都是错误的，因为它使物体看上去好像在向上倾斜。我们学习绘画越久，我们就会意识到更多这些主观臆造的合理性。当塞尚将自由与现实相结合，他的创作目的深深掩藏与那些出人意料表面永恒的优秀画质下。他相信所有不自然的画风都是基于圆锥，球形与圆柱上的，永恒的世界才是他绘画真正的主题，但是塞尚必须得通过阐述才能让自己的作品满足个体，接近油画世界。 将这种方法应用于风景画成为塞尚绘画生涯的最大挑战。从1882年起，他就在他的家乡埃克森郡过着深居简出的日子，仿照克劳德·洛林和卡洛特探索罗马田园风光来探索当地风景。其中一个景物—一座叫圣维多利亚山引人注目的山形，似乎让塞尚深深着迷了。它那崎岖的轮廓在地中海天空的映照下隐约浮现出一系列作品，比如在肖像986中后期的杰作。毫无疑问在这里人类的踪迹，房屋和道路都打扰了这份美景的宁静与高贵。 楼主以上都是我的人工翻译，打的好辛苦~~~好的话一定要加分哦O(∩_∩)O~