《圣维克多山》是法国画家保罗·塞尚于1890年创作的一幅油画作品。
天空是混沌的色块、山峰也只是模糊的轮廓，山脉下面的房屋、田地、树木花草根本无法辨认清楚,只剩下支撑事物本质的形与色,这好比一下子就让我们看到了一个人的骨头和骨头的色泽，中间没有衣服的包裹和肉体的依托。
圣维克多山位于法国南部塞尚家乡的附近。在这幅画里，我们是从一处长着冷杉树的丘陵上向那座山眺望。画中充满了有力的线条，塞尚用这些线条组织了他的画。塞尚的用笔是那样的稳定坚实，看着这幅画，我们会觉得，这些景色是实实在在地存在于明媚的阳光下。他让我们体会到了秩序中的美。
从《圣维克多山》的构图方式上看，画家并不是要以表现山及山周围的优美景色为主要目的，呈现山的巍峨和高大才是作画的主要思想依据和重点所在。平面以往复的环形围绕着轴心运行,以至于不论从哪个角度出发来观察这幅画，都会被整个山体的重心构图所引导。前景的树林，用绿色带和红色及橙黄色来搭配，主要用来映衬主体山峰的整体面貌。山峰的颜色虽然是灰色的，但在树林及其周围金黄色山石等强烈颜色的反衬下，并不会失去视觉上的冲击力，反而会显出它的重点存在。画上仍然有光线的存在，但并不能看出光线的光源在那里,就像从画布的背面透了出来。山峰和周围的景物被凝固了起来，呈现出了一种永恒的尊威。
在这幅画中，画家的笔触更加抽象，轮廓线条也变得更加破碎、松弛。色彩漂浮在物体上，以保持独立的自身特征。画中的每个笔触都是以自身的作用独立地存在于画面之中，同时又服从于整体的和谐统一。画家把客观的现实转化为主观的造型，让画中的理性结构和自己的主张结合成一种永恒的艺术形式。人们从这幅画中可以看到，艺术家在古典主义和浪漫主义、结构与色彩、自然与绘画的结合上，都达到了前所未有的高度。
2019年2月20日——2019年6月17日，该画在路易威登基金会艺术中心“考陶尔德收藏展：印象派视界” 中展出。
保罗·塞尚（Paul Cézanne，1839—1906）法国著名画家，是后期印象派的主将，从19世纪末便被推崇为“新艺术之父”，作为现代艺术的先驱，西方现代画家称他为“现代艺术之父”、“造型之父”或“现代绘画之父”。
他对物体体积感的追求和表现，为“立体派”开启了思路；塞尚重视色彩视觉的真实性，其“客观地”观察自然色彩的独特性大大区别于以往的“理智地”或“主观地”观察自然色彩的画家。
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Mount Saint Victor is an oil painting created by French painter Paul Cezanne in 1890.
The sky is a chaotic color block, and the peaks are only blurred outlines. The houses, fields, trees, flowers and plants under the mountains can not be identified at all. Only the shapes and colors that support the essence of things are left. It is like seeing the color and lustre of a person's bones and bones at once. There is no clothing wrapping and physical support in the middle.
Mount Saint Victor is located near Cezanne's home in southern France. In this picture, we look at the mountain from a hill with fir trees. The painting was full of powerful lines, which Cezanne used to organize his paintings. Cezanne's pen is so stable and solid. Looking at this painting, we will feel that these scenes really exist in the bright sunshine. He made us realize the beauty of order.
From the perspective of the composition of Mount St. Victor, the painter does not mainly aim at expressing the beautiful scenery around the mountains. The main ideological basis and emphasis of painting is to show the majesty and magnificence of the mountains. The circular shape of the plane in the past moves around the axis, so that no matter from which angle to observe the painting, it will be guided by the composition of the center of gravity of the whole mountain. Foreground forests, with green belts and red and orange to match, are mainly used to reflect the overall face of the main peak. Although the color of the peak is gray, it will not lose its visual impact, but will show its focus under the backdrop of strong colors such as golden hills and stones around the forest. There is still light in the picture, but it can't be seen where the light source is, like coming out from the back of the canvas. The peaks and the surrounding scenery were solidified, presenting an everlasting dignity.
In this painting, the painter's brush strokes are more abstract, and the outline lines become more fragmented and relaxed. Colors float on objects to maintain their own characteristics. Each stroke in the painting exists independently in the picture with its own function, and at the same time obeys the harmony and unity of the whole. The painter transforms the objective reality into the subjective shape, and combines the rational structure in the painting with his own ideas into an eternal art form. People can see from this painting that the artist has reached an unprecedented height in the combination of classicism and Romanticism, structure and color, nature and painting.
February 20, 2019 - June 17, 2019, the painting was displayed at the Louis Vuitton Foundation Art Center's "Kautald Collection Exhibition: Impressionist Perspective".
Paul C zanne (1839-1906), a famous French painter, is the leader of the late Impressionist school. He has been praised as the "father of new art" since the end of the 19th century. As a pioneer of modern art, western modern painters call him "father of modern art", "father of modelling" or "father of modern painting".
His pursuit and expression of the sense of volume opened up a train of thought for Cubism; Cezanne attached great importance to the authenticity of color vision, and his unique observation of natural color "objectively" was quite different from the previous "rational" or "subjective" painters who observed natural color.
