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CEZANNE S CHAPTER 31 (continued) Construction of a space 1

CHAPTER 31: THE NEW WORLD OF THE PAINT 1. CONSTRUCTION OF SPACE (1): CEZANNE (continued). Jacques
rouveyrol



I. THE DARK PERIOD 1859-1871

Before the Renaissance perspective: the perspective of antiquity.
It is determined by the belief in the sphericity of the visual field and the belief in the fact that the apparent magnitudes are not a function of distance objects but a function of the visual angle :

Before the prospect of reviving research is done in manuscripts, from the theory of sphericity our vision. Hence, tile curve representations well illuminated.

1. Curiously, Cezanne begins by suggesting the depth through the curve. At this point in the canvas the starting point for a series of curves that radiate outwards, like the circles of the wave disturbed by a stone pier.

The depth is not made in color, but by the centrifugal movement curve . The focal point seems further away (as an origin) although no perspective does produce the illusion that depth.

2. Another method by irradiation leads to a similar result: a bright focal point and a gradual darkening centrifuge. With
resulting in a reversal of the "depth". The "home" to the forefront and lead the rest back into the shadows.

3. Even use of the curve in portraits to emerge "forward" the character or that detail of his face: he is turning the color .

II. The Impressionist period 1873-1877
We saw it with Impressionism, the subject eventually to lose interest. This is the only light that counts. But the problem is that its synthesis .
be noted. Is a photograph of a dancer caught in action. Photography (with exceptions) will freeze the motion, stop. Ten photographs placed side by side will show the decomposition . We are in the analysis. But is now a painting by Degas, for example The Star or Dancer on stage (1878 Musée d'Orsay, Paris) The gesture is not fixed, its continuation, as preceding in time, are suggested. It is a synthesis . A look at the picture, I imagine the indivisible whole movement of the dancer.
1. Well, in his landscapes. Cézanne does not capture a moment of light, but performs the synthesis of a succession of bright moments.
The problem is: how does this synthesis. How the elements (instants varied light) does not crumble they? How to keep them together?
The answer is a subdivision canvas. Each portion of space becomes solid and encloses all the variations possible. The difference is significant with this landscape by Pissarro:

who enjoys an overall cohesion but that gives an instant view of its existence (that of a special light).
In the absence of this subdivision, the landscape dissolves.

2. As for the landscape, Cezanne research in the portrait, which remains through the change of expressions.
To keep all this diversity, the area surrounding the face should be foreign to him and close in on itself.

The key is light, moving without the impasto characteristics of the previous period. The volume must be contained and it is the role which the frames that do this.
Sometimes there is imbalance and the space around butt-face, fixes it ( Madame Cezanne in the Striped dress 1877). Or, conversely, that the figure is "falling apart" due to lack of "pressure" of space ( Self-portrait from the Phillips Collection in Washington 1878-1880). Signs that the solution of "compartmentalization" is not, perhaps, the last word in the question about synthesis.


III. THE CONSTRUCTIVE PERIOD 1879-1895

The problem to solve is that of unit construction of the merger between the container space and figurative content.

1. Gauguin found his solution: recreate a world with no relation to reality: that, hierarchical idols. As we are in a total recreational, we control all elements of the composition of this new world so that it becomes easy to ensure consistency (the depth meaning defined above).

2. Same type of solution for which recreates Seurat another world where everything seems suspended, where time has stopped or slowed much less.

3. It also happens to Cezanne, that is the case for example in its Mardi Gras recreate another world of dreams. But his goal is to make a transposition real-world painting.
But transpose is both maintain and exceed .

Take the real world, and from it, build another world equivalent. A world that is parallel to reality. Now that there is parallel, it is shown that in the world I can recognize the people I represent. Work
of abstraction, then, but controlled, referred to the real.
Therefore, they achieve a balance between the abstract construction and real perception. It is only in the transposition of the real world to that of painting.

Again, it happens that there is an imbalance. Either one is not quite as abstract in Bay L'Estaque (1885 Art Institute of Chicago). Either it is too much and we lost sight of reality as in Woman with coffee (1895 Musée d'Orsay Paris).

The gesture of his hands on the thighs is here if needed to the composition of space we can not envisage any changes. Same comment about the Portrait of Ambroise Vollard or Madame Cezanne in a yellow armchair (1893-1895 Art Institute of Chicago).
When balance is achieved, other things are possible for the figure that the global space without being affected. Thus in The artist's son, Paul (1885-1890 National Gallery of Art, Washington).

Thus, the transposition succeeds in painting when reconstruction involves all elements (space, volumes, illustrated) of reality, without contact with it is broken.

The ideal would be that the reconstruction is already enclosed or at least out in the real and perceived himself to a man (the painter) who can see.

IV. THE PERIOD 1895-1906 SYNTHETIC

is precisely the assumption made by Cezanne in his last period. The real itself appears as the evocation of a hidden system. It justifies itself and suggests that the transposition of painting works. The work is then given as a revelation of truth of reality.
1. In this Montagne Sainte-Victoire for Bibemus everything is transposed. Everything comes here first. Yet the path of light, which in real perception, indicates the depth, the better: is the same feeling that depth (the time it takes to go from front to back), the path of light, therefore, is suggested by the net. The look is idle.


2. In the still life, the affirmation of the volume Item must not stop the movement in depth. Object and space are the same species. Transitions are provided from one to another.
compare these two still lifes: 1. Still Life 1875-1877 Metropolitan Museum of Art, New York 2. Still Life 1895-1900 Barnes Foundation, Merion. The second responds to this new "vision" of things.

3. As for the figure, it becomes one with the space around it. ( Portrait or The Gardener Vallier 1900-1906)

4. This position Cézanne solves the problem of an original nude in a landscape.


aA Renaissance, the integration of the nude in the landscape becomes the prospect (anthropocentric).
b. In the classical age (XVII century), the unification is done in reverse from the landscape (Chick).
c. Cezanne unification occurs by transposition. Nothing separates essentially within the figure yet individualized. It is, in particular the success of many paintings depicting the Bathers. Below: Bathers 1894-1905 National Gallery, London

the center, slightly right, they seem to "break ground" on left, standing almost merges with the landscape (with the trunk inclined). The figures seem to do the same space as the landscape they inhabit.

CONCLUSION

is gradually Cezanne, therefore, invented a new space.
Movement Party, the curve (dark period), it comes to subdivision (Impressionist period) that is to say to a solidification of the space needed to hold together the changes it seeks to synthesize (variations light for landscapes, portraits of expression).
It comes to an abstract construction to translate the real world in painting (constructive period) with the objective of balancing the abstract construction and real perception. But it is in discovering
(candidate?) A prior order in the real but hidden it succeeds (synthetic period) to a total unification of space.

1.The medieval space, heterogeneous and consisted of "places". Therefore unitless .

2. Space reborn, homogeneous, has a geometric unit expressed by the prospect. It is a container (a "scene") which are (against each other, objects).

3. Space Cézanne, homogeneous, has a essential unity is that of the figure and its surroundings. There is more "object" but a "vibration" universal here and there gives rise to the figures.