CHAPTERS 29 & 30: IMPRESSIONISM (2) Cezanne (1)
Jacques rouveyrol
I . THE REVOLUTION OF 1863
1.Before 1863, the association of red and blue refers to the mantle of the Virgin . After 1863, the two colors are in mutual relations.
2. Before 1863, it was visions of (fantasies) Venus stretched out in a landscape, ranking woman in a linen closet, Diana bathing ... After 1863, we see (table book a perception.
3 Before 1863, represents something that is also (Olympus, in a kind imagined), before (in a close or distant past), in a present that reminds past. After 1863, this something that is here (of Women in the Garden), now (a Paris street in the rain), in short, a present that is present.
4. It's the naturalistic landscape that favored the passage by focusing on real Now that does not tell a story.
5. The problem then becomes: how manifest presence of the sensible? Several methods are used.
I . THE REVOLUTION OF 1863
1.Before 1863, the association of red and blue refers to the mantle of the Virgin . After 1863, the two colors are in mutual relations.
2. Before 1863, it was visions of (fantasies) Venus stretched out in a landscape, ranking woman in a linen closet, Diana bathing ... After 1863, we see (table book a perception.
3 Before 1863, represents something that is also (Olympus, in a kind imagined), before (in a close or distant past), in a present that reminds past. After 1863, this something that is here (of Women in the Garden), now (a Paris street in the rain), in short, a present that is present.
4. It's the naturalistic landscape that favored the passage by focusing on real Now that does not tell a story.
5. The problem then becomes: how manifest presence of the sensible? Several methods are used.
a. The choice of elements . The imperfect body Olympia (rather than the perfect body but an imaginary Venus) brings to our world.
b. The refusal of perspective breaks the illusion of a foreign reality.
c. The ability to remove the frame (after framing of original photography inspired) avoids locking up the paint in a world completely alien to ours.
6. Before 1863, the painting is finished . Any trace of brush is erased. The table is seen as closely far. After 1863, the painting is unfinished . The trace of the brush, the knife is visible and the picture is visible from afar. So close, but not as far. Otherwise .
7. Before 1863, there to see a picture . After 1863, the trace of the hand creating a new world.
8. Before 1863, we extract nature of models, ideal for giving contemplate. After 1863 there shows a reality that is neither a perfect nor a model.
9. Before 1863, the painting has a sense provided you do not see it (if it gives way to what it represents). After 1863, it only makes sense because we see it.
6. Before 1863, the painting is finished . Any trace of brush is erased. The table is seen as closely far. After 1863, the painting is unfinished . The trace of the brush, the knife is visible and the picture is visible from afar. So close, but not as far. Otherwise .
7. Before 1863, there to see a picture . After 1863, the trace of the hand creating a new world.
8. Before 1863, we extract nature of models, ideal for giving contemplate. After 1863 there shows a reality that is neither a perfect nor a model.
9. Before 1863, the painting has a sense provided you do not see it (if it gives way to what it represents). After 1863, it only makes sense because we see it.
II. THE INFLUENCE OF JAPANESE ART PRINTS.
1. With impressionism, painting detaches from the outside world it is no longer an accessory.
The discovery of Japanese art is not foreign to this transformation.
2. These are the images of ukiyo-e ("pictures of the floating world") that marked the painters of the late nineteenth. These prints are the result of an evolution of genre painting business at the end of the sixteenth century Japan.
3.Quatre leading exponents can be extracted: Utamaro (1753-1806) painted mainly prostitutes and erotic scenes ( shunga ). Sharaku (late eighteenth s) paint, t especially the major players knew Kabuki theater. Hokusai (1760-1849) also painted shunga but especially the one who introduced the landscape as a subject full of paint. Witness his thirty six Views of Mount Fuji.
Hiroshige finally (1797-1858) continues in landscape painting.
What they have in common: solid color, the ring, the rejection of perspective. A painting that goes back to the surface and which denies the illusion.
4. However, one should not exaggerate the influence of art Japanese on the Impressionists.
When Manet painting discovered (the cons i mage), he discovers that already Japanese painting is not concerned with illusionism.
The pointillist Post-Impressionist will take a step closer to the painting then towards abstraction.
III. TOWARD ABSTRACTION: THE DOTTED
1. The idea is to "rebuild" it will not say scientifically, but scientists (that is to say from a certain idea we have of science) Impressionism. Studies of Eugene Chevreul, Ogden Rood, Hermann von Helmholtz and Charles Henry of color are taken into account by Seurat.
What they have in common: solid color, the ring, the rejection of perspective. A painting that goes back to the surface and which denies the illusion.
4. However, one should not exaggerate the influence of art Japanese on the Impressionists.
When Manet painting discovered (the cons i mage), he discovers that already Japanese painting is not concerned with illusionism.
The pointillist Post-Impressionist will take a step closer to the painting then towards abstraction.
III. TOWARD ABSTRACTION: THE DOTTED
1. The idea is to "rebuild" it will not say scientifically, but scientists (that is to say from a certain idea we have of science) Impressionism. Studies of Eugene Chevreul, Ogden Rood, Hermann von Helmholtz and Charles Henry of color are taken into account by Seurat.
2.The three primary colors exist in two forms. In the form of pigments their mixture gives a dark color turning to black. However, in the form of light rays , their synthesis is white. It follows that obtaining a color overlay pigments lose brightness. Instead, a color obtained by juxtaposition pigments gain in brightness. If the colored dots are juxtaposed small enough, the eye will make the canvas away from their "Mixture". Suffice it to juxtapose such as two primary colors to the eye, the "confusing" levies a secondary color. Thence pointillism (or divisionism) Seurat, for example.
Or Signac.
3. Pointillism, thereby radically changing the Impressionist collection time.
This is the moment Monet captured when considering its wheels or its water lilies. The moment of a particular luminosity. Or when Degas painted dancers or their horses' necks.
When Seurat painted his three models (The shrinkwrappers ), although it neither Venus nor comb heroines biblical he lot of time and frozen in their poses. Similarly walkers La Grande Jatte seem suspended in time almost stopped. Until the rider Cirque seems planted there on his horse forever.
is that the technique removes the dotted line flicker, the vibration of the key, giving life.
4. The Impressionists rejected the subject of the painting but kept the light. Pointillism still rejects good topic, but also the light, stepping closer to abstraction. It is for the viewer to reconstruct the vision.
5. It is the objective of pointillism is more intellectual than sensual. It is to make a synthesis perception. Presenting this rock no (like Monet) in this particular aspect it under some light at some point, but (as Seurat) in this aspect singular (that is to say that includes all aspects that can be taken under different lighting of the day or season), which is never visible (there never seen that particular), but behind his constant "visibility". This is a problem of this kind, by other means, Cezanne will face.
6. It goes Seurat (and Pointillist) as modern technique of the time. Eiffel Tower in finished work reveals the elements of its construction: iron bars, bolts. Also in the works pointillist, painting as a whole does not hide the items used to produce this set.
IV. NEW PROBLEMS FOR THE PAINTING
Table ceased to be a representation to become an object . The painting does not refer to an external reality, it exists for itself. It's a parallel reality.
This raises the issue of his organization.
1. Problem No. 1: The space
painting unfolds in space. But as a reality it must have a clean , separate space of external reality. The problem
painters will be primarily the construction of this space clean of the painting.
Cezanne and Cubism (Braque, Picasso)
2. Problem 2: Harmony
painting unfolds in the form of color and design. The problem
painters will therefore also that of a harmony, agreement-specific painting. (Also agree that things in external reality, because of their submission to the laws of nature, and things have to agree in the new reality of the painting).
Gauguin and Fauvism (Matisse, Derain ...)
3. Problem No. 3: The movement
Finally, this reality painting must have its own life.
This will be expressed in movement.
The futuristic abstraction (in some form)
IV. NEW PROBLEMS FOR THE PAINTING
Table ceased to be a representation to become an object . The painting does not refer to an external reality, it exists for itself. It's a parallel reality.
This raises the issue of his organization.
1. Problem No. 1: The space
painting unfolds in space. But as a reality it must have a clean , separate space of external reality. The problem
painters will be primarily the construction of this space clean of the painting.
Cezanne and Cubism (Braque, Picasso)
2. Problem 2: Harmony
painting unfolds in the form of color and design. The problem
painters will therefore also that of a harmony, agreement-specific painting. (Also agree that things in external reality, because of their submission to the laws of nature, and things have to agree in the new reality of the painting).
Gauguin and Fauvism (Matisse, Derain ...)
3. Problem No. 3: The movement
Finally, this reality painting must have its own life.
This will be expressed in movement.
The futuristic abstraction (in some form)
CHAPTER 30: THE NEW WORLD OF THE PAINT 1. CONSTRUCTION OF SPACE (1): Cezanne (1).
I. PERSPECTIVE.
1. In the Middle Ages, the artwork is a text which decrypts the world conceived as the Book of the Mind of God.
The principle of consistency of this world lies in the symbolism . The smallest natural object
expresses Thought of the Creator (example: " Walnut St. Victor).
2. From the Renaissance, the world is a machine that science has to describe and reflect the art.
The artwork is a picture.
The principle of coherence of the world lies in the laws of nature, translated into paint by perspective.
3. In the modern age, the artwork is a creation which aims to explain how the world will become visible.
The principle of coherence in the world created by the art is discovered.
4. The problem is how to create a world.
a. What a world ? A coherent .
b. How to express significantly this consistency? By depth.
-> In the Middle Ages, the depth is symbolic . It sense symbol. It's behind the image (the eagle, for example), meaning (Saint John).
-> During the Renaissance, the depth is geometric : the perspective.
-> In the modern age, it is seeking a new depth. And as the depth of the Renaissance is on (there is the prospect objects against each other), one that has to invent new painting will be absolute . But what is an "absolute depth?
5. When I see a painting, I do not see one thing as another. I have, shall we say, a vision of "absolute". I see this table relative to the chair near the far door, etc.. (The view is relative). When I see a picture, I see that him.
Furthermore, I can ask, "Where is that thing? "But not" where is this picture? (Except me information on its location in the house or the museum). I can ask, "Where is the Sainte-Victoire mountain that Cezanne's painting represents what? "But not" where is this picture? .
The table is not a visible thing as the others.
So what do I see when I look La Montagne Sainte-Victoire by Cézanne . I do not see a mountain, what I see is the means by which this mountain is visible to me as a mountain and visible.
Emerging from the Cave Platonic, the released prisoner, he was accustomed to live in darkness and not see on the wall that the shadows cast from external things, sees the first effect of shadows and reflections of objects in the water, then the objects themselves and, finally, the sun.
In reaching the latter, however, it changes again to register. For if the sun is visible, it is also the principle of visibility of all things. Thanks to him than the rest becomes visible.
What happens with this picture of Cezanne is similar. The look first hung by the tree trunk shifts to the right on the lower branch is led away to the viaduct and bridge, finally, at the top of the mountain.
This, however, is very close. The painter's work has been to delay the eye. To impose detours. In this new depth is . As it is our view that is to say, to receive things.
Cezanne painted not the visible world, but the principle of visibility. The table explains how the world becomes visible to me.
Classic painted the world sprinkled with sunlight. The Impressionists painted the light preferably in the world. Cezanne painted the sun doing the training.
continued ... During the December 2, 2008
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