Cézanne, Still Life with Apples, 1895-98 (MoMA)발음듣기
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Cézanne, Still Life with Apples, 1895-98 (MoMA)
53문장
100% 한국어
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Female: The three year span suggests that he worked on this repeatedly over the course of several years.발음듣기
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Female: No, not at all. In several areas, in fact, the canvas is quite bare, and the rest of it is quite sketchy.발음듣기
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And you're right, this tablecloth in the foreground is just, well it's not raw canvas, but it's sized canvas.발음듣기
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Male: The pitcher is tipping to the left, the ellipse that forms the edge of the bowl is completely sort of deformed, and the edge of the glass, we seem to look down at the glass even as we look across at it, much too much.발음듣기
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Female: It's a deliberate breaking open of the possibilities of what painting could be here at the close of the 19th century.발음듣기
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I think an idea that the tradition of European painting, of it being a very mimetic, very real image that reflected what the artist saw, I think that that was obviously completely bankrupt by the late 1880s and 1890s.발음듣기
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Male: That's so interesting because the still life itself, as a subject, is a, first of all lowly;발음듣기
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it has not had any real significance since the 17th century, and he's resurrecting the still life as a form, but if you think about the still life, that was one of the attributes of the still life in the 17th century was a kind of really heightened naturalism.발음듣기
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Male: So linear perspective and those traditions of hyper-realism as they had been refined over the centuries into the 19th century was very much still dominant.발음듣기
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Yet, Cezanne here is not finishing the canvas, is playing fast and loose with drawing, and is creating an environment that I think is very perplexing.발음듣기
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It must have been extremely perplexing for viewers in the 19th century, but even for us, creates a kind of tentativeness when we look at it, yeah?발음듣기
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I think he knows that those traditions are bankrupt, and I think he's looking for another way to paint.발음듣기
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I think there's also an implicit invitation here, to move into this canvas visually, in a sense, the way he experiences these forms.발음듣기
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In the 19th century, according to the traditions that had been in place for so long, the artist would stand in a particular point in space and make sure that everything was in accord with that perspectival point.발음듣기
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Male: What Cesanne seems to be doing is to allow us to move through the canvas and to, in a sense, experience it as we might as our vision actually begins to meander.발음듣기
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Is it possible here that Cezanne is actually giving us a series of pathways and alternatives and a more complex set of views?발음듣기
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Female: I think it is. I think that the bigger question here is how that becomes important or why that becomes important at the dawn of the 20th century, at the end of the 19th century;발음듣기
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that something about the experience of the individual, something about the subjectivity of the experience of space, of time, of seeing.발음듣기
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I think that the weight of those things and the bankruptcy of that mimetic tradition, that copying of nature tradition, something about those issues becomes really critical at the end of the 19th century.발음듣기
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At the same time, I think there's a series of sort of underlying, other sort of visual realities that have come into play in the modern world.발음듣기
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The momentariness of the glimpse of the city, of the speed of transportation, and in a sense the making complex of vision.발음듣기
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Female: Exactly, and Cezanne is taking that vision, that idea of the complexity of vision, and really working it and thinking it through, and eliminating the sort of spiritual stuff that Gauguin adds to it and the psychological material that van Gogh adds to it, and thinking about it in a very sort of rigorous way.발음듣기
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Male: And of course this will have an enormous impact on the next century when Matisse and Picasso and others will look back to this work.발음듣기
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It really is the foundation for cubism and for so much of the abstraction, and the formal, you're absolutely right, sort of the formal investigations of vision that go after.발음듣기
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