Cézanne, Still Life with Plaster Cupid

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C?zanne, Still Life with Plaster Cupid발음듣기

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(jazzy music) Male: We're in the Courtauld Galleries and we're looking at Still Life of Plaster Cast.발음듣기

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It dates to the middle of his career.발음듣기

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Female 1: I do think it's a little bit hard to find one point of view that works for this whole painting.발음듣기

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If you look at the table in the foreground with these fruits and this little plaster cast, then that seems to have been painted from one angle, 발음듣기

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and if you look toward the background then all of a sudden it's is that the floor or is that a piece of drapery? It's hard to unify.발음듣기

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Male: Okay, so maybe we should start in the foreground.발음듣기

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We have this plaster cast of a putti, of this little angelic figure; no arms. He's rather cute.발음듣기

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He's a little elongated and he's in a kind of contrapposto so that he's actually moving.발음듣기

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What Cezanne seems to have done is to actually accentuate the turn of his body, which becomes a kind of axis for the entire painting.발음듣기

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Then something even more interesting happens, which is that as you move back, you see a series of stacked canvases, perhaps the stretcher bar of a canvas that's facing away from us, a canvas seen at an oblique angle just in back of the putti's back.발음듣기

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We can actually make out a figure on the upper right.발음듣기

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Then there's a piece of fruit.발음듣기

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Female 1: A giant piece of fruit.발음듣기

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Male: Which is on the floor, perhaps? Or is it a ball? It seems to come forward.발음듣기

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What that does visually is it pushes the entire canvas up and forward in the back and really denies any kind of special depth.발음듣기

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Female 2: It then completes the circle around the painting by bringing your attention back to the foreground that you've kind of been tipped back into.발음듣기

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Also, because the subject of that painting that we see a little bit of in the background is facing back towards us, 발음듣기

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and we have the fruit on the floor, maybe, which is kind of connected back to the fruit on the table in the foreground, so it does make the composition complete.발음듣기

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Female 1: Everything seems to be shifting slightly.발음듣기

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The cupid figure, as you said, seems to twist, or Cezanne exaggerates that twist.발음듣기

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The figure in the back that's part of a painting, I presume.발음듣기

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Male: That's rendered, yeah.발음듣기

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Female 1: Seems to be moving.발음듣기

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If you look closely at the outlines of the fruit, they seem to sort of slightly shift. Nothing seems to be stable. Everything is in flux.발음듣기

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Male: What kind of intentionality is in back of this?발음듣기

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Why in the world would Cezanne want to do such a thing?발음듣기

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It's such a complicated and problematic rendering and space, and there are alignments that make it even more quirky.발음듣기

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For instance, if that's an onion, a very large onion bulb, in the lower left, just in back of the putti's feet, the skin of the onion seems to end and the green starts just at the line where we see the floor end.발음듣기

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That line continues up and picks up the opposite hip of the putti, and then the groin picks up the edge again of the canvas.발음듣기

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There's this whole series of almost Degas-like발음듣기

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intersections that play fast and loose with our expectations of space.발음듣기

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Female 1: Which clearly points out that it's not that Cezanne didn't know what he was doing by mixing all these points of view and twisting everything around; 발음듣기

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that it was a conscious artistic choice, and this is still a carefully composed image, even though it's not necessarily how we traditionally think of a still life.발음듣기

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Male: For instance, the table being at the angle of the foot that comes towards us, but I'm seeing as the hips turn in a sense space turning as well as defined by the canvas in back of it.발음듣기

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Then is it possible that the face is aligned even with the canvas in back of that so that the reality is constructed by the figure within it?발음듣기

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Female 1: Is it insane to be thinking of Matisse's Red Studio right now?발음듣기

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This is an artist's studio. We have stacked canvases.발음듣기

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We have images that the artist is working on, pieces of still life, and we have a canvas that's unified by a close to single tonality of blues, with some reds and greens.발음듣기

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There's something about, perhaps, an interpretation of the space of the artist's studio from a more personal point of view, although it's hard to read the personal into Cezanne, because it seems to much about space and construction and shape.발음듣기

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Male: Although some art historians, I'm thinking Myra Shapiro, certainly bring the personal in through the forms in the still life.발음듣기

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I would suspect that Matisse was working through issues that Cezanne is raising here and in other canvases of this time, with the dismantling of space, 발음듣기

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but I think they have to do, really, with the subjectivity of the viewer in space, and do we actually construct space as we move through it?발음듣기

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And is space, in fact, a much more subjective and constructed set of issues as opposed to the sort of ideal architectural understanding?발음듣기

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Female 1: You can see why the Modernists of the early 20th century would pick up on this because there's something even in a way more radical in this reassembling of space. (jazzy music)발음듣기

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