Cézanne, Mont Sainte-Victoire발음듣기
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Cézanne, Mont Sainte-Victoire
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[Dr. Steven Zucker] Paul Cezanne is probably best known for two things his still-lifes with apples and his landscapes of a mountain in the south of France, in Provence known as Mount Saint-Victoire.발음듣기
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[Dr. Beth Harris] And we're looking at a painting of Mount Saint-Victoire here in the Philadelphia Museum of Art that dates to 1902-04.발음듣기
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It's interesting to think about Cezanne painting this mountain over and over again but also painting each painting of the mountain over an extended period of time.발음듣기
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[Dr. Steven Zucker] Paul Cezanne is often grouped with Gauguin and Van Gogh and Searat, and called a Post-Impressionist but he began his career exhibiting with the impressionists in Paris.발음듣기
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[Dr. Beth Harris] And it's funny to talk about this painting being completed because it feels unfinished.발음듣기
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There are places where we see the canvass underneath or buildings that seem to be taking shape.발음듣기
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[Dr. Steven Zucker] We can clearly read a mountain, a sky clouds, trees, farmland, and buildings but at the same time if we look too closely they all fall apart.발음듣기
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And they are all formed of a series of hash marks that create a sense of optical movement and change.발음듣기
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From the 17th Century forward painters like Poussin or Claude had been deeply concerned with creating space that was believable and Cezanne seems to be here directly attacking that tradition.발음듣기
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[Dr. Beth Harris] The whole tradition of landscape painting and even the academic tradition in France of painting generally is about high finish.발음듣기
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But, to me, I'm not sure that he is attacking that tradition so much as being true to his own personal vision as he stood in front of this landscape.발음듣기
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Here is , the end of the 19th Century the early years of the 20th Century Impressionism has happened this idea of depicting your own sensations or subjective optical experience in front of the landscape.발음듣기
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Of a man that has spent a lifetime looking at this mountain from these vantage points and is understanding his own visual experience.발음듣기
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[Dr. Steven Zucker] But where Braque and Picasso will really fully open up form what we have here is Cezanne just beginning to investigate what it means to break contour.발음듣기
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We can see the way in which the color of the field enters into the area that should be just the red of the roof.발음듣기
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[Dr. Beth Harris] So from the hindsight of the 20th Century we see this as an affirmation of the flatness of the canvass.발음듣기
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A denying of the illusionism that was such an important part of Western paining beginning in the Renaissance.발음듣기
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[Dr. Steven Zucker] We shouldn't say complete denial because we can still see the mountain in the background.발음듣기
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We can still see the foreground of the hills before and we can still see the brush immediately below our feet as we look from an adjacent hilltop.발음듣기
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Nevertheless, all the subtle cues that had built up in landscape painting in the centuries before have been left out.발음듣기
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We would expect to see the sky and mountains in the distance fading and becoming less bright in color less clear in their focus.발음듣기
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[Dr. Steven Zucker] Instead of using atmospheric perspective to create a sense of form the artist is simple delineating distance by choice of color.발음듣기
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And Cezanne is able to create an even greater degree of ambiguity by bringing color from one realm into the other.발음듣기
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Look for instance, at the way that Cezanne takes the gray-purple from the immediate foreground and builds that into the sky.발음듣기
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[Dr. Beth Harris] So what we have here is an investigation of landscape that's very different than what the impressionists were doing.발음듣기
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