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    14 views13 pages

    Karmel - Cezanne and Cubism PDF

    Uploaded by

    Mariana Aguirre

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 13
    Pepe Karme! ‘The Lessons of the Master: (Cézanne and Ci Braque’s Cézanne and Picasso's Cézanne 182 [83 “Trirking back to the years befoe the Fest World War the collector Leo Stein recall! that: Hitherto Cézanne had been important only forthe fewshe was about te become important for everybody At the Salon ¢Automne of 1805 people laughed themselves immo hysteris before his pictures in 1906 they were respect and in 507 they were reverent. Cézanne had become the man ofthe moment! Cézanne provided a starting pont for collectors of advanced art. Leo Stein Bought his werk onthe advice ofthe great Remisance scholar Barra Berenson Together with his sister Gertrude and hi brother Michael Szin went onto acquire wor by Mate, Picaso, and other cutting edge painters? Another early colector of Cum, Roger Dutileu explained that he bought panting by Passo and Braque because they resembled those by Cézare, whose work he could nat afford? Passo provides hurnorous testimony to Cézanne importance in several pictures ofthe yess 1908 to 1910 In the winter of 908/09, he painted So if with Hot (ig. 166) centered cn a Homburg hat of ‘he type that he and Braque iertifed with Céanne (cf Cézanne’ ‘Mon with pe 1856 fp. 167)A year ae he painted an abstact Por tri of Georges Braque his collaborator inthe invention of Cube, wearing a srr at Cézaretsinfuence i visible in so mary of Braque’ and Passos 1908 to 1910 pictues that scholars are sometimes tempted to describe Cubs as nothing more than an extersion of Cézanne’ achive ment in is clase essay on Cézarcism and the Begrings of Cubism lian Rabin wrote that "aque atved at Cubiem bya direct ‘extrapolation ofthe means of Cézanne, by accepting Cétanne'scon- ceptions integraly and expanding ther lets“ We can see what Rubin meant ifwe compare Cézanne’ view of Gardanre, parte in 1885/86 (p55) with Braque's Viaduct ot LEStaque. pate in the sumer of 108 (Fg. 19). both pictures, the landscape rises majestically before the viewer virtual ising wih the pctre pane, vee dhe houses and other elements ofthe landscape are spied int cubic forms thet seem to offer &lston inthe basi language of drawing, Picasso’ relationship to Cézanne was more complex Leo Steinberg ina famous response to Rubin, deserbed Paso 3 “resting Czar” and Rubin himself sad that Picasso "took Cézanne in is and pieces in combination with many ether sources We can get a sense of +s piecemea absorption by comparing Picasso's Three Women of 1808 (fg p75) with Cézanne’ Lrg Bathers of 1906 By conventional standards, Cézanne’ fgces ace fattened and distorted, but these local distortions serve the compotion ofthe picture asa whe The szrpifed contours echo the angular ach ofthe trees abowe them. ‘wl the paralessm of arms legs and backs unifies the Fare grows at ef and right Peasos repetition of forms inthe Tiree Ween is more systematic and abstract than Cézanne The figures are com structed from repeated triangular and oval modes and unified by lage ieterlacing curves that tend from one fgure inte nate and ‘then into the background. On the other hand, Picasso leaves out Key ul Cem The Lge Bers 1606 (ited ho Pa Son cAvonoe i BO) Fra Pun of A 12 Som erect Fate Ry Lone do a ne Aas, et.es esr of Cain Pub, (oe 97H. 18 5 Lc Sears Reng Case Fo Frew De mena rer ve 01 (noworbeDecenber B78, 5-1, Seb esing Cerne [Pet The Pei acinar, VL 10.2 Mare 8). 9p IS Fain 977 ee roe Sh. 66 clements ofthe Large Bathe he stage pace, with ts combration of shalow foregroid and deep bacgroundi ae the oppestion between the epague flesh ofthe figures and the warelucent shimmer of te sy above them, insur, he two founders of Cabin both leaned from Cézanne, but they leaned ciferent things Uke the other Impressionists, Cézanne disotved the vsble world into a felé of inva colored marks hat he eile his"senetons” Une Monet and Renoir however Cézanne reacted apis the potential ormlessness ofthis technique by invert ings new kind of pte arctecire, pied by the rig landscape of Goreme, which avd tim to evoke tree-dmersinal vole hie respecting the two-cmiersionirtgrty ofthe pictre plane Braque seized on both ofthese aspect of Cézann's werk, Passo was relatively indiflerent ta presonism (though with is tremendous fai he parted arumber of sing canes in a more: cress impresinist sy) What interested hin in Cézaone's wor, asin Gaugi's was the idea of unifng a pctre, aot trough tree Gimersionl architecture but trough decorative. two-dimensional patterning Picasso was imprested furthermore by Cézane's lignes to distort atural form in oder to achieve pictorial caherence this respect paradasicaly, Cézanne taught the same lesson 3 ingres and oie a Fasar ies ID} vas ee he i ae Nee nM, 186 | 187 “There is @ complex problem of chionology and causation here ‘Athough the Three Women was begun in spring 1908, Rubin believes that it was repainted ater Picasso saw raque's summer 1908, ‘work and that the "bas relief quay of Picasso’ fished canvas in fact reflects Braque'sinence-vvhich is to say Cézanne'sinfuence 3s interpreted by Braque. Other scholars believe the opposite: that Braque’ new understanding of Cézanne was inspired by the Three Wren, Ie would be tedious to retrace this argument in detail” In ary c3s0, the question of chronology conceals 2 deeper argument about the nature and significance of Cubism, or enore special (of Cubist space. Like much Anglo Saxon art ertcism ofthe years 1945 10 1980, Rubin essay on "Cézannism and the Beginnings of Cubism is shaped by Clement Greenberg’ infivenial writings AS a practicing criti, scussing individual artists and movements, Geeenberg was a subtle and varied writer As a theoretcan, however he was highly reductive, defning modernism as an historically determined evokstion toward 2 focus on the *mediur'”as the defining feature of art. In painting, this meant an insistence on the physical qualities ofthe medium, ‘on the shape of the support, and-above allon the fatness ofthe picture plane. in brief the story of modern art was the story of ts ‘evolution from the deep space of trasiional painting to the fatness of color fed painting" CCubismn formed an important chapter in this story because it advanced toward flatness The "basreli space of 1908 was an importar: part ‘of thi chapter because its coved back plane eliminated the deep space ‘of traditional at, while its passage dissolved the borders between

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