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ggudichsen — Fri, 16 May 2008 00:34:02 MDT

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Les joueurs de carte

ggudichsen — Thu, 15 May 2008 13:25:24 MDT

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Les joueurs de carte - cezanneplayers.jpg

c. 1890-92 (140 Kb); Oil on canvas, 17 3/4 x 22 1/2 in; Musée d'Orsay, Paris The abstract side of Cézanne's art has always been given due weight. It was amusingly emphasized by Ambroise Vollard who, after sitting many times for his portrait, asked how it was getting on. Cézanne's reply: `I am not displeased with the shirt-front' seemed to suggest that the human element did not enter into his calculations, that he was simply concerned with planes and gradations of color. On the other hand, his several self-portraits give a remarkable sense of character and towards 1890 there are other signs of his interest in the aspect of human beings, as for example the five versions of The Card Players produced during this period at Aix. The Louvre version, reproduced here, with two players (and a bottle between them to mark the center of the symmetrically balanced composition) could be looked on in the abstract as a magnificent rendering of solid forms, given their appearance of structure by the gradated areas of the thinly applied color. But the fact remains that these are not abstractions but peasant card players in his native Provence. Whether by the sheer veracity of his study of facial planes or through some feeling of kinship with the solid countrymen he was portraying, Cézanne has made them live. A picture of seventeenth-century card players from the studio of the brothers Le Nain in the museum at Aix and its peasant character first suggested the series to Cézanne though single peasant studies also show his interest in the essentially French type and his capacity to convey its essence. These pictures and the strange Mardi Gras of the same period (the clown and harlequin like two Romantic ghosts taking on substance and swaggering into a new era, perhaps by their strangeness leaving a deeper impression on French artists afterwards than by technique alone) realize the equation of form and content which Cézanne so often lamented he has not attained. -------------------------------------------------------------------------------- Of the three versions, the little painting in the Louvre is the last and undoubtedly the best; it is the most monumental and also the most refined. The single shapes are simpler, but the relationships are more varied. The extraordinary conception of the left player is the result of a progressive stabilizing and detachment of this meditating figure. It is the image of a pure contemplativeness without pathos. Given the symmetry of the two card players looking fixedly at their cards, Cézanne had to surmount the rigidity and obviousness of the pair and yet preserve the gravity of their absorbed attitudes. It is remarkable how thoroughly interesting is this perfectly legible picture, how rich in effective inventions of color and form. The problem: how to image the figures as naturally symmetrical, with identical roles--each is the other's partner in an agreed opposition--but to express also the life of their separateness, without descending to episode and weakening the pure contemplative quality, so rare in older paintings of the game. It is accomplished in part by a shift of axis: the left figure is more completely in the picture; his partner, bulkier, more muscular, is marginal--but oddly also nearer to us--and takes up more of the table. His head is bent forward; he is more intensely concerned. The first man is the more habitual player, relaxed and cool, and his long columnar form is contrasted with the horizontal line behind him. The two hats, one with arched brim, firm and poised, the other with turned-up, irregular brim, soft and battered, convey this difference of feeling--two tonalities of meditation. The left player has a bright mind and a sluggish body, the right has a slower mind and a livelier body or temper. The former's arm begins very low, his limbs are detached from the tiny head which is intent but not anxious (it is remote from the body and is like the hat on the head) The other has a hunched effect; if he is ready to play, he is more strained in deciding. The arms of the first are parallel, the other's arms converge. The first head is set against a vague landscape, the second against an architecture of verticals, a more rigid, pressing form which measures the inclination of his body. The long man's face is shaded and lit with inner contrasts that subdue the silhouette; the other's is more open, more fully given. The first has light cards, the second, dark, and his hands are nearer to us. The tablecloth ends in a stable right angle at the left, in a sharply pointed form at the right. The color too is a subtly contrasted expression: violet against yellow, but both neutralized; in the left figure, violet jacket, yellow pants; the converse in the right. The latter is therefore more strongly contrasted with his surroundings in color as well as form. But this contrast is crossed: the straight figure against a sloping chair, the inclined figure against a vertical edge. The inherent rigidity of the theme is overcome also by the remarkable life of the surface. There is a beautiful flicker and play of small contrasts, an ever-responding sensibility on every inch of canvas. -- Meyer Schapiro

Cezanne House of the hanged man

ggudichsen — Thu, 15 May 2008 13:17:37 MDT

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Cezanne House of the hanged man - hanged-man.jpg

1873 (250 Kb); Oil on pale primed canvas, 55 x 66 cm (21 1/2 x 26 in); Musée d'Orsay, Paris House of the Hanged Man, a motif from Auvers-sur-Oise, was probably painted in the spring of 1873. It is among the most heavily worked of Cézanne's canvases from this decade, and the rare appearance of a signature, and the fact that--with Cézanne's consent--it was exhibited several times during his lifetime, suggest that it was one of the rare paintings with which he was satisfied. It was executed on a standard portrait 15 canvas, whose squarish shape complements the composition and the solid block-like shapes within it. The ground, although undoubtedly pale because of the striking luminosity of the picture, is hard to identify with confidence without removing the work from its frame. The ground is effectively obliterated by the dense, thick opaque paint layer, although slight paint losses at the outer edges reveal both raw canvas and what is possibly a pale gray or putty-colored ground. Repeated reworkings, over almost the entire surface, characterize this painting. Canvas texture is practically irrelevant, but the effects of stiff, crusty paint dragged across previously dried brushstrokes, are fundamental to the grainy appearance of the picture. The tactile quality of natural surfaces, the crumbly limestone walls, roof thatch, and dusty road, are recreated by the built-up paint texture. Stiff hog's hair brushwork is combined with buttery slabs of color applied with a palette knife. In the foreground path this catches on previous brushstrokes, breaking the color to allow earlier colors to show through. This imitates the texture of natural surfaces and creates a vibrant, fragmented paint layer which scatters light, optically enhancing the picture's paleness and luminosity. Dabbed brushmarks of subtly varied colors construct the thatched roof and the grass bank beneath it, on which the movement of the brushstrokes suggests the movement into space. This directs the eye toward the central pivotal point, which is the sunlit patch of ground between the two main houses. Despite this visual clue, and despite the artist's use of a foreground path which ought, by tradition, to invite the viewer to enter the pictorial space, other devices work against such an interpretation. The flat lighting and solid paint on the foreground path make it ambiguous--it appears as a barrier, blocking off the pictorial space. Similarly, the curve of the path, down toward the central sunlit patch, is obscured from view as it twists out of sight, thus again inhibiting easy visual access. Furthermore. the brightness of the sunlit patch is equivalent to that of the foreground path. and, by association, they appear to be on the same plane, not receding in depth. This is reinforced by a slab of palish ochre color which projects left, from the central sunlit patch of ground. By appearing to eat into, or overlap the left grass bank, this 'bite' of color disrupts the relatively coherent overlapping of identifiable natural phenomena - path, grassy bank, path again - thus stressing instead the activity of painting itself. The solid forms and monumental shapes in this composition therefore appear stacked up, like a wall, and all are tightly interlocking. Cézanne's high viewpoint encourages this because although a distant vista appears between the houses, it is not made easily accessible, and its strong colors bring it toward the spectator. Thus there is an inherent tension in the painting, between flatness and naturalistic illusion.

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ggudichsen — Thu, 15 May 2008 12:47:22 MDT

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ggudichsen — Thu, 15 May 2008 12:47:20 MDT

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Cana

ggudichsen — Thu, 15 May 2008 12:46:58 MDT

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