I just read this very interesting little text on Paul Cézanne by Blake Gopnik. Cézanne is said to be a painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavor to a new and radically different world of art in the 20th century. It has to do with his experimentation with perspective, colors and surfaces. And also with his choices of subjects and scenes. There is an endless repetition in his work. As if he is never quite satisfied with his own painted results, or as if the motifs he was working on were inexhaustible. Or maybe he just tried to show us a glimpse of abundance – the worlds profuse richness.
Paul Cézanne: Madame Cézanne in a Red Dress (1888–90). Oil on canvas
Glenn Gould called Bach the greatest architect of sound, I’m tempted to call Cézanne the greatest architect of color, of surface.
Here is Gopnik:
The relationship on view at the Met is not between Paul and Hortense, at all, but between eyes, paintbrushes, palette and a pile of flesh and cloth. And you could say that the peculiarity of that modern non-intimacy–the fact that looking stopped being knowing–is the real subject of Cézanne’s art. Weirdly, that too turns out to be full of emotion.