also he returned to the world of his childhood, his mother and his sister. After the death of his mother, Cezanne turned to his
In a portrait of Mme Cezanne, the border of the wallpaper on one side of her body does not form a straight line with that on the other: and indeed it is known that if a line passes beneath a wide strip of paper, the two visible segments appear dislocated.
It is true that I freeze these distortions in repainting them on the canvas; I stop the spontaneous movement in which they pile up in perception and tend toward the geometric perspective. This is also what happens with colors.
Similarly, it is Cezanne's genius that when the overall composition of the picture is seen globally, perspectival distortions are no longer visible in their own right but rather contribute, as they do in natural vision, to impression of an emerging order, an object in the act of appearing, organizing itself before our eyes.
That is why Cezanne follows the swell of the object in modulated colors and indicates several outlines in blue. Rebounding among these, one's glance captures a shape that emerges from among them all, just as it does in perception.
One's personality is seen and grasped in one's glance, which is, however, no more than a combination of colors. Other minds are given to us only as incarnate, as belonging to faces and gestures.
But indeed only a human being is capable of such a vision, which penetrates right to the root of things beneath the imposed order of humanity. All indications are that animals cannot look at things, cannot penetrate them in expectation of nothing but the truth. Emile Bernard's statement that a realistic painter is only an ape is therefore precisely the opposite of the truth, and one sees how Cezanne was able to revive the classical definition of art: man added to nature.
He inquired about the geological structure of his landscapes, convinced that these abstract relationships, expressed, however, in terms of the visible world, should affect the act of painting.
The task before him was, first, to forget all he had ever learned from science and, second, through these sciences to recapture the structure of the landscape as an emerging organism. To do this, all the partial views one catches sight of must be welded together; all that the eye's versatility disperses must be reunited; one must, as Gasquet put it, "join the wandering hands of nature."
Once he had named the visible forces such as money and passion, once he had described the manifest workings of things, Balzac wondered where it all led, what the impetus behind it was, what the meaning was of, for example, a Europe "whose efforts tend toward some unknown mystery of civilization."
"A hand is not simply part of the body, but the expression and continuation of a thought which must be captured and conveyed.... That is the real struggle! Many painters triumph instinctively, unaware of this theme of art. You draw a woman, but you do not see her." The artist is the one who arrests the spectacle in which most men take part without really seeing it and who makes it visible to the most "human" among them.
Cezanne's or Balzac's artist is not satisfied to be a cultured animal but takes up culture from its inception and founds it anew: he speaks as the first man spoke and paints as if no one had ever painted before.
something rather than nothing to be found there.
whether it can detach itself from the flow of individual life in which it was born and give the independent existence of an identifiable meaning to the future of that same individual life, or to the monads coexisting with it, or the open community of future monads
It is not enough for a painter like Cezanne, an artist, or a philosopher, to create and express an idea; they must also awaken the experiences which will make their idea take root in the consciousness of others.
If a work is successful, it has the strange power of being self-teaching.
will in the end find what was intended to be communicated.
like a stubborn dream or a persistent delirium
a perennial acquisition
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