Why to see the ‘artist’s artist’

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One of the smallest is the most inspirational detail of Cezanne, a joint exhibition of the Art Institute and Tate Modern in London. If you’ve seen Paul Cézanne’s work on display, you’ve probably seen him allegedly Paul. CezanneAccent the first syllable.

But that’s not the way Cezanne signed his own name.He went sans Accented because his name was written in his hometown of Aix-en-Provence. Accent was a Parisian imposition, a less-consensual practice than forcing Cezanne to comply with dialectical norms.

“Cezanne” will drop its accent in this retrospective exhibition. This is the first time in about 25 years in the United States and more than 70 years in the Art Institute. The fix is ​​subtle, but the whole world of baggage hangs on a small slip in the pen. Cezanne moved zigzag between Paris and Provence during her lifetime. Neither was at home, but never bothered to be at home.

The tug of war between cities and rural areas was one of many tug of war in Cezanne’s life. He was a 20th-century artist who, against the limits of the 19th century, was not accepted by the traditional Ecole de Bozar or the radical Impressionists of the time. However, contemporaries such as Claude Monet, Pierre Auguste Renoir, Edgar Degas, and Paul Gauguin enthusiastically worshiped Cezanne’s reputation as an “artist artist,” and most others When I didn’t do that, I acknowledged his splendor.

So it remains. In Cezanne, we invite 10 living artists to discuss the influence of the French masters. Each chooses a work to analyze from 80 oil paintings, 40 watercolors and drawings, and 2 sketchbooks. Visitors can read Kerry James Marshall Geek about the use of perspective in “Madame Cezanne in the Yellow Chair”, or Philida Barlow’s sad memories of seeing “Mount Sainte-Victoire” as an art student in the 1960s. .. Chicago artist Julia Fish became even more personal and sang an ode to Cezanne’s still life “Three Skulls.”

“The most important audience in Cezanne’s life was undoubtedly a fellow artist, which is the spirit we carry on at the exhibition,” said Caitlin Haskell, the modern and contemporary art curator of the Art Institute. increase.

Where some retrospectives feel like Hagiography, “Cezanne” is as rough as its subject. The exhibitions are not chronological, but are grouped by theme, genre, and locale for the Art Institute and Tate collections. Viewers start with the early landscape of Cezanne. Cezanne was already against the practice by drawing dense, fragile forests with the same care as photogenic landscapes. It progresses through figure works, hidden pockets in his brushstroke style, and vast sections of still life.

“We really wanted to show Cezanne in the present tense. The spacing of the works, the color of the walls … it’s all very artwork-friendly and portrays him like a 20th or 21st century painter. “Yes,” says Haskell. “We hope his paintings will reach you as a visitor and will not mediate them much in the design.”

The last room is reserved for a collection of paintings by Cezanne’s famous bathers, combined in installments for his magnificent “The Large Bathers” series. However, it is only the largest canvas in the exhibit by a small margin. In the immediate vicinity is a nearly life-sized portrait of Cezanne’s father reading a newspaper. Nods to the long shadow that Louis Auguste Cezanne casts on his son’s life. A successful banking partner, Louis XVI, was wealthy enough to provide financial compensation when his son needed it.

That doesn’t mean he made him so happy. Louis XVI wanted his son to be a lawyer, but he couldn’t fully recover. In his 1866 portrait, Louis XVI’s expression is typically opaque. For Cezanne, his body forever holds more expressive potential than his face, but his frowning face is clearly depicted. He is depicted turning his back on one of his son’s still lifes of his time, “Sugar Bowl, Pears, Blue Cup.”

“I’m sure Cezanne could never please his father. The fact that he keeps his marriage and his own child secret from his father is not a normal relationship. But as domestic as its portrait, with his little nightcap and cezanne and everything, he is in the throne, “said the Art Institute’s European Painting and Sculpture Chair. And says Gloria Groom, co-curator of the exhibition.

Tensions aside, Groom states that Cezanne’s inherited wealth has released him to the beaver with an art of interest. he, Even if that meant painting for a “one audience”. Cezanne rarely signed and dated his work.

Its lack of documentation was a headache for art historians, but it informed the Art Institute and Tate’s non-linear presentations, and of course, the unaccented “e”. “Cezanne” indicates these complications, but does not pretend to follow the path through them. It’s up to you to turn your own path, like a forest bush that welcomes visitors with the mouth of an exhibit.

After all, that’s what Cezanne did.

“Cezanne” is on display at the Art Institute of Chicago, 111S. Michigan Avenue on September 5th. Call 312-443-3600 or visit the following website artic.edu/visit Time, admission and other information.

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