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This content downloaded from 143.106.1.138 on Tue, 31 Mar 2015 18:03:47 UTC
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Cezanne
Distractions:
Shiff
Richard
had a procedural
(1839-1906)
in
It
shows
his
paintings but all themore
quirk.
in
his
modest
sketchbook drawings,
obviously
Paul
Cezanne
unintended
no
another?with
consistency. No
ent
in a Sketchbook
consistency
apparent
concern
for
thematic
private
code
or obscure
witticism
comprehensible
his contemporaries, a hidden
book
thatCezanne
to 1900, now
as legs of
explain his curious formal links and transpositions. what arched verticals. These lines double
a
most
to
the
first of
A plausible alternative
themissing explanation
swan, oriented inversely,
likely
Figure 1
PAUL CtZANNE
Two
Female
Bathers; Swan;
P. XXXVI (recto) of
Sketchbook
ii
Philadelphia,
Philadelphia
Museum ofArt
447
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Figure 2a
PAUL CtZANNE
Puget's Atlas
Standing Male
Bathers; P.L
(recto) of
Sketchbook
ii
Philadelphia,
Philadelphia
Museum ofArt
her
back.
Bather
and
swan
are
characteristically
perceive as positive projections from the paper
ground both the spaces or separations and the
lines that contain them. The result is spatial ambi
guity: not only the positive marks but also the
nominally
negative
reserves
appear
as
positive
in relation
to
the
rectilinear
for
interwoven.
drawings we
In Cezanne's
air, nor
volume,
nor
perspective,
nor
is to the
448
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Figure 2b
PAUL CEZANNE
~~~~~~~~~~~~~~~~~~~~~~~~~~
XLIx (verso) of
ii
~~~~~~~~~
"1 ~~~~~~~~~~~~~~~~
~~~Sketchbook
Philadelphia,
Philadelphia
~~~Museum
'T~~~~~~~
"S~~~~~~~~~'
4~~~~~~~~~~~~~~~~~~P
here,
page
mutual
fails to communicate
left-hand
is compo
and
chance,
on
smiles
cause
and
effect
an
another,
By
thematically becomes force
ful in a graphic way. A study after one of the art historian might divine a cultural link between
Atlas, male bathers, and the various sources from
sculptures of Atlas by Pierre Puget (1620-1694),
chose as his
the historical past that Cezanne
designed for theH?tel-de-Ville, Toulon, but avail
rendered
conscious.
one
device
or
an ultimate the
as plaster casts in the Trocadero,
anatomical models. Unpacking
closes off the leftward end of a two-page spread matic justification for a complex composition is a
familiar intellectual challenge; but no matter how
that includes studies of male bathers whose pos
able to Cezanne
tures Cezanne
Cezanne's
to be
derived
Atlas?bather
from
the
drawing?from
situation
its
of
physi
a dif
cal positioning, its graphic motif?presents
ferent kind of question: of felt response, not spec
ulation. Itmatters not whether we decide, after
the fact, to classify our feeling as sensory, emo
tional, or both. A felt response can be themean
449
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Figure 3 (left)
PAUL CEZANNE
Antique Aphrodite
and Eros;
p. xxxvii (verso)
of Sketchbook
II
Philadelphia,
Philadelphia
Museum ofArt
Figure 4 (right)
PAUL CEZANNE
Standing Male
Bather; Dog; p.
xxxviii (recto) of
Sketchbook
Philadelphia,
Philadelphia
Museum ofArt
subjects or became so
with
distractedly?engaged
book. Cezanne
determine
The
the orientation
of the compound
assumes
the pictorial situa
image. Here the dog
tion not only of Eros but also of numerous male
they sit
on a river bank or stand partly immersed in a
stream, beside the full vertical of a standing or
striding figure. Cezanne developed such a motif
(long vertical, short vertical) in his drawing and
450
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NOTES
1.
ure
in, certain
concentra
His
relations.
structural
on
place-holders:
or
paper
canvas,
aesthetic
and
intellectual
2.
sense
"they
them."7 Whatever
were
transgressions
the case,
noticed.
not
constituting
only
"abstraction"
but
forces
Cezannian
assume
member
"sensation"?that
the
same
grandeur
"apples
4.
as a human
as a
5.
"anecdote"
meaning;
was
allwas
6.
the
identification
upside down.
See Berthold
See
Cinq
drew
the same
1989, p. 191).
n, p. xxxn
Sketchbook
(see Philadelphia
baigneurs of 1879-80
in
verso, for an example
1989, p. 198). In painting, see
in the Detroit
Institute of Arts
(inv. no. 70.162; oil on canvas; 34.6 x 38.1 cm); see John
et al., The Paintings ofPaul Cezanne: A
Rewald
Catalogue
Raisonne, 2 vols., New York, 1996, vol. 2, no. 448, repr.
7.
One
of a number
Cezanne's
see Leo
Larguier,
Souvenirs, Paris,
8.
See Theodore
Paris,
pp. 46-59.
Paris, 2006,
see
of the source
in Puget,
Cezanne
und die alten Meister,
Berthold,
Stuttgart, 1958, no. 130, repr., in conjunction with the
observations of Theodore Reff in Philadephia
1989, pp.
233?34. On
these two pages Cezanne worked with the
For
drawing
not
be consulted
subject on p. xxix
believed Cezanne
should nevertheless
Etudes Cezanniennes,
sketchbook
[could]
head,"
art, see
Gertrude
and
of Cezanne's
this theme
Cezanne,"
in Cezanne's
a new
directed
of "abstraction"
of
3.
of
also
Museum
Philadelphia
pp. 54-101.
Art, 2009,
younger
the perception
Reff
Two Sketch
Cezanne's
number
On
in Theodore
Paul Cezanne:
Richard
order
"Introduction,"
Shoemaker,
conventional
Reff,
dog
H.
and Mrs. Walter
(Gift of Mr.
on
x
wove
127
216
paper;
Annenberg).
Graphite pencil
mm. On determining the dates of use of this sketchbook,
1987-53
see Theodore
Inv. no.
9.
Le
Dimanche
avec Paul
Cezanne:
1925, p. 137.
Duret,
Histoire
1906, p. 180.
See Georges
"Pensees et reflexions
Braque,
December
1917, p. 4.
sur la pein
ture," Nord-Sud,
451
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