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If These Apples Should Fall: Cézanne and the Present

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So not an easy read but this approach has it’s rewards and you learn more than you would from a quick tour d’horizon ( it’s catching, this style) of Cezannes’s life and work. The widely respected art historian has written his latest book on the painter, entitled If These Apples Should Fall: Cézanne and the Present (2022). However, Clark distinguishes himself from his predecessors through his sheer insistence on Cézanne’s – and modernity’s – negativity. I think it helps that the writing style is obviously derived from speech (a lot of italicised words for emphasis). But (and this is the paradox that Clark wants to inhabit) Cézanne continues to speak to us all the same.

If These Apples Should Fall: Cézanne and the Present looks back on Cézanne from a moment – our own – when such judgments may seem to need justifying. Matisse in the Garden” concentrates on the younger painter but follows Cézanne as the groundwater under the quondam Fauve’s pleasure-bound botanical scenes. Stalking his subject with a hawk’s eye, a philosopher’s mind and an open heart, Clark unfolds both the artist at work and his own evolving responses . Now, extending the analysis of The Sight of Death: An Experiment in Art Writing ( Clarke 2008), his exercise in extended close looking at Nicolas Poussin’s art, he discusses some paintings by Paul Cézanne.Now, the National Gallery is hosting an exhibition dedicated to the history of making colour in western paintings, from the Middle Ages to the late 19th-century and beyond – a highlight is a fragment from Roger Hiorns’s crystalline Seizure (2008), where he transformed an abandoned London flat into a shimmering blue cave. Paul Cezanne (1839 – 1906) was a French artist who played a pivotal role in the development of modern art. Clark is particularly strong on telling details, and his insights into Pissarro, in the first main chapter, are an added bonus. Although I have read several other books on Cezanne, I had a hard time following the author’s arguments.

On a positive note, his encyclopaedic knowledge of literature emerges, including writings of Dante, Shakespeare and Keats. The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. Access to content on Oxford Academic is often provided through institutional subscriptions and purchases.In chapter three, Cézanne and the Outside World, Clark’s style crisply captures the beauty of his landscapes, for example when he turns to the canvas Montagne Sainte-Victoire seen from Chateau Noir (c1900-04) to say: “The mountain looks crystalline, made of a substance not quite opaque, not quite diaphanous; natural, obviously, but having many of the characteristics – the crumpled look, the piecemeal unevenness – of an object put together by hand. The effect of his landscape painting is beautifully described by Clark in Hillside in Provence, inspired by a visit to the French 19th-century room at London’s National Gallery: “How this other world takes place in us, and why we fear it, / Is Cézanne’s subject. The first chapter, adapted from an exhibition review, tracks the frictions and sympathies during Cézanne and Pissarro’s studies together. In his effort to recover the artist’s strangeness, Clark turns to familiar Cézannian subjects (apples, mountains, cardplayers) and interlocutors (Roger Fry, Meyer Schapiro, Rilke).

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