Lasting Impressions of Cézanne at the Art Institute | Chicago News
Paul Cézanne was considered the greatest by very great artists, including Pablo Picasso and Claude Monet, to name but two. The Art Institute and Tate Modern in London present their first exhibition of Cézanne in 70 years.
Mark Vitali: Bathers and rich landscapes.
Seemingly simple still lifes and complicated portraits.
And… stranger things.
The Cézanne exhibition at the Art Institute looks from afar – and very closely – into a giant of modern art.
Caitlin HaskellCurator, Modern and Contemporary Art: It came of age in the 19th century, it was associated with the Impressionist group, but it really paved the way for what modern art was to become in the 20th century, movements like Cubism, fauvism, expressionism. , and abstract painting.
Gloria married, curator, European painting and sculpture: Cézanne is an artist that we usually classify in a separate category. We put him in another gallery, literally because he doesn’t play well with Monet and Renoir. He’s like the odd one out, but he’s very informed by Impressionism. He has his moment, but he takes what he needs and moves on.
Vitali: Cézanne was greatly admired by his fellow artists. In fact, many of the paintings on display once belonged to them.
Haskell: The artists understood what he was doing. They were absolutely the most important audience for his work during his lifetime. There are works that belonged to Monet, Pissarro, Gauguin, then in the 20th century works that belonged to Matisse, Picasso, Henry Moore, many loans from the collection of artist Jasper Johns, so I mean that’s something that continues. And in the exhibition and catalog, we worked with 10 contemporary artists to look at the artworks in the exhibition and help us see them through the eyes of an artist now.
Married: Cézanne was really trying to be modern, and he was trying to fit in and he couldn’t. And it’s when he refuses to fit in and when he starts working for himself – an audience of one – that he becomes the artist that artists look up to and say, “oh my God, this is such a risk taker”.
Haskell: One of the wonderful things about Cézanne’s work is that he is so honest about his process. You can really see how the image has come together, stroke by stroke, mark by mark, feel by feel, color by color, bringing together sight and touch, and using it as an entirely new pictorial language of communication.
Married: It’s a lot and it’s also very minimalist.
Even in still life, landscape and portrait subjects it’s a bit limited, but it’s within that that he makes all his expressions completely new and different.
Vitali: Many figures and objects are outlined in cobalt blue. A white tablecloth can contain greens and yellows. The colors blend into each other and the perspectives are often distorted.
The infrared examination gave the curators insight into the underdrawings of the paintings and showed how Cézanne planned his compositions.
Married: In the end, he comes and goes between fantasy, between observation, between different ways of approaching a painting.
Haskel: It’s really special to have 125 works by Cézanne together.
We take you through his entire career, from the mid-1860s to the end of his life in 1906.
I think there is a chance to truly appreciate the extent of Cézanne’s commitment to finding a new way of painting.
And to understand that if these works are more than 100 years old, they are absolutely still full of mystery and surprise.
His life’s work was to create the paintings and watercolors we see here, and they just set the tone for a whole new way of painting in the 20th century.
The works of Paul Cézanne will be exhibited at the Art Institute until September 5.