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If These Apples Should Fall: Cézanne and the Present

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There is a Cézanne who cannot be captured by “‘history,’ ‘ideology,’ and ‘production,’” but he might not be the Cézanne of our present. Chapter four makes a case for the peculiarly modern (as opposed to reactionary or revolutionary) quality of Cézanne’s peasant card players. And so follows Emily Dickinson’s “I died for Beauty—but was scarce,” reprinted in full as ersatz commentary. In these more-than-close readings, social and historical worlds open up tentatively: Faced with Cézanne’s Still Life with Apples, ca.

What ends up dropping out of the analysis is an appreciation of the utopian dimension, art’s promise of happiness, which should not be ignored for its period flavour. Another is a watchful explication of the cardplayer paintings that originated as a catalogue essay, while “Cézanne’s Material,” on the still lifes, works through a series of journal entries Clark wrote in 2016, not unlike the technique of his 2008 book, The Sight of Death: An Experiment in Art Writing. Access to content on Oxford Academic is often provided through institutional subscriptions and purchases. One abiding impression is that the author signposts “a social view” of the painter’s work, as seen where he highlights the fact that the Austrian poet Rainer Maria Rilke produced a letter on a train in 1907, after seeing the Getty Still Life in Prague, describing the material’s colour as a “bourgeois blue-cotton blue”, symbolising “the belonging of Cézanne’s material to a specific class world”. It perfectly matches in caliber the classic statement by Meyer Shapiro's book on Cezanne from long ago.Yet a page later, “because the embedded propositions in Cézanne are so simple and primordial, and so entirely dependent on ironic feats of matter—of paint—to breathe life and death back into them, putting them into words is exactly betraying ‘what they have to say’ about material existence. On a positive note, his encyclopaedic knowledge of literature emerges, including writings of Dante, Shakespeare and Keats.

Clark is less concerned with rescuing Cézanne: This art, he suggests, will unfold in its own present of vision and paint and unfastening form. For the author, Paul Cézanne’s present tense instead resides in the moment of looking itself: “I want . The widely respected art historian has written his latest book on the painter, entitled If These Apples Should Fall: Cézanne and the Present (2022). He experiences Cézanne’s paintings as the very embodiment of modernity – understood as an irresolvable contradiction, an ‘interminable to-and-fro’. Clark addresses this strangeness head-on, and examines the art of Pissarro, Matisse and others in relation to it; above all, he speaks to the uncanniness and beauty of Cézanne’s achievement.In the first chapter, we find Clark meditating on the feeling of homelessness conveyed by Cézanne’s landscapes.

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