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Cézanne and Structure in Modern Painting

Cézanne and Structure in Modern Painting

Daniel Robbins
Published in 1963
36 pages, fully illustrated
Softcover

Published in conjunction with the 1963 exhibition of the same name, this catalogue functions as a succinct yet informative exploration of key artistic movements that were influenced by the work of Paul Cézanne. The catalogue explores Cézanne's unyielding fidelity to a solid, formal style, and discusses artists who equally regarded structure as a key tenet in their artistic practice. The essays are titled "Cézanne and Cubism," "Neo-Plasticism and Suprematism," and finally "The Bauhaus." Color images of choice artworks are also featured.

 

Excerpt

In their fundamental (and revolutionary) emphasis on pictorial order, the cubists drew support from Cézanne's numerous unfinished paintings and frequently even from the unfinished appearance of those canvases or watercolors that Cézanne felt he had finished. Toward the end of his life, the master wrote: "Now, being old, nearly seventy years, the sensations of color, which give light, are the reasons for the abstractions which prevent me from covering my canvas or continuing the delimitation of objects when their points of contact are fine and delicate; from which it results that my image or picture are incomplete . . . " This touching comment reveals how deeply Cézanne felt the difference between concepts of innate structure or order in nature and the freshness of his immediate sensations when actually looking at nature. It was precisely because motifs and sensations, those key ideas of the impressionists, were so important to him that he would never consider an abstract painting anything but finished.

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