Text by Jean Arrouye, Maryline Assante di Panzillo, Nina Athanassoglou-Kallmayer, Isabelle Chan, Phillipe Cezanne, André Dombrowski, Benedict Leca, Pavel Machotka, Joachim Pissaro, Joseph J. Rischel, James H. Rubin, et. al.
Pbk, 10 x 11.5 in. / 224 pgs / 220 color. | 8/31/2012 | Out of stock ISBN 9782711859191 | $45.00
Published by Fundación Colección Thyssen-Bornemisza. Edited with text by Guillermo Solana. Text by Paula Luengo.
In 1969, the artist Robert Smithson proposed a new interpretation of the work of Paul Cézanne (1839-1906). In Smithson's view, Cézanne's painting had been distorted by the Cubists, reduced to an almost abstract play of forms. In contrast to this formalist simplification, Smithson underlined the need to recover the physical reference in Cézanne's work, his strong link to certain places in Provence. Published on the occasion of a major exhibition on Cézanne, Site/Non-Site celebrates the work of a foundational figure in late nineteenth and early twentieth-century painting who is widely regarded as the father of modern art. The term "site/non-site" evokes a pair of concepts that were coined by Smithson in connection with his own oeuvre and explores the dialectic between outdoor and studio practice, which Cézanne cultivated throughout his career. Landscape is the dominant genre in Cézanne's work, identified with the practice of plein-air painting. But unlike his Impressionist contemporaries, he also attaches decisive importance to a genre characteristic of the studio: still life. This publication includes a chronology of Cézanne's life as well as a text from Guillermo Solana in which he traces the development of Cézanne's style and motifs throughout the artist's career.
PUBLISHER Fundación Colección Thyssen-Bornemisza
BOOK FORMAT Flexi, 8.5 x 9.75 in. / 200 pgs / 117 color / 23 bw.
PUBLISHING STATUS Pub Date 7/31/2014 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2014 p. 153
PRODUCT DETAILS ISBN 9788415113508FLAT40 List Price: $55.00 CDN $65.00
Cézanne is the supreme landscape painter of modernity, and his famous dictum that “painting from nature is not copying the object; it is realizing one’s sensations” defines the course of modern painting’s extreme departure from fidelity to reality. Despite or because of this dictum, Cézanne’s marvelously lucid “sensations” become all the more evident and dazzling when set against images of the locales he painted. Cézanne: Landscape into Art, which reprises and expands the classic 1996 publication by Yale University Press, does precisely this. In this highly praised study, the scholar Pavel Machotka juxtaposes photographs of the sites of Cézanne’s landscape paintings--whenever possible, from the same angle and at the same time of day that the artist painted the scenes--with reproductions of the relevant paintings, offering a uniquely practical analysis of the ways in which Cézanne transformed reality into art. Since the original publication of this volume, new sites have been discovered--the result of scrutinizing collections of contemporaneous photographs and land registry records. These discoveries have added considerably to our knowledge of Cézanne’s movements and have even helped to date his paintings more precisely. The new photographs, which range from postcards from the artist’s time or the author’s own color photographs, allow for a richer and better informed consideration of Cézanne’s oeuvre. In light of those discoveries, Machotka has rewritten the previous edition to offer a fresh, rich view of Cézanne’s artistic aims and accomplishments. While there are a number of books that focus on this important artist’s landscape work, none is as closely informed by painterly perception or as exacting in its analysis as this one.
Published by Réunion des Musées Nationaux, Grand Palais. Text by Jean Arrouye, Maryline Assante di Panzillo, Nina Athanassoglou-Kallmayer, Isabelle Chan, Phillipe Cezanne, André Dombrowski, Benedict Leca, Pavel Machotka, Joachim Pissaro, Joseph J. Rischel, James H. Rubin, et. al.
“Provence,” “apples” and “bathers” are probably the three words that first come to mind when we consider Cézanne’s abiding subject matter. Throughout his life, the artist, whom posterity has often portrayed as a pastoral hermit, was never too far from the capital. In fact, Cézanne moved back and forth between Aix and Paris at least 20 times, but, unlike virtually all of his contemporaries, he rarely depicted Paris on canvas. So what was the nature of his relationship to the city? This book thoroughly excavates the topic, exploring the influence of the metropolis on Cézanne’s art, motifs and career through 80 major works.
PUBLISHER Réunion des Musées Nationaux, Grand Palais
BOOK FORMAT Paperback, 10 x 11.5 in. / 224 pgs / 220 color.
PUBLISHING STATUS Pub Date 8/31/2012 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2012 p. 73
PRODUCT DETAILS ISBN 9782711859191TRADE List Price: $45.00 CDN $55.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by The Museum of Modern Art, New York. Text by Carolyn Lanchner.
Paul Cézanne died in 1906, only six years into the twentieth century, but he is widely considered the founding figure of modernist painting, the artist whom Pablo Picasso called "the father of us all." This new volume in the MoMA artist series guides readers through ten memorable works by Cézanne in the collection of The Museum of Modern Art. His iconic paintings %%The Bather%% and %%Boy in a Red Vest%% are featured, along with still lifes and landscapes from earlier and later years. Carolyn Lanchner, a former curator of painting and sculpture at the Museum, contributes essays that illuminate each work.
Published by Hatje Cantz. Text by Felix Baumann, Tobia Bezzola, Inken Freudenberg, Donat Rütimann, Poul Erik Třjner.
Though they were born 62 years and hundreds of miles apart, synchronicities between Paul Cézanne and Alberto Giacometti continue to arise. Called “father of us all” by Pablo Picasso, the French Post-Impressionist Cézanne is widely regarded as the artistic bridge between Impressionism and Modernism, and he was highly influential to Giacometti, the Swiss sculptor known for his Surrealistic, elongated human forms of the 1940s, 50s and 60s. The subtitle of this volume, Paths of Doubt, refers in part to both artists’ refusal of the movements by which they were embraced: in Cézanne’s case, Impressionism, and in Giacometti’s, Surrealism. Doubt also alludes to Cézanne’s late success. His legendarily bad social skills led him from the artistic hub of 1870s Paris to the French countryside, where he lived as a recluse, only attracting attention for his work when he was in his late fifties. Giacometti, conversely, found early success with the Surrealists but broke off from them in the late 40s when he began making more realistic black figurative sculptures. His doubt surfaced in statements like these: “If I could make a sculpture or a painting (but I'm not sure I want to) in just the way I'd like to, they would have been made long since (but I am incapable of saying what I want). Oh, I see a marvelous and brilliant painting, but I didn't do it, nobody did it. I don't see my sculpture, I see blackness.” This unique volume sheds light on Giacometti’s stylistic allusions to Cézanne and finds surprising corollaries between the two masters’ lives and work.
Published by Hatje Cantz. Edited by Felix A. Baumann, Walter Feilchenfeldt, and Hubertus Gassner. Essays by Pepe Karmel, Peter Kropmanns and Fred Leemann.
Cezanne and the Dawn of Modern Art presents selected paintings by Paul CŞzanne alongside works by younger artists that reveal the powerful influence of the man hailed as the founder of modern painting. The driving forces in the reception of Cezanne's art were not art critics, art historians, or even the artist himself, but rather other artists--primarily the Fauves led by Matisse, de Vlaminck, and Derain; and the Cubists including Picasso, Braque, and Leger--all of whom absorbed and elaborated on Cezanne's revolutionary ideas about color and composition. Against this background of Cezannisme, the book presents key works by Cezanne and younger artists in revealing juxtapositions. Readers will discover analogies and variations between the works of the "father of modern art" and those of his successors in a series of related motifs--portraits, still lifes, and landscapes. This volume is, indeed, a compact history of the icons of modern art. It offers new insight into one of modern art's most complex artists, traces the influence of Cezanne's work on a succeeding generation of 20th-century artists, and examines tendencies in Cezanne's art that paved the way for both the Fauve and Cubist movements.
Published by The Museum of Modern Art, New York. Essay by Joachim Pissarro.
From the mid-1860s to the mid-1880s two artistic legends, Paul CŞzanne and Camille Pissarro, executed numerous paintings side by side as they worked in Pontoise and Auvers. This book accompanies an exhibition of 74 paintings and 8 drawings that embody the core of the two artists' collaboration and explores their artistic relationship in detail. Their dynamic interaction began with their first meeting at the Academie Suisse, Paris, circa 1861, and continued through much of their careers. To examine the techniques that CŞzanne and Pissarro adopted in response to each other's work, the exhibition and book juxtapose related works by both artists, reuniting many of them for the first time since they were created. The friendship between CŞzanne and Pissarro was of considerable importance within the development of early modernism. An essay by Joachim Pissarro discusses this fascinating interchange and offers new insights into both the shared and the distinctive elements of the two artists' aesthetic sensibility.
Published by Hatje Cantz. Contributors include Klaus Albrecht Schroder, Felix Baumann, Evelyn Benesch, Walter Feilchenfeldt.
The story of Cezanne's fame and influence would be incomplete without taking into account the impact of his unfinished paintings.... This book is the first to take an extended look at these paintings.... Detailed essays that compare finished paintings with so-called unifinished ones provide a completely new insight into the creative proces of the father of modernism.