| | BOOK FORMAT
Clth, 10 x 12.5 in. / 116 pgs / 65 color. PUBLISHING STATUS
Pub Date 9/26/2017
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ISBN 9788862085649 TRADE
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In stock | Photographer Joel Meyerowitz's flash of understanding about Cézanne’s art | A photographer's elegant tribute to still-life painting: objects from Cezanne's studio as seen anew through the lens of American master color photographer Joel Meyerowitz- A follow-up to Meyerowitz's highly successful book Morandi's Objects--here he photographs objects in Cezanne's studio against the wall's of the artist's studio to capture Cezanne's distinctive treatment of foreground and background.
- An elegant, superbly printed gift book.
- Includes photographs of Cezanne's studio, fully preserved, and the artist's gardens.
- Joel Meyerowitz (born NY 1938) is a street, portrait and landscape photographer and key member of the 70's new color school (along with Eggleston and Shore). His work has appeared in over 350 exhibitions and is in the collections of the Boston Museum of Fine Art, the Art Institute of Chicago, the Museum of Modern Art, New York, and many other museums worldwide.
- PRESS & PUBLCITY: Ties-in with the highly anticipated first-ever world tour exhibition of Cezanne portraits (travels to the National Gallery DC this fall).
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| | | Joel Meyerowitz: Cézanne's ObjectsText by Joel Meyerowitz, Maggie Barrett.
 Meyerowitz brilliantly demonstrates how Cézanne’s studio and its contents enhanced the flatness of his paintings Some years ago, while working on a book commission about Provence, Joel Meyerowitz visited Cézanne’s studio in Aix-en-Provence. While there, he experienced a flash of understanding about Cézanne’s art. Cézanne had painted the studio walls a dark gray, mixing the color himself. Consequently, every object in the studio seemed to be absorbed into the gray of the background. There were no telltale reflections around the edges of the objects, so there was nothing that could separate them from the background itself. Meyerowitz suddenly saw how Cézanne, making his small, patch-like brush marks, moved from the object to the background, and back again to the objects, without the illusion of perspective. After all, Cézanne was the original voice of “flatness.” Meyerowitz decided to take each of the objects in Cézanne’s studio and view them against the gray wall (managing to obtain permission from the Director of the Atelier—no-one had touched these objects in ages). His impulse was to place each one in the exact same spot on his marble-topped table and just make a “dumb” record of it. He then decided to arrange them in rows, almost as if they were back on his shelf above the table, and made a grid of five rows with five objects on each row, with Cézanne’s hat as the centerpiece. This beautifully designed volume presents these photographs, which are at once marvelous photographic still lifes and an incredible revelation of Cézanne’s methods.
Featured images are reproduced from 'Joel Meyerowitz: Cézanne's Objects.'PRAISE AND REVIEWSThe New Yorker Andrea K. Scott Training a lens on Cézanne’s bottles, pitchers, and bowls is a fitting homage... The New York Times Cole Teju Here, simplicity reigns. |
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| | FROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 1/25/2018 Reproduced from Joel Meyerowitz: Cézanne's Objects, the diptych “Cézanne’s Studio (Skull and Void)” (2013) is one of five artworks that photographer and critic Teju Cole analyzes in a recent New York Times Magazine column on Meyerowitz’s career as a minihistory of photography. “A gray skull sits on a gray table with a gray wall as the backdrop. There is no supporting cast and there are no special lights, just the object itself, set down, more interesting for what it means than for how it looks,” he writes. “Joel Meyerowitz, nearly 80 now, must, from time to time, give thought to mortality. But the vision in his recent pictures (he has also made a series about objects in the studio of the painter Giorgio Morandi) is dispassionate, not tragic. Certain pictures are easy to make but hard to see. A skull, a table, a wall: In this latest of his numerous styles, Meyerowitz moves from what it means to look to what it means to have looked. The skull on one side of the diptych suggests it, and the void on the other leaves no doubt.” continue to blogFROM THE ARTBOOK BLOG CORY REYNOLDS | DATE 10/4/2017 Look familiar? Featured images are reproduced from Cézanne's Objects, color master Joel Meyerowitz’s new collection of photographs of the objects that Cézanne left behind in his studio when he died of pneumonia in 1906. “A few years ago during a visit to Cézanne's studio in Aix-en-Provence,” Meyerowitz writes, “I experienced a flash of insight about the artist that I saw as intrinsic to his becoming the father of modern painting. Once having seen it, it inspired me to move in a new direction in my own work. Cézanne painted his studio walls a dark grey with a hint of green. Every object in the studio, illuminated by a vast north window, seemed to be absorbed into the grey of this background. There were no telltale reflections around the edges of the objects to separate them from the background itself, as there would have been had the wall been painted white. Therefore, I could see how Cézanne, making his small, patch-like brush marks, might have moved his gaze from the object to background, and back again to the objects, without the familiar intervention of the illusion of space.” continue to blog | |  | Text by Francesco Zanot, Miguel López-Remiro. Interview by Nuria Enguita.LA FáBRICAISBN: 9788417048433
USD $45.00 | CAN $62Pub Date: 9/25/2018
Active | In stock
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|  | Text by Maggie Barrett.DAMIANIISBN: 9788862085717
USD $1,000.00 | CAN $1325Pub Date: 11/21/2017
Active | Out of stock
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|  | Text by Joel Meyerowitz, Maggie Barrett.DAMIANIISBN: 9788862085649
USD $50.00 | CAN $67.5Pub Date: 9/26/2017
Active | In stock
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|  | Text by Joel Meyerowitz, Maggie Barrett.DAMIANIISBN: 9788862084536
USD $50.00 | CAN $67.5Pub Date: 2/23/2016
Out of stock indefinitely | Not available
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|  | Text by Joel Meyerowitz, Maggie Barrett.DAMIANIISBN: 9788862084734
USD $1,000.00 | CAN $1325Pub Date: 3/22/2016
Active | Out of stock
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|  | KOENIG BOOKSISBN: 9783863356057
USD $30.00 | CAN $40Pub Date: 7/28/2015
Active | In stock
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|  | Edited by Ralph Goertz. Text by Joel Meyerowitz, Jörg Sasse, Ralph Goertz.D.A.P./VERLAG DER BUCHHANDLUNG WALTHER KöNIGISBN: 9781938922701
USD $59.95 | CAN $79Pub Date: 2/24/2015
Out of stock indefinitely | Not available
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FORMAT: Clth, 10 x 12.5 in. / 116 pgs / 65 color.
LIST PRICE: U.S. $50.00
LIST PRICE: CANADA $67.5
ISBN: 9788862085649
PUBLISHER: Damiani
AVAILABLE: 9/26/2017
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| Joel Meyerowitz: Cézanne's Objects Meyerowitz brilliantly demonstrates how Cézanne’s studio and its contents enhanced the flatness of his paintings Published by Damiani.
Text by Joel Meyerowitz, Maggie Barrett. | Some years ago, while working on a book commission about Provence, Joel Meyerowitz visited Cézanne’s studio in Aix-en-Provence. While there, he experienced a flash of understanding about Cézanne’s art. Cézanne had painted the studio walls a dark gray, mixing the color himself. Consequently, every object in the studio seemed to be absorbed into the gray of the background. There were no telltale reflections around the edges of the objects, so there was nothing that could separate them from the background itself. Meyerowitz suddenly saw how Cézanne, making his small, patch-like brush marks, moved from the object to the background, and back again to the objects, without the illusion of perspective. After all, Cézanne was the original voice of “flatness.” Meyerowitz decided to take each of the objects in Cézanne’s studio and view them against the gray wall (managing to obtain permission from the Director of the Atelier—no-one had touched these objects in ages). His impulse was to place each one in the exact same spot on his marble-topped table and just make a “dumb” record of it. He then decided to arrange them in rows, almost as if they were back on his shelf above the table, and made a grid of five rows with five objects on each row, with Cézanne’s hat as the centerpiece. This beautifully designed volume presents these photographs, which are at once marvelous photographic still lifes and an incredible revelation of Cézanne’s methods.
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