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 | Not available $45.00
Paul Cezanne’s incomparable, architectonic rendering of light and color provided the foundation of his reputation as a forerunner of modernism. Which specific locations left such vivid impressions on this scion of a provincial banker’s family? What and who were the influences supporting and advancing his innovative oeuvre? In this affordable volume, acclaimed art historian James H. Rubin traces Cezanne’s life and work from A to Z, creating an image of a painter who aspired to “do Poussin over again after nature.” As the book's title indicates, Rubin also explicates and champions the Société Paul Cezanne’s campaign to remove the accent on the artist’s surname in accordance with its original Provençal spelling. James H. Rubin (born 1944) is an art historian and professor at the State University of New York in Stony Brook, specializing in 19th-century art with a particular interest in French modernism. He has published 13 books, including Impressionism (Phaidon, 1999), Impressionism and the Modern Landscape (University of California Press, 2008), How to Read Impressionism (Abrams, 2013) and, most recently, Why Monet Matters: Meanings Among the Lily Pads (Penn State University Press, 2021).
Published by Hatje Cantz. Text by Oystein Sjastad.
There are some collectors who, through foresight and dedication, have built truly outstanding art collections and shared them widely as part of public museums. Among these were Samuel Courtauld in London, England, and Rasmus Meyer in Bergen, Norway. At the heart of each man's collection was a single artist whose work was their greatest passion: for Courtauld, it was the French painter Paul Cézanne and, for Meyer, it was Norway’s own Edvard Munch. This unique collaboration between KODE Art Museums in Bergen and the Courtauld in London celebrates these two remarkable collectors and two great artists by temporarily exchanging the collections. This volume tells the story of Cézanne’s rise to prominence. This publication not only presents 10 key works from the Courtauld along with Cézannes from Norwegian collections, it also brings them together with eyewitness accounts from the early years of his profound influence.
Published by The Museum of Modern Art, New York. Edited with text by Jodi Hauptman, Samantha Friedman. Text by Kiko Aebi, Annemarie Iker, Laura Neufeld.
Winner of a PROSE Award | Association of American Publishers (AAP), 2022
A New York Magazine 2021 holiday gift guide pick
Although he is most often celebrated as a painter, Paul Cézanne’s extraordinary vision was fueled by his experiments on paper. In pencil and watercolor, on individual sheets and across the pages of sketchbooks, the artist described form through multiple probing lines; realized compositions through repetitions and transformations; and conjured kaleidoscopic color through layering of watercolor. It is in these material realities of drawing where we see Cézanne at his most modern: embracing the unfinished, making process visible and actively inviting the viewer to participate in the act of perception.
Published to accompany a major exhibition at the Museum of Modern Art, this is the most significant effort to date to unite drawings from across Cézanne’s entire career, tracing the development of his practice on paper, exploring working methods that transcend subject, and devoting both curatorial and conservation-based research to these remarkable works.
Sequence and Process in Paul Cézanne’s Works on Paper
Published by Ridinghouse/Luxembourg & Dayan. Introduction by Walter Feilchenfeldt. Text by Fabienne Ruppen, Yuval Etgar.
This book brings to light new research into the work of Paul Cézanne (1839–1906), based on close examination of the DNA makeup that constitutes the papers he used for his watercolors and drawings. The book features in-depth analyses of the works in the show by Fabienne Ruppen, as well as extensive commentary on Cézanne scholarship by Walter Feilchenfeldt, co-author of the artist’s new catalogue raisonné.
At the heart of the book are two watercolors that Cézanne produced from a large sheet of paper, which he divided in two sections for the purpose of capturing different landscapes, La Montagne Sainte-Victoire, from 1885–87, and a Paysage Provençal. Reunited for the first time, these two parts of the same sheet exemplify Ruppen’s research methods and the way these enable us to reconsider the dating of Cézanne’s work based on forensic evidence.
Published by Ridinghouse. Text by Richard Thomson, Christopher Lloyd, Elizabeth Cowling, Rosalind McKever, Colin Wiggins, Edward Wouk, Richard Shone. Interview with Karsten Schubert by Yuval Etgar.
In honor of the generous bequest by the late Karsten Schubert, founder of Ridinghouse, to the Whitworth Art Gallery in Manchester, this luxurious book, featuring a tipped-on cover drawing, focuses exclusively on Paul Cézanne’s (1839–1906) drawings and prints of diverse subjects: from portraits and bather scenes to landscapes and copies after past art. This important act of generosity means that the Whitworth now holds the best collection of Cézanne works on paper in the UK, including a version of every print produced by the artist.
With essays by renowned Impressionist scholars Richard Thomson and Christopher Lloyd and full catalog entries on all the works in the show, this volume demonstrates that the essence of Cézanne as an artist lies just as much in his lesser-known works on paper as in his paintings.
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
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 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2012 p. 73
PRODUCT DETAILS ISBN 9782711859191TRADE List Price: $45.00 CDN $55.00
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.