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Cézanne : the self-portraits

Auteur : Steven Platzman; Paul Cézanne
Éditeur: Berkeley : University of California Press, ©2001.
Édition/format:   Livre imprimé : Publication gouvernementale provinciale ou d’état : AnglaisVoir toutes les éditions et tous les formats
Résumé:
"Cezanne has long been celebrated as the founding father of modern art. But astonishingly there has never been a study devoted to his self-portraits. Now, for the first time, Steven Platzman reveals the remarkable light these haunting works throw on the artist and his era." "Platzman begins with the young Cezanne struggling to make his mark in the Parisian art world of the 1860s. His earliest self-portraits express  Lire la suite...
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Détails

Genre/forme: Criticism, interpretation, etc
Self-portraits
Autoportraits
Personne nommée: Paul Cézanne; Paul Cézanne; Paul Cézanne; Paul Cézanne; Paul Cézanne; Paul Cézanne; Paul Cézanne; Paul Cézanne
Type d’ouvrage: Publication gouvernementale, Publication gouvernementale provinciale ou d’état, Ressource Internet
Type de document: Livre, Ressource Internet
Tous les auteurs / collaborateurs: Steven Platzman; Paul Cézanne
ISBN: 0520232917 9780520232914
Numéro OCLC: 46828972
Description: 224 pages : illustrations (chiefly color), portraits ; 29 cm
Contenu: The young radical : Cézanne and Paris in the 1860's --
Reconstructing the self : Cézanne and the recall to order --
The artist and the femme fatale : Cézanne's narrative self-portraits --
The final decades : exploring the self --
Conclusion --
Cézanne's self-portraits : a complete catalogue.
Responsabilité: Steven Platzman.
Plus d’informations:

Résumé:

"Cezanne has long been celebrated as the founding father of modern art. But astonishingly there has never been a study devoted to his self-portraits. Now, for the first time, Steven Platzman reveals the remarkable light these haunting works throw on the artist and his era." "Platzman begins with the young Cezanne struggling to make his mark in the Parisian art world of the 1860s. His earliest self-portraits express all the hostility he projected at both the official Salon and the avant-garde in these years. By the early 1870s, however, he found himself deeply isolated: military defeat and revolutionary upheaval had produced a conservative backlash throughout French political and cultural life. Cezanne responded by seeking rapproachement with the avant-garde, joining Camille Pissarro at Pontoise and temporarily adopting Impressionist technique. His self-portraits depict a more sober and accommodating figure, often sporting the rough-and-ready outdoor attire of the plein air Impressionist painter." "Like Rembrandt, Cezanne also inserted his own image into narrative paintings, in particular a series of often luridly erotic scenes from the late 1860s and 1870s. The femme fatale makes a regular appearance in these works, threatening - but always failing - to entice him from the paths of art and virtue." "By his final years Cezanne's self-portraits communicate a quieter spirit of introspection and skepticism that was very much in tune with the Symbolist mood of the times. These works are also, finally, serene and magisterial, depicting a man who, despite the doubts that never left him, had seen his aesthetic path and was sworn to pursue it till the day he died." "Cezanne: The Self-Portraits is a study of the nineteenth century's greatest painter. Accessible, authoritative, and generously illustrated, it concludes with a definitive catalog of all Cezanne's painted and drawn self-portraits."--Jacket.

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