Colors bleed into each other, and perspectives are often skewed. A white tablecloth might contain greens and yellows. Vitali: Many figures and objects are outlined in cobalt blue. Groom: It’s a lot and it’s also very minimalist.Įven in the subject matters of still life, landscape, and portrait, it’s kind of limited, but it’s within that that he makes all of his completely new and different expressions. You can really see how the picture came together, stroke by stroke, mark by mark, sensation by sensation, color by color, associating sight and touch, and using that as an entirely new language of pictorial communication. Haskell: One of the wonderful things about Cezanne’s work is he’s so honest about his process. And it was when he refuses to fit in and when he starts to work for himself - an audience of one - that he becomes the artist that the artists look at and go, ‘oh my gosh, he’s such a risk taker.’ Groom: Cezanne really was trying to be modern, and he was trying to fit in and he can’t. And in the exhibition and catalog we worked with 10 contemporary artists to look at artworks in the show and help us see them through an artist’s eyes now. There are works that were owned by Monet, Pissarro, Gauguin, and then in the 20th century works owned by Matisse, Picasso, Henry Moore, many loans from the collection of artist Jasper Johns, so I mean it’s something that continues. They were absolutely the most important audience for his work during his lifetime. Haskell: Artists understood what he was doing. In fact, many paintings on view were once owned by them. Vitali: Cezanne was much admired by fellow artists. He has his moment, but he takes what he needs and he moves on. He’s like the odd man out, but he is very much informed by Impressionism.
We put him in another gallery, literally because he doesn’t play well with Monet and Renoir. Gloria Groom, Curator, European Painting & Sculpture: Cezanne is an artist we usually put in a separate category.
The Cezanne show at the Art Institute looks from a distance – and very closely – at a giant of modern art.Ĭaitlin Haskell, Curator, Modern & Contemporary Art: He was coming of age in the 19th century, he was associated with the Impressionist group, but he really paved the way for what modern art would become in the 20th century, movements like Cubism, Fauvism, Expressionism, and abstract painting. Seemingly simple still lifes and complicated portraits. Marc Vitali: Bathing beauties and rich landscapes.
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