The town is sometimes called Aix, and is in the region known as Provence. He explored the countryside around Aix when he was growing up and felt closely linked to this landscape throughout his life. In his paintings he returned again and again to scenes he knew from childhood, including Mont Sainte-Victoire, the peak of a low range of mountains near Aix.
Merleau-Ponty's essay, "Cezanne's Doubt,,1 of Merleau-Ponty and Cezanne, and it is within appeared in December ofthe same year he the space of this difference that we can distin- published his Phenomenology of Perception, Cezanneis painting essay Merleau-Ponty's brand of existential phe- which would become a classic manifesto of"ex- nomenology from Sartre's existentialism.
Metaphysical Doubt While the ostensible aim ofMerleau-Ponty's es- As the title of his essay indicates, Merleau- say is an examination of Cezanne 's painting, it is Ponty is interested in Cezanne's "doubt," that is, no less a thumbnail sketch of his own philosophy in his uncertainty, his lack of self-confidence, the as developed in Phenomenology of Perception.
When Cezanne Given that Merleau-Ponty seeks in Cezanne an first made his decision to Cezanneis painting essay a painter, this artistic parallel to his own philosophical rumina- lack of self-confidence prevented him from ask- tions, our caution should be alerted; as Sabine ing his father to send him to Paris.
When he fi- Cone noted while Curator of France's National nally did embark on his career, chastised by his Museums, "Cezanne's theories are contradictory childhood friend Zola for his "instability, his enough to enable one to justify anything.
He often said he found Cezanne. In the second part of this essay, I will life terrifying, while his fear of death drove him explore the significance of this "doubt" for un- to create a will at the age offorty-six and to begin derstanding Merleau-Ponty's own work and es- practicing religion in his fifties.
As he grew older, pecially his relation to Jean-Paul Sartre.
Giacom- he detached himself more and more from those etti, Sartre's paradigm artist, also manifests who admired his work, would motion from a dis- "doubt. He disregards the classi- dant explanation for his "doubts" as well as for cal emphasis on outline, composition, and per- his withdrawal from human subject matter to- spective in favor of the "immediate impression of ward landscapes and nature.
But, all the same, he insisted because they were so close to him, to his life and that his goal was the representation of "reality. The distortions and illusions in his an explanation for the meaning of an artist's work work, which spurred so much aversion in his crit- than the simple facts of her or his psychology.
The this paradox that we find the key to his genius and meaning of Cezanne's art-and the meaning of the originality of his work. For Cezanne, there is his struggle--is not to be found in any of the facts a basic distinction to be drawn between the spon- of his life.
Cezanne's doubt is not an anxious psy- taneous organization of our perceptual life and chological disposition. Ifwe want to understand the human organization imposed upon this per- the true meaning of his doubt-its metaphysical ception by our science and tradition.
The mean- meaning-we must begin by examining his ing of his painting lies in his continual attempt to work, and only then return to see how the facts of unearth, beneath its human organization, the Cezanne's life contribute to the expression of this spontaneous unity of our natural perception.
Impression- One need not choose between these alternatives, ism tried "to capture, in the painting, the very since the poles are indistinguishable at "the birth way in which objects strike our eyes and attack of order through spontaneous organization" CD, our.
In fact, what is revealed in Cezanne's tion of only the seven colors of the spectrum, Im- approach is not a returnto the "natural? The effect was be een'Iiliiuraf and artificial cannot be drawn.
On the basis of this sponded point-by-point with nature. But while agreement and anchorage, we construct the the object is lost in an Impressionist painting, it is world of human projects and cultural objects.
By retaining the local tone which ties it to a world of perceptual accord. Cezanne, in his points of view, and the whole surface is warped.Photographer Joel Meyerowitz captured objects in Cézanne’s studio against a grey wall, considering the influence of this background on the artist’s work.
“The play of light on this. Issuu is a digital publishing platform that makes it simple to publish magazines, catalogs, newspapers, books, and more online. The metropolitan museum of art bulletin v #8 april Cézanne and the Practice of Painting Kaleigh Winchell History of Art Department: Senior Honors Thesis Howard Lay, Faculty Adviser April 6th, Winchell, Page 2 of 55 4 Clement Greenberg, “Cézanne,” in Art and Culture: Critical Essays (Boston: Beacon Press, ), Essay on Cubism Words | 8 Pages.
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Paul Cezanne Artscolumbia Archives. Paul Cezanne biography Paul Cézanne (–) French post impressionist painter, born in Aix-en-Provence.
The painting was influenced by Paul Cezannes “The Bathers”. Picasso stroke out two men figures in the painting and only pet the five women figures. The reductionism and contortion of space in the painting was incredible, and dislocation of faces explosive. Favorite Painting by Picasso Essay () Words | 3 Pages.