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2003/1 (1) 1 Art on the Line Art on the line Leaving L’Estaque: Cézanne’s imagery of Provence in the 1880s Jonathan Kear Department of History and Theory of Art, Rutherford College, University of Kent, CT2 7EN, England [email protected] Keywords Cézanne, L’Estaque, nineteenth-century French painting, Provence, Montagne Sainte-Victoire, landscape painting. Abstract Traditionally, Cézanne’s landscape painting has been accounted for exclusively in terms of the evolution of the painter’s technique. His pictures of L’Estaque have been regarded as preparing the way for his mature style of painting that culminates in the pictures of the Montagne Sainte- Victoire. This article argues for an alternative approach to Cézanne’s landscapes which points to crucial shifts in his selection of motifs, shifts that divide his earlier and later painting. Focusing on the different types of landscape subject Cézanne painted it demonstrates how his choice of motif was reworked in relation to different traditions and conceptions of landscape painting asso- ciated with his native Provence. Rather than seeing the L’Estaque pictures as a prelude to his subsequent paintings of Provence, it suggests they represent a short-lived moment when Cézanne overtly engaged with modern motifs in a fast developing industrial region. His later paintings of Provence mark a decisive break with this modernity and the cultivation of a more tra- ditional and nostalgic vision of the region. Perhaps no artist is so indelibly associated series of depictions until the late 1880s. This with the painting of a single motif as period saw important changes in Cézanne’s Cézanne. Today it is as the painter of the landscape painting, in which his choice of Montagne Sainte-Victoire that he is most motifs was successively revised.1 To illumi- famous. Although the preeminence of this nate the underlying factors which condi- motif for his later career is indisputable, its tioned this redefinition of his landscape emergence within his oeuvre follows a spe- painting requires reexamining his selection cific trajectory. While the Montagne Sainte- of motifs. Such a reevaluation highlights Victoire occasionally features in the back- important shifts that occurred in his approach grounds and, less frequently, as a principal to representing his native Provence in the motif in his paintings as early as the 1860s, it latter part of his career that have so far been did not become the focus of a sustained neglected. ART ON THE LINE 2003/1 (1) 1 ART ON THE LINE In his earliest landscapes dating from the deliberative and studied representation of his 1860s Cézanne eclectically explored an motifs.6 Less attention, however, has been array of distinctive types of motif and styles, paid to Cézanne’s choice of motifs and how taking up different models of landscape these related to the broader currents of painting at will. These ranged between works Impressionism. which display the kind of visionary and While traditionally Impressionism has dream-like effects present in his ‘narrative’ been seen as an homogenous movement, paintings to, at the other end of the spec- contemporary critical responses at the trum, the type of prosaic motifs associated Impressionist exhibitions suggest it was a with naturalism, with their emphasis on the broad movement that expressed alternative evocation of a specific sense of place, par- tendencies and was successively redefined ticular effet or mood. During the 1870s, how- in the course of the lifetime of these exhibi- ever, he began to focus his interest in paint- tions. While technically Pissarro and ing landscapes en plein air. The importance Cézanne shared much in common with their of plein airisme for Cézanne in this period Impressionist colleagues their choice of rural was consolidated through a series of collab- landscape subjects at Pontoise and Auvers orative relationships he established with are quite distinct from the typical Impressionist painters such as Armand Impressionist paintings of the large rivers Guillaumin and Camille Pissarro.2 Working extending from Paris to its environs. with Pissarro he aligned his landscape paint- Modernising the adaptations by Daubigny ing more closely to their ideas and working and Jongkind of the conventions of Dutch practices, exhibiting with him at the river scenes, these pictures with their ultra Impressionist exhibitions of 1874 and 1877. modern depictions of the barges, steam- Cézanne spent the autumn and winter of boats, yachts and rowboats, represent the 1872 with Pissarro in Pontoise, occasionally patterns of labour and more particularly of joined by Guillaumin, Edmond Béliard and Dr bourgeois leisure that inhabit the rivers. The Gachet, one of his few patrons, an ardent river, like the railway, a notable omission in republican and enthusiastic amateur land- Cézanne’s representations of Pontoise, scapist who signed his works with the pseu- becomes the fulcrum of this ephemerality, a donym Van Ruysdael.3 The following year contingent space that provides the connect- Cézanne moved to the neighbouring region ing link between the two forms of life: city of Auvers-sur-Oise, four miles east of and country. Pontoise, remaining there until 1875.4 This These differences in conception point to association was to continue sporadically for actual divisions within the theories and prac- many years afterwards and even as late as tices of Impressionism. While in 1882, he was to make visits to Pontoise to Impressionist theory the choice of motif was work with Pissarro.5 notionally regarded as subordinate to the As many commentators have stated, painter’s way of envisioning it, the choice of under the example of the most theoretically motifs selected by Pissarro and Cézanne minded of the Impressionists Cézanne grad- implied a particular conception of landscape. ually revised his approach to landscape The accentuated modernity of the represen- painting, disciplining his impetuous manner tations of Argenteuil and Bougival by Monet, of painting. Working more regularly en plein Sisley and Renoir, spaces of transformation, air and adopting a more ‘unassuming’ was registered in the mode of their manner approach to nature, he gradually dispensed of painting such scenes. The difference with the rapid approach to painting that char- between Monet’s impulsive interplay of acterised his earlier work in favour of a more impressions or the more measured delibera- 2 ART ON THE LINE 2003/1 (1) LEAVING L’ESTAQUE: CÉZANNE’S IMAGERY OF PROVENCE IN THE 1880S: KEAR tive and reflective sensations of Cézanne Cézanne, regarded them as representing a were themselves associated with distinctions rural school of Impressionism. between forms of perception that were Outside Pontoise and Auvers, however, regarded as affiliated with metropolitan cul- Cézanne chose more overtly modern land- ture and the countryside respectively.7 As scape motifs that had more in common with Meyer Schapiro has argued, the mode of those favoured by other Impressionists. The perception of artists like Monet and Renoir in earliest of these are imaginative composi- the 1870s ‘naturalised’ the perceptual habits tions combining agricultural and industrial and manners of the aimless strolling urban components in uncompromisingly unpic- flâneur and the consumption of the spectacle turesque landscapes. This interest in juxta- of nature among the bourgeoisie.8 It pres- posing natural elements with new industri- ents a landscape quintessentially fashioned alised technologies was a feature of many of by the leisure and values of the urban middle his landscapes around this time. In Usines classes. By contrast the denser more solid près de Montagne de Cengle, 1867–69, (fig- rendering of Pissarro and Cézanne was ure 1) Cézanne depicted an aggregation of focused on the representation of la vie factory chimneys, set against the hillside of a agreste.9 Cézanne’s mode of perception, Provençal landscape featuring cultivated implied a different kind of attentiveness and olive groves with the Montagne Sainte- temporality associated with rural life. Victoire in the background. The uniformly Cézanne and Pissarro sought to paint rustic broad handling and strange relationships of scenes with a directness and formal honesty, scale within the picture, combined with the giving full weight to the materiality of the fact that there is no record of such a site ever Pontoisean landscape, Cézanne submitting having existed, suggests he was seeking to the landscape to a rigorous structural form. invent landscapes that paralleled Zola’s liter- During his time in Pontoise Cézanne made ary portrayals of bleak industrial wastelands little of the busy port that formed a network of in Provence during this period.10 links between Belgium, the industrial and Industrialised motifs were, however, rare in northern centre of the north, Paris and other his oeuvre at the time, but were to become parts of France, or the river Oise, the large more prominent in the mid-1870s. At pre- thoroughfare which connected Paris and cisely the moment when Impressionist col- Pontoise, setting only a handful of scenes on leagues, like Monet, Renoir and Pissarro its riverbanks, even though water motifs fea- were moving away from the modern land- tured strongly elsewhere in his landscape and scape subjects that had been such an impor- figure painting. Where it does appear, it is tant feature of their work in the first half of the mostly as a discreet and tranquil motif in paint- decade, Cézanne began a sustained group ings that look across its riverbanks to the vil- of pictures
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