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< Paul Cézanne > Still Life: Plate of Peaches, 1879-80. Oil on canvas, 59.7 x 73.3 cm. Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K. Thannhauser 78.2514.4 < PAUL CÉZANNE > Paul Cézanne’s (b. 1839, Aix-en-Provence, France; d. 1906, Aix-en-Provence) complex still lifes are an important part of his quest for empirical truth in painting. Because these THE GREAT U inanimate objects did not move, like human “I will astonish Paris with an apple,” he subjects might, during the painting sessions, once said.3 and they were available any time of day or PAUL CÉZANNE night, they were an ideal subject for a slow- Cézanne set up his still lifes with great care. working, analytical artist like Cézanne. A testimony by an acquaintance describes his Sometimes the fruit or flowers he used method of preparing a still life: “No sooner P HEAVAL would wither and die before the painting was the cloth draped on the table with innate was completed and would need to be taste than Cézanne set out the peaches in replaced by paper flowers and artificial fruit. such a way as to make the complementary colors vibrate, grays next to reds, yellows to His work was motivated by a desire to give blues, leaning, tilting, balancing the fruit at the sculptural weight and volume to everyday angles he wanted, sometimes pushing a one- objects. In Cézanne’s still lifes ambiguities sous or two-sous piece [French coins] under abound. As if by magic, the tablecloth we them. You could see from the care he took see in Still Life: Plate of Peaches is able to how much it delighted his eye.”4 But when levitate several pieces of fruit without any he began to paint, the picture might change visible means of support. The use of mixed in unusual ways. Cézanne seems to be perspectives adds to the precarious effect. painting from several different positions at Everything is as tentative and perplexing once. He believed that the beauty of the as it is stable and tangible.1 whole painting was more important than anything else—even more important than Cézanne painted almost 200 still lifes, focusing the correctness of the rendering.5 on simple household items. He loved the rich colors and basic shapes of fruit. He also liked Pablo Picasso, born 42 years after Cézanne, the challenge of creating a great painting said, “My one and only master . Cézanne using everyday objects. He appreciated fruits was like the father of us all.” Cézanne is and flowers as the products of nature, as well therefore often described as the “father of as common domestic objects like pitchers, jars, modern art.”6 and bottles, which he felt held an admirable sense of craftsmanship.2 VIEW + DISCUSS Show: Still Life: Plate of Peaches, 1879–80 FURTHER EXPLORATEXPLORATIONSIONS ▲ Look carefully at this work. What do you notice? • For generations the training of artists included copying works by the masters. Copy Cézanne’s painting as closely as you can. Then ▲ recreate the still life with real objects and invent a new style to What would it be like to bite into one interpret this setup. What did you learn from each experience? of these peaches? Are they ripe? Do they have an aroma? How might • Cézanne took great care in setting up the still lifes that he would they taste? Write a short paragraph then paint. He might even adjust the angle of an object by about that experience. Then share propping a coin or two underneath it to slightly change its incline. it with your classmates. Do you have Collect and arrange your still life. In choosing the objects consider similar or different ideas? their formal characteristics: color, form, and texture, as well as their ▲ personal meaning to you. Then carefully assemble the objects you The bluish wallpaper with sprays of leaves selected into an arrangement. When you arrive at a still life setup found in the background of this still life that pleases you, draw it, paint it, or photograph it. appears in fourteen of Cézanne's still life paintings.7 What about it might have • In addition to his still life paintings, Cézanne is also known for his landscapes and portraits. In books or on the Internet research appealed to Cézanne? other painting genres that Cézanne worked in. What are the ▲ similarities and differences in how Cézanne treated each of these Cézanne painted this still life more subjects? Which do you prefer? Why? than a century ago. What aspects of it seem familiar and easily understood? Are • Still life had several advantages for Cézanne. It was both traditional there also parts of the painting that are and modern. This allowed Cézanne to build on the achievements puzzling? What is confusing about them? of the past while pursuing his own unique vision. ▲ Forbearers of the still life tradition in France include Jean-Baptise- The elements in this painting are simple: Simeon Chardin (1699–1779), Gustave Courbet (1819–1877), and a table, white tablecloth, blue ceramic Éduoard Manet (1832–1883). A younger artist, Pablo Picasso, said, plate, and peaches. Try recreating this “My one and only master . Cézanne was like the father of us all.” still life setup as closely as possible with Research the still life paintings created by these artists and compare real objects. Compare your arrangement them to Cézanne’s. How did Cézanne build on the achievements of the past? Why do you think Picasso referred to him as the to Cézanne’s. How are they similar? “father of us all”? Describe the areas where Cézanne departed from reality to enhance the impact of the total painting. < RoBERT DELAUNAY > As it was for many literary and artistic figures of synthesizing several impressions at once. It is the day, the Eiffel Tower, built for the Exposition significant that this painting was executed when Universelle de Paris of 1889, became a symbol he was away from Paris, working from memory. of modernity for Robert Delaunay (b. 1885, Paris; d. 1941, Montpellier, France). Delaunay Eiffel Tower with Trees marks the beginning envisioned breaking down boundaries and of Delaunay’s self-described “destructive” phase: transforming Europe into a global community, the solid form in his earlier works becomes THE GREAT U and the Eiffel Tower, in its capacity as a radio fragmented and begins to crumble. Delaunay tower, embodied international communications. chose a subject that allowed him to indulge He first painted the tower in celebration of his his preference for a sense of vast space, Ro BERT DELAUNAY engagement to fellow artist Sonia Terk in 1909 atmosphere, and light, while evoking a sign and would make it the subject of at least thirty of modernity and progress. Delaunay’s P works over the next few years and again in achievements in style represent a new HEAVAL the 1920s. century and its shift toward urbanization. Delaunay’s early treatments of the Eiffel Many of Delaunay’s images are views from Tower use a limited palette and simple blocklike a window framed by curtains. In Eiffel forms. Centrally located within each of the Tower the buildings bracketing the tower compositions, the Eiffel Tower assumes the curve like drapery. The vantage point of the iconic drama of a portrait. The more dynamic window allows the Eiffel Tower series to representation of Eiffel Tower with Trees signals combine exterior and interior spheres, and a shift in the artist’s style. Delaunay showed the recalls a traditional, Romantic notion of the tower from several viewpoints, capturing and open window. LEFT TO RIGHT Eiffel Tower with Trees (Tour Eiffel aux arbres), summer 1910. Oil on canvas, 126.4 x 92.8 cm. Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection 46.1035. Robert Delaunay © L&M Services B.V. Amsterdam Eiffel Tower (Tour Eiffel), 1911 (dated 1910 by the artist). Oil on canvas, 202 x 138.4 cm. Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, By gift 37.463. Robert Delaunay © L&M Services B.V. Amsterdam Red Eiffel Tower (La tour rouge), 1911–12. Oil on canvas, 125 x 90.3 cm. Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection 46.1036. Robert Delaunay © L&M Services B.V. Amsterdam VIEW + DISCUSS Before showing the class Robert Delaunay’s EXPLORATIONS paintings, project a photograph of the FURTHER EXPLORATIONS Eiffel Tower. You may even be able to • The Web site for the Eiffel Tower contains information on many locate vintage photographs online. Robert aspects of the landmark. To understand the importance that the Delaunay is known to have owned more Eiffel Tower held for Parisians at the turn of the 20th century, go than one postcard with a photo of the Eiffel to www.tour-eiffel.fr/teiffel/uk/. Tower that he may have used as a reference for some of his paintings. • When construction of the Eiffel Tower was announced in 1888, Paris went into an uproar. People didn’t want a hideous eyesore like that in their backyard. They called it a “metal monster” and Ask students what they notice as well as 8 were sure that it would fall on their homes and crush them. what they know about the Eiffel Tower. No one guessed that it would become a beloved symbol of France. You may want to provide some background But in 1889 when the Paris Exposition opened, it was the Eiffel information so that the students understand Tower that attracted the most visitors and soon became an that the Eiffel Tower was not only an international symbol.
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