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Posts Tagged ‘Paul Cézanne’

Horrific Practices

December 2, 2014 | by

Two centuries after the Marquis de Sade, a French exhibition traces his influence. 

Jeandel_Deux femmes nues attachees

Charles-Francois Jeandel, Deux femmes nues attachees, allongees sur le cote, between 1890 and 1900; © Musee d’Orsay, dist. RMN-Grand Palais / Alexis Brandt

10. Moreau_Appartion

Gustave Moreau, L’Apparition, 1876; © RMN-Grand Palais (Musee d’Orsay) / Jean-Gilles Berizzi

Cezanne_Tentation-saint-antoine

Paul Cézanne, La Tentation de Saint Antoine, 1877; © RMN-Grand Palais (Musee d’Orsay) / Hervé Lewandowski

Cezanne_Femme etranglee

Paul Cézanne, La Femmeétranglée, between 1875 and 1876; © Musée d’Orsay, dist. RMN-Grand Palais / Patrice Schmidt

Degas_Scene de guerre

Edgar Degas,Scène de guerre au Moyenâge, 1865; © RMN-Grand Palais (Musée d’Orsay) / Gérard Blot

03. Von Stuck_Chasse sauvage

Franz Von Stuck, La Chasse sauvage, 1899; © Musée d’Orsay, dist. RMN-Grand Palais / Patrice Schmidt

02. Delacroix_Chasse aux lions

Eugène Delacroix, Chasse aux lions (esquisse), 1854; © RMN-Grand Palais (Musée d’Orsay) / Gérard Blot

05. Rodin_Minautore

Auguste Rodin, Minotaure ou Satyre et nymphe, 1885; © RMN-Grand Palais (Musee d’Orsay) / Adrien Didierjean

13. Rousseau_La Guerre

Henri Rousseau, La Guerre, 1894; © Musée d’Orsay, dist. RMN-Grand Palais / Patrice Schmidt

06. Vuillard_Figure de douleur

Edouard Vuillard, Figure de douleur, between 1890 and 1891; © Musee d’Orsay, dist. RMN-Grand Palais / Patrice Schmidt

08. Khnopff_Futur

Fernand Khnopff, Futur, 1898; © RMN-Grand Palais (Musee d’Orsay) / Hervé Lewandowski

Eugene Thirion, Jeune homme nu, debout, soutenu par les bras; © RMN-Grand Palais (Musee d’Orsay) / Adrien Didierjean

12. Verasis_Pierson_Comtesse  de Castiglione

Virginia Verasis and Pierre-Louis Pierson, Portrait de la comtesse de Castiglione, assise sur une table, le visage en partie coupe, 1865 and 1867; © Musee d’Orsay, dist. RMN-Grand Palais / Patrice Schmidt

16. Daumier_Dupin

HonoréDaumier, AndréMarie Jean Jacques Dupin, ca. 1832; © Musee d’Orsay, dist. RMN-Grand Palais / Patrice Schmidt

17. Burne-Jones_Roue de la fortune

Sir Edward Burne-Jones, La Roue de la Fortune, between 1875 and 1883; © RMN (Musee d'Orsay) / Gerard Blot

The Marquis de Sade died two hundred years ago today, on December 2, 1814. To mark the bicentennial, Annie Le Brun, a French academic and writer, has curated a sprawling show in the Marquis de Sade’s name at the Musée d’Orsay in Paris. The exhibition, “Attaquer le soleil” (“Attacking the Sun”), takes its name from a snippet in The 120 Days of Sodom, and it traces “the revolution of representation” occasioned by Sade’s unbridled lasciviousness: how his ideas about desire and violence seeped into the cultural zeitgeist and into some of the most seminal art created during and after his lifetime.

It seems tenuous, at first, to link Sade to a whole host of artistic traditions—traditions that didn’t necessarily need his help to see society as a holding cell, for teeming vices, impulses, and cruelties, all barely contained by etiquette. During a conference introducing the exhibition, Le Brun clarified her premise: “We didn’t try to illustrate Sade—on the contrary, the propos of Sade illuminates the violence that exists deep within at the moment of mythological, historical, religious painting … everything that Sade addresses was there before, and will of course continue after.” What Sade tapped into, and what’s elevated in the exhibition, is what Le Brun calls the “exaltation of passions” and the “vertigo of excess”—mixed, of course, with “flagrant atheism.” Read More »

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Outrageous Apples, and Other News

June 30, 2014 | by

kitchen

Infuriating, no? Paul Cézanne, The Kitchen Table (La table de cuisine), 1888–90.

  • The Irish poet and novelist Dermot Healy has died at sixty-six. “I think of him as someone who lived on the edge, in some way … He lived on the very edge of County Sligo, the edge of Ireland—the edge of Europe, you might say. In some ways he lived on the edge of the literary community, but in certain ways he was central to the community he shaped around himself, especially in the northwest of Ireland. And it was the rough edge of his work, which in some ways was so distinctive, which attracted his readers.”
  • And the poet Allen Grossman has died at eighty-two; “poetry is a principle of power invoked by all of us against our vanishing,” he once said.
  • In happier news, astronomers have discovered the biggest diamond in the universe: it “weighs approximately a million trillion trillion pounds … Nobody has actually seen this gigantic diamond, not even through a telescope … the star’s invisibility is a key part of the circumstantial case for its existence.”
  • Cézanne’s “paintings of apples confused critics and art enthusiasts alike. People were astonished that apples could look so ugly, and be so poorly painted. Some thought Cézanne’s still lifes were actually a joke, or an insult.”
  • On elevators (and the people in them): “You can only send yourself as a message successfully if you remain intact—that is, fully encrypted—during transmission. That’s what elevator protocol is for. Or so we might gather from the very large number of scenes set in lifts in movies from the 1930s onwards … Desire erupts, or violence, shattering the sociogram’s frigid array. Or the lift, stopped in its tracks, ceases to be a lift. It becomes something else altogether: a prison cell to squeeze your way out of, or (Bernard suggests) a confessional.”

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On Not Thinking Like a Writer, and Other News

November 26, 2013 | by

Cezannelarge

  • “The artist must avoid thinking like a writer.” The letters of Cézanne.
  • “It isn’t only about droll or absurd situations, it’s about the language used to describe those situations.” Paul Auster on Samuel Beckett.
  • In honor of Umberto Eco’s Legendary Lands, maps of imaginary lands.
  • “Last December, on a Sunday like so many Boston Sundays, one that began in sunshine but gave way to snow showers, three hundred members of Old South Church gathered for a congregational meeting. After hours of debate following weeks of discussion, they voted to sell one of their two copies of the Bay Psalm Book.” Casey N. Cep on America’s first book.
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