January 14, 2013
“Cézanne” by Gertrude Stein
The Irish lady can say, that to-day is every day. Caesar can say that
every day is to-day and they say that every day is as they say.
In this way we have a place to stay and he was not met because
he was settled to stay. When I said settled I meant settled to stay.
When I said settled to stay I meant settled to stay Saturday. In this
way a mouth is a mouth. In this way if in as a mouth if in as a
mouth where, if in as a mouth where and there. Believe they have
water too. Believe they have that water too and blue when you see
blue, is all blue precious too, is all that that is precious too is all
that and they meant to absolve you. In this way Cézanne nearly did
nearly in this way. Cézanne nearly did nearly did and nearly did.
And was I surprised. Was I very surprised. Was I surprised. I was
surprised and in that patient, are you patient when you find bees.
Bees in a garden make a specialty of honey and so does honey. Honey
and prayer. Honey and there. There where the grass can grow nearly
four times yearly.
October 10, 2012
I was pleasantly surprised yesterday to find a big ole biography of Paul Cézanne on my doorstep. I probably won’t get to Alex Danchev’s Cézanne: A Life anytime soon (at least not until I finish Robert Hughes’s Goya bio), but it looks like a pretty solid read—with lovely glossy pictures to boot:
In the meantime, check out Evan McMurry’s full, in depth review at Bookslut.
Or, if you’re too busy, here’s the Kirkus write up in full:
A formidable biography of the Father of Modern Art bound for the annals of academia.
Danchev . . . has researched every facet and nuance of Paul Cézanne’s life (1839–1906). His comfortable childhood in Provence, his years in Paris, where he was influenced by the Impressionists, and his dependence on the allowance from his father created the artist some suggested was “not all there.” There is a wealth of information in the correspondence between the artist and his childhood friend, Émile Zola, in which they parodied Virgil, joked in Latin and discussed Stendhal. Zola knew that Cézanne’s art was a corner of nature seen through his own curious temmpérammennte. The artist didn’t paint things; he painted the effect they had on him. He saw colors as he read a book or looked at a person, understood the inner life of an object and let his brain rework that object, sometimes illuminating it, sometimes distorting it. Danchev rightly subscribes to the theory that understanding the man is important to understanding his work, and he attempts to parse Cézanne’s psyche, digging into the background of nearly every author he discussed in his letters, quoting every writer who based a character on the man. Cézanne’s work will influence artists and confuse patrons for decades to come, especially those who have the patience to study Danchev’s comprehensive, occasionally ponderous tome.
A fairly impressive achievement of a Sisyphean task—definitely a book to keep in your library.