So deep was the link between painter Paul Cézanne and Provence, National Gallery of Art curator Conisbee surmises, that the red pigment in Cézanne's paints came directly from the marne rouge, the region's red soil. In this volume, which accompanies an exhibition of the same name, Conisbee, Musée de Granet director Coutagne and others explore the painter's relationship with the region in exhaustive detail, offering insight into his methods and motivations. Cézanne eschewed scenes of the region's modernization for scenes of classical evocation and timelessness, and his choice to paint en pleine air was inspired not just by his mentor, the Impressionist Camille Pisarro, but also by an intense desire for isolation. "Isolation, that's what I deserve." he wrote. "At least that way, no one can get their hooks into me." His sojourns in the fishing village L'Estaque marked a turning point-as did his father's death, which freed the artist from the burdens of paternal disapproval. The plates and illustrations offer a remarkable overview of the various Provencal locales Cézanne repeatedly painted: Mount Saint-Victoire, L'Estaque, his father's home (the Jas de Bouffan) and additional sites in the region, allowing the reader to chart Cézanne's development of a technique that "makes it seem as though the paint itself is radiating light."
I don't have enuf of an art history background to review this book but was interested in it after seeing the "Turner to Cezanne" exhibit at one of our museums last fall.