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Cézanne y el fin del impresionismo: Estudio de la teoría, la técnica y la valoración crítica del arte moderno
Shiff analiza la obra de Cézanne en el marco de lo que denomina «fin del impresionismo», un momento en la historia del arte europeo en el que coinciden impresionismo, naturalismo y simbolismo, además de artistas que, como el propio Cézanne, son inclasificables. Un momento, además, en el que los problemas de la percepción y de la representación son sometidos a estudios y planteamientos originales. El autor se ocupa con atención y rigor de la recepción y las diferentes interpretaciones de la obra de Cézanne, de su técnica pictórica y de la que llama «materialidad de Cézanne», un aspecto que abre un modo nuevo de ver la obra del artista.
- GenresArt
448 pages, Paperback
First published January 1, 1984
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January 14, 2024
--- "Cézanne could satisfy a broad spectrum of critical demands." (Shiff: xvii)
--- "the academicism of which nineteenth-century critics so often complained represented an art that had fallen into a state of craft." (Shiff: 227)
--- "But if Cézanne's repetitive (or perhaps systematic) technical procedure is something more than what is found either in the self or in the experience of nature, if it is controlled and made, its repetition would indicate the mastery of an active representation of originality. As a maker, the painter becomes free to employ his technique in any situation". (Shiff: 114)
This book describes how critics received Cézanne. The book is not a detailed study of his oeuvre as only 10 or so of his artworks are included. The author puts forward a few theories of his own and it is good to see an author that is not afraid to use the I-persona. But I felt some of his theories were left undeveloped, which I did not like.
Some people may think the book is too theoretical and packed with so many names of critics. Also, the book's title promises a discussion on the end of Impressionism but no explicit reference to that is made throughout the book. That I hated it. And the author talks about Cézanne's use of colour but all illustrations are in black and white. Despite all this I liked the book because it analyses Cézanne, Impressionism and Symbolism taking into account artists, theory and critics alike.
--- "the academicism of which nineteenth-century critics so often complained represented an art that had fallen into a state of craft." (Shiff: 227)
--- "But if Cézanne's repetitive (or perhaps systematic) technical procedure is something more than what is found either in the self or in the experience of nature, if it is controlled and made, its repetition would indicate the mastery of an active representation of originality. As a maker, the painter becomes free to employ his technique in any situation". (Shiff: 114)
This book describes how critics received Cézanne. The book is not a detailed study of his oeuvre as only 10 or so of his artworks are included. The author puts forward a few theories of his own and it is good to see an author that is not afraid to use the I-persona. But I felt some of his theories were left undeveloped, which I did not like.
Some people may think the book is too theoretical and packed with so many names of critics. Also, the book's title promises a discussion on the end of Impressionism but no explicit reference to that is made throughout the book. That I hated it. And the author talks about Cézanne's use of colour but all illustrations are in black and white. Despite all this I liked the book because it analyses Cézanne, Impressionism and Symbolism taking into account artists, theory and critics alike.
Displaying 1 - 1 of 1 review