Lecture 10Outline of Last LectureI) Continuing with Gauguin’s Where do we come from? What are we? Where are we going? (1897)A) emphasis of the bodyB) spiritual dimensionC) The reading of this paintingII) 2 major challenges to the foundational languages and ideas of the artistic traditionA) language of mimesisB) language based upon the bodyIII) GauguinA) Self-Portrait (as St. John the Baptist) (1889)B) Self-Portrait with Idol (1893)IV) Vincent Van GoghA) Self-Portrait (1889)B) The Shoes with Laces (1886- 1888)C) The Potato Eaters (1885)D) The Night Café (1888)E) Van Gogh’s Chair (1888)F) Gauguin’s Chair (1888)G) The Irises (1889)H) Starry Night (1889)I) Harvesting Wheat in Alpilles Plain, Arles (1888)J) The Sower (1888- 1889)K) Wheatfield with Rising Sun (1889)L) Resurrection of LazaurusM) The Sower (with Setting Sun) (1888)N) Self-Portrait with Bandaged Ear (1889)O) Self Portrait with Bandaged Ear and a Pipe (1889)P) Sunflowers (1888)Q) Sunflowers (1887)V) Paul CézanneA) Self-Portrait (1873- 1875)B) Uncle Dominique (1866)C) The Abduction (1867)D) House of the Hanged Man (1872- 1873)a) The Bridge at Maincy (1879-1880)Outline of Current LectureVI) Cézanne: eccentricity?A) Characteristics of his paintingB) Friendship with PissarroC) Uncle Dominique (1866)D) The Abduction (1867E) House of the Hanged Man (1873- 1873)F) The Bridge at Maincy (1879-1880)G) Chateau de Médan (1880)H) Gulf of Marseille Seen From L’Estaque (1886)I) The Basket of Apples (1890-1894)J) Still-Life with Plaster Cast (1894)K) Mount Ste. –Victoria and the Viaduct of the Arc River Valley (1882)L) Pines and Rocks (1895-1900)M) Mount Sainte- Victoire (again and again)N) Apples (1877- 1878)O) Idyll (Luncheon on the Grass) (1870)P) Temptation of St. Anthony (1870)Q) A Modern Olympia (1873)R) Bather with Outstretched Arms (1887- 1878)S) The Large Bather (1885)T) PhenomenologyU) Three Bathers (1879-1882)V) The Murder (1868)W) Bathers at Rest (1875- 1877)X) Bathers (1883- 1887)Y) Bathers (1890)Z) Large Bathers (1894- 1905)**All post-impressionists seek a systematic way of painting and impose that method on all of their paintingsCurrent LectureI) Cézanne: eccentricity?A) Characteristics of his painting1) Shifting between realist portraiture and nightmarish2) Excessively thick painting: materialitya) Often with a palate knife, more like a spreadingb) Links to Courbet? Links to modernism: the materiality of the medium he’s working with, physicality (scumbled)c) Building up of paint that serve to divide zones in his paintingB) Friendship with Passarro1) Taking up the impressionist practice of aligning painting with the act of seeing and perceptionC) Uncle Dominique (1866)D) The Abduction (1867E) House of the Hanged Man (1873- 1873)1) Cézanne’s entrance into the realm of impressionism despite the adherence to physical effects2) Paste-like application of paint3) The title moves this painting away from neutral landscape genrea) Something about the composition is de-stabilizingb) The center axis is actually a hole that opening into a vista that is blocked from our viewc) All lines of the painting drop into something of a pit at our feet  emphasis of the ground, projecting into the viewer’s spacei) This is in contradiction to the view we can see in the far background opening up into infinityF) The Bridge at Maincy (1879-1880)1) Deeply invested in the impressionist play of physical objects reflected on the water extending or completing the forma) Color and paint act as a reflection of the world2) The egg-shape on the left sidea) Reflection with the bridge in the water looks like a sphere if you try hard enoughb) Projection into space3) Move away from impressionist spontaneity towards a greater sense of composition and a search for structure  return to (harnessing of) classicism, geometry, and ideal formsG) Chateau de Médan (1880)1) Regularity of strokes that change with each zone of the composition: constructive brush strokes, a break from the mimetic, a questioning of the connection of painting to the world it is representinga) The banksi) Short, thick, fat, stubbyii) Existing on a strange diagonal, creating some kind of motion or mobilityb) The wateri) Horizontal2) The trees anchor the composition in contradiction to the motion of the river banks3) We can see two Cézannes before us: look at the different use of strokes and different emotionality that is createdH) Gulf of Marseille Seen From L’Estaque (1886)1) South of France, fleeing Pairs and the urban and modern life (like other Post-Impressionists)2) Pressure against the bottom of the canvas and the foregrounda) The houses almost seem to drop off the edge3) The watera) Thickened line around the edge of the ocean, makes it very physical4) Embracing unfinished-ness, letting the canvas shine through5) Flatnessa) Play with the position of the viewer before the workb) Strange perceptual effectsi) The houses turn in many directionsI) The Basket of Apples (1890-1894)1) Still life, apples tumbling out of a basket with a wine bottle (symbol of French production)2) Nothing in this composition is perfect, nothing is perfectly aligned3) Two contradictory special experiences  a battle of perceptiona) Lost sense of a secure structure4) The view is durational, the temporality that used to exist in painting is now changeda) OUR EYES ARE IN OUR BODIESJ) Still-Life with Plaster Cast (1894)1) The blue-green table which shifts in our view as we move across it from left to right and back again2) Two contradictory special feelings or special directionsa) Verticalnessi) Hangs the composition before us like a veil or a canvasb) Horizontalness3) This reads as a still life because of the iconography and the content of the imagea) Representation of a cupid figureb) Apples as a representation of love and temptationK) Mount Ste. –Victoria and the Viaduct of the Arc River Valley (1882)1) “More or less” bifurcating the canvasa) interest in disjunction rather than reconciliation: skewing of the ideal geometryi) assert that in the action of seeing the world, there is no transcendent formii) we cannot find those perfect geometric shapesendlessly differing and disordered formsL) Pines and Rocks (1895-1900)1) Structure and logic of the paintingM) Mount Sainte-Victoire (1885-1895)1) An act that is more about memory: durational, alteringN) Mount Sainte- Victoire (again and again)1) The mountain keeps changing in each painting: never ideala) He is moving his body through