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The Body Nude: some key points …• The nude = a product of art, not just a naked person.• The male nude: primary subject of ancient Greek
sculpture (the ultimate source of the idealised nude in art) and much classical art until late 18th century.
• Controlling and containing the body; ‘seductive but not obscene’.
• In some 19th century paintings, both academic and avant-garde, the gaze of the (male) viewer is exposed, and voyeurism is itself scrutinised and questioned.
• Painterly treatment of the nude can reveal the fact that a painting is a construction, not a replication of reality, but it can also betray a more intense, emotional response.
• Naturalistic representations of the nude eliminate the disguise of narrative, along with classical conventions such as idealisation the body.
more exposure …
22. Degas, Woman with a Lorgnette 27. Cassatt, Woman in Black at the Opera, 1880
22. 28. Cézanne, A Modern Olympia, 1873
28. Cézanne
10. Manet
1. Self-Portrait with Easel, 1885-87
Form and Space:
‘Nothing to Hide’:
Cézanne andPost-Impressionism
2.
3.
4.
5.
6. The Abduction, 1867 7. The Murder, c1867-68
9. Still Life: Skull and Candlestick, c18668. Self-Portrait, 1861-62
4. The Large Bathers, 1898-1905
11. Bathers, 1892-94
10. Bathers, 1890-91
12. The Large Bathers, 1900-1905
4.
13. Mont Sainte-Victoire, 1904-6 14. Mont Sainte-Victoire, 1906
• Fleeting, transient effects
• Atmospheric• Painted rapidly and
spontaneously
• Objective record of optical phenomena
• Enduring, timeless
• Solid and substantial• Painstaking,
calculated construction
• Intense subjective response to the subject
Impressionism Cézanne(Post-Impressionism)
13. Mont Sainte-Victoire, 1904-6 14. Mont Sainte-Victoire, 1906
15. In the Park of the Chateau Noirc1898
16. Winding Road in Provencec1868
18. The Thaw, 1870-7117. Turn in the Road, 1881
20. Pissarro, The Road to Ennery, 1874
19. Cézanne, The Sea at L’Estaque, 1882-85
19. The Sea at L’Estaque, 1882-85
19.
7. The Murder
20. Pissarro, The Road to Ennery, 1874
19. Cézanne, The Sea at L’Estaque, 1882-85
21. CézanneThe House of the Hanged Man, 1872-73
Displacement of drama and emotion:
• 1860s: Figures enact violent and disturbing events in landscape settings.
• 1870s onwards: Figures are absent, but the landscape is invested with emotion via the formal qualities of the paintings: dramatic or ambiguous spatial effects; brooding or jarring colours; collisions of foreground and background.
22. House and Farm at Jas de Bouffan, 1889-90
19.
22. House and Farm at Jas de Bouffan, 1889-90
23. A Modern Olympia, 1869-70
24.Madame Cezanne in Red
c1880-1889
25. Still Life with a basket, 1888-90
Spatial effects:
• Problem of representing 3-dimensional objects on a 2-dimensional surface.
• Attention to surface structure rather than coherent treatment of objects in space.
• Multiple viewpoints rather than single, static viewpoint.
• Moving around objects – succession of different perspectives.
• Tipped-up viewpoint – everything displayed prominently – no distant space.
25. Still Life with a basket, 1888-90
26. Still Life (detail), 1895
27. Ginger Jar and Fruit, c1895 28. Still Life: Sugar Pot, Pears and Blue Cup, c1866
29. Still Life with Skull, 1895-1900
30. Still Life: Skull and Candlestick, c1866
32. Pyramid of Skulls, c1901
31. Three Skulls, 1900
6. The Abduction, 1867
7. The Murder, c1867-68
Two sides to Cézanne …
• The formal structure of Cézanne’s paintings is significant – particularly his juxtaposition of colour-patches to create a sense of space.
• The intensely emotive aspects of Cézanne’s paintings are also important, though often overlooked. Throughout his career he produced works that appear disturbing, dramatic and disjunctive.
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