Drawing on a broad foundation in the history of nineteenth-century French art, Richard Shiff offers an innovative interpretation of Cézanne's painting. He shows how Cézanne's style met the emerging criteria of a "technique of originality" and how it satisfied critics sympathetic to symbolism as well as to impressionism. Expanding his study of the interaction of Cézanne and his critics, Shiff considers the problem of modern art in general. He locates the core of modernism in a dialectic of making (technique) and finding (originality). Ultimately, Shiff provides not only clarifying accounts of impressionism and symbolism but of a modern classicism as well.
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8 of 9 people found the following review helpful:
5.0 out of 5 stars
you've never known cezanne...and you never will.,
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This review is from: Cezanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art (Paperback)
The title of my review may cause you to think that I didn't like this book...on the contrary, Shiff provides such a sophisticated argument about evolution of Cézanne's painting through his development of the concepts "maker and finder". Maker is the artist that "discovers" a style and develops that style in his/her work. Finder is the artist looking for a style. (Obviously an incredibly reductive summary of the two terms). Shiff compellingly argues that Cézanne exists as both maker and finder. This book isn't a quick read...but anyone attempting to tackle such a complex artist as Cézanne, couldn't possibly write a simple, one-dimensional book. I will be using this book in my impressionism class this winter. Hats off to Professor Shiff...I've never seen anything better written on Cézanne.
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Inside This Book
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First Sentence:
THROUGHOUT HIS CAREER, the critic Jules Antoine Castagnary brought the issues of a "naturalist" art before the French public. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
gaucherie des primitifs, chiaroscuro values, nouvel ordre classique, les peintres impressionnistes, independent impressionists, chiaroscuro modeling, compositional differentiation, symbolist critics, impressionist color, les impressionnistes, symbolist generation, sur une nouvelle méthode, artistic sincerity, symbolist art, peinture religieuse, peinture moderne, symbolist painting, méthode classique, cool hues, peinture française Key Phrases - Capitalized Phrases (CAPs): (learn more)
Maurice Denis, Roger Fry, The Metropolitan Museum of Art, Théodore Duret, View of Genoa, Albert Aurier, Charles Blanc, Trois Baigneuses, École des Beaux-Arts, Émile Bernard, Gustave Geffroy, Charles Morice, Did Cézanne Have, Emile Bernard, Grandes Baigneuses, Gustave Kahn, Théophile Thoré, The Ford, The Philadelphia Museum of Art, View of Auvers, Émile Zola, Charles Henry, Henri Regnault, Mercure de France, Mont Sainte-Victoire New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
THROUGHOUT HIS CAREER, the critic Jules Antoine Castagnary brought the issues of a "naturalist" art before the French public. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
gaucherie des primitifs, chiaroscuro values, nouvel ordre classique, les peintres impressionnistes, independent impressionists, chiaroscuro modeling, compositional differentiation, symbolist critics, impressionist color, les impressionnistes, symbolist generation, sur une nouvelle méthode, artistic sincerity, symbolist art, peinture religieuse, peinture moderne, symbolist painting, méthode classique, cool hues, peinture française Key Phrases - Capitalized Phrases (CAPs): (learn more)
Maurice Denis, Roger Fry, The Metropolitan Museum of Art, Théodore Duret, View of Genoa, Albert Aurier, Charles Blanc, Trois Baigneuses, École des Beaux-Arts, Émile Bernard, Gustave Geffroy, Charles Morice, Did Cézanne Have, Emile Bernard, Grandes Baigneuses, Gustave Kahn, Théophile Thoré, The Ford, The Philadelphia Museum of Art, View of Auvers, Émile Zola, Charles Henry, Henri Regnault, Mercure de France, Mont Sainte-Victoire New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 45
books:
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1
book
cites this book:
- Claude Monet by National Gallery of Art on 11 pages
- Vision and Design (Dover Fine Art, History of Art) by Roger Fry on 9 pages
- History of Impressionism by John Rewald on 7 pages
- Art and Illusion: A Study in the Psychology of Pictorial Representation (v. 6) by E.H. Gombrich on 4 pages
- Art and Culture: Critical Essays by Clement Greenberg on 4 pages
See all 45 books this book cites
- Einstein, Picasso: Space, Time, and the Beauty That Causes Havoc by Arthur I. Miller in Back Matter
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