"Nature": Cezanne 's way to the BwO (original) (raw)

A Comparison of the Early Works of Cezanne with His Later Development as Artist.docx

In ‘La Cote du Galet’, Cezanne experiments with structure and applies wedge-like brushstrokes as opposed to the dabbed brushstroke technique of Impressionism. Cezanne now looks at his subject matter and deliberately arranges it to provide structure. He uses groups of trees or people to draw the viewer into the picture. Cezanne becomes more concerned with color harmonies, and he looks at landscape as an organized composition.

An Inquiry into Paul Cézanne The Role of the Artist in Studies of Perception and Consciousness

This paper examines Paul Cézanne’s contributions from both the painterly and the cognitive science perspectives, asking what artists in fact contribute to our studies in these areas. Paul Cézanne and his art are examined in this paper by adapting, rather than adopting, Semir Zeki’s idea that ‘artists are neurologists, studying the brain with techniques that are unique to them . . .’4 (Zeki, 1998, p. 80). Before outlining where this discussion diverges from Zeki it should be emphasized that there is no dispute that what is generally referred to as the visual brain is V1 plus the specialized visual areas with which it connects directly and indirectly (Zeki, 1998). Rather, I would propose that how a painter ‘sees’ cannot be captured in terms of a localized picture of processing in the visual brain. In other words, as Paul Cézanne’s work clearly demonstrates, an artist does not passively ‘see’, so much as the artist relates to what he or she sees while painting—and thus actively coordinates various areas of the brain while seeing and creating.

Cézanne: comprehending the world as he saw it

Review of 'Paul Cézanne: Drawings and Watercolours' by Christopher Lloyd, published by Thames and Hudson, London, 2015. 320pp., 226 colour and b/w illustrations ISBN: 978 0 500 093870

Cézanne’s 'Primitive' Perspective, or the 'View from Everywhere’

The Art Bulletin, 2013

The perspectival “distortions” commonly observed in Cézanne's paintings can be seen as the expression of “blind” visuomotor experiences as well as conscious visual perceptions. They thus correspond not to actual movements but to “virtual” movements internal to acts of perception of a kind described by Merleau-Ponty, which allow the perceiving subject a fuller sense of the physicality of things. Cézanne conveyed this form of engagement with things, alongside the appearances they present, by using varieties of parallel projection, often in disguise. His repudiation of perspective implies a repudiation of spectacle as the normative form of visual experience in modern life.

Inspiration and Evaluation of Paintings of Cezanne

Chitrolekha International Magazine on Art and Design

Cezanne is a painter who existed in the era of discoveries, there was law of relativity as well as discontinuous travel of light. Despite all the scientificised discoveries and inventions, Cezanne was seeking inspiration from nature. Nature was the sole inspirer of him. Nature, he wanted to tap, the structure of, underneath in his paintings. During the times earlier to mid nineteenth century, symmetry was essential aspect of art as understructure, as in Piero della Francesca's artworks. During mid nineteenth century art was paving way to new paradigms. Painters display emotion, sentiment, capturing of form, structure, composition with line, color or form to fathom their artistic instincts. Here in this paper I display the luminous use of color by Cezanne and use of hidden geometry in the painting of Mont Sainte Victoire to elucidate his traits to capture nature to its truest form, asymmetry. In understructure also, this asymmetry is vocal in the pentagon formed at the focal point of painting. Our earth is the worthy example of asymmetry. As nature (earth) is asymmetrical so we find traits of asymmetry in Cezanne's understructure of painting. The inspiration of the artist lay in nature, so was his treatment of painting.

The Relationship between Nature and Art.pdf

The mid-eighteenth century was a defining moment in the tradition of aesthetic reflection in the visual arts. The relationship between nature and art was influenced by aesthetic thought expounded by various philosophers. Landscape painting became the model for the appreciation of nature, which was encouraged by aesthetic theory, at a time when the urban inhabitants of England’s major cities were longing to be reconnected with nature. The canonical idea of art’s function as imitation of nature was questioned in the artistic developments of English landscape painting in the eighteenth and nineteenth centuries, and the emphasis on ‘imitation of nature’ was the subject of much debate.

The interdisciplinary nexus between art and science and the play of the aesthetic

World Journal of Advanced Research and Reviews, 2022

It is usually assumed that each discipline ranging from the humanities to the sciences forms a neat, separate and irreducible mode of analysis and area of expertise. The great body of knowledge accumulated over time, is a testimony to the many advances in each field. Often new fields and sub fields are established, but in the main there appears to be a separation between the humanities and the sciences; two cultures as it has often been described. While this is a useful partition, it may be but a fiction. For whether one is talking about either such disciplines, it remains human knowledge all the same and therefore subject to the same perceptual apparatus and history, albeit science claims neutrality and objectivity, while the humanities and the arts, the subjective and more imaginative domain. Nevertheless, such distinctions may be spurious and shortsighted. My endeavor is to suggest some rudimentary language, albeit far from a written system of codification or discipline, but desc...

Cézanne and the Phenomenon: Painting Divergences in Merleau-Ponty and Deleuze [Video Embedded]

" Deleuze is often considered an anti-phenomenologist. He even writes disparagingly of phenomenology’s ‘paltry’ lived-body, which we find in Merleau-Ponty’s thinking. Nonetheless, Deleuze still generated an original theory of phenomena. So rather than determining whether Deleuze was a phenomenologist or an anti-phenomenologist, we might instead attempt to formulate what a Deleuzean phenomenology would be. For Merleau-Ponty, phenomena are possible on account of three levels of harmonic integration: among the parts of the phenomenal world, among our body parts functioning in sensation, and between our body and the world enveloping us. All these overlappings bind us into the flesh of the world. Yet, a Deleuzean phenomenology would be based on precisely the opposite principles: the phenomenal world consists of incompatible differences shockingly forced upon us, all while our body functions disjunctively within itself and with our surroundings. Both Merleau-Ponty and Deleuze express their different views through their divergent readings of quotations attributed to Cézanne, in some cases they read the exact same quotation in opposite ways. We will look then at these Cézanne passages to see how Merleau-Ponty’s and Deleuze’s philosophies of painting exhibit their very different phenomenal theories; and, we will consider the possibility that not only is a Deleuzean phenomenology possible, it may also be a superior means to account for the phenomenality of phenomena. Consider when Cézanne speaks of painting his ‘motif’ while rendering Mont Sainte-Victoire. He approaches his visual world as if his eyes were seeing it for the first time, which causes him to encounter a chaos of colors and forms that gradually organize into discernable perceptions. For Merleau-Ponty, Cézanne’s motif is his rendering not just what he sees, but also the way his visual data dynamically organizes by means of his immediate immersion in the world and through the intimate integration of his senses. In this way, he joins the ‘wandering hands’ of nature. To emphasize this, Cézanne clasps his hands together, declaring “this is a motif.” He continues to say that if his painting properly brings together all the visual elements in a way loyal to his activity of perceiving them, then his “painting joins its hands together.” For Merleau-Ponty, this intertwining weaves our organized body into the fabric or flesh of the world. Deleuze likewise speaks of Cézanne’s motif as an ‘intertwining.’ But it is a different sort. Cézanne says that the painter must decipher the ‘text’ of nature by painting his experience of sensing it. These texts are ‘parallel:’ nature seen (out there) and nature felt (inside us). Like Merleau-Ponty, Deleuze also notes how Cézanne approaches the chaos of sensations with the eyes of a newborn child. But for Deleuze, for the painter to render and convey a sensation, this would not arise if the painter’s inner workings were organizing the sensations into recognizable objects. Note how on our routine journey to work each day, we might recognize everything but arrive without noticing anything. Only if something out of the ordinary happens, like a traffic accident, will we take note of what we sense. But also, Deleuze is not interested merely in depicting the raw chaos of what is given to us, so a mess like Pollock will not produce sensations either, perhaps like how radio static soon fades from our attention. What interests Deleuze more is the way that our sensory systems modulate the sensory givens, rendering them under a varied form, putting them together in ways that are not implied in how they are given. Cézanne developed his technique of rendering not what he saw, but the way its parts modulated into a new field of visual differences. Hence Cézanne once painted a grey wall green. For Deleuze this is because when we have sensations, it is not because our perceptions organized into coherent objects. We have sensations when we shockingly encounter a world that impresses differences on us, which because of the disorganization of our perceptual faculties, we then vary into a new set of differences. Hence Cézanne’s motif, for Deleuze, is the mechanism that injects differential forces of variation into our sensation. We and the world do not intertwine in the sense of interlacing fingers. Cézanne clasping hands are more like a sudden clap sending shock waves throughout his body. Such shocks are what make things phenomenally stand-out in their appearance. "