Cezanne’s Apple Notes and Quotes Essay

Schapiros psychoanalytic approach, that is, his search for the underlying mean and relevance to the film, * Thesis While Schapiros argument furnishs a well-considered epitome of the artists life as a source of interpretation of Cezannes work, much(prenominal) of it is based on suggestion and fantasy. As in all historical interpretation, Cezannes work should be viewed within the context of the artists historical and biographical framework, but with a formalist analysis of the whole kit and boodle that enables the viewer to interpreted not only their personal value, but their intended communication. riticism of Cezannes art cannot and, I believe, should not be limited by critical schools of thought.Also, though perhaps it has been the nature of critics to make immensely differentiating interpretations of Cezannes work, both forms of analysis add to the richness of the dialogue that can expand ones preconceived notions of the work and widen the scope of understanding and perspectiv e. Contrary to views of critics such as Roger Fry whose formalist analysis deduces Cezannes works as only a problem of form and color, Schapiro seeks more figureist mean within the subject matter chosen by the artist. * Schapiro argues that the objects placed within the still-life display a gimpy of an introverted personality who has found for his art of representation an objective sphere in which he feels self-sufficient, masterful, spare from disturbing other spheres. Schapiro believes that fruit is never the motive, rather, they are a symbol of his emotion and personal concerns. *Schapiro makes the slick against a purely formal interpretation It might be supposed that in still-life painting the meaning of the work is merely the sum of the denotation of the separate parts, yet there may be connotations and a comprehensive quality arising from the combined objects and made more visible and moving through the artistic conception. (i. e. nigrify clock 1870, still w. compotier 79-82, blue vase 83-85, still w. cupid 95, or pples and oranges 95) There is in still like a unity of things like the unity of a scene of action, one must recognize the context of the objects in reality, their connection with a mood or interest or type of occasion. (24) * Cannot look at these as purely sexual, an element in a painting serves more than one function. Apples could be chosen bureau of emotional detachment and self-control, the fruit providing an objective field of colors, and sensuous richness lacking in his ahead passionate art and not amply realized in his later nude paintings. Sexual extirpation could be an unconscious factor. Certainly, Cezanne has a strange congenership with the human figure in his ahead works. In his early works, sexual gratification is directly displayed or implied. A modern Olympia (1873),Bacchanal, and his other run acrosss of the nudes show that he could not convey his feeling for women without anxiety. In his painting of the nude woma n, where he does not build an old work, he is most often constrained or violent. there is no middle underseal of dim-witted enjoyment. In Leda and the Swan, the writer argues that it is a striking instance of the defusing of a sexual theme through replacement of a figure by still-life objects. Cezannes fruit is not yet fully part of human life. Suspended between nature and use, it exists as if for contemplation alone. (25) In Cezannes painting of landscape, too, and sometimes of the human being, we recognize the same distinctive distance from action and desire. He seems to realize a philosophers concept of aesthetic perception as a pure will-less knowing. * The still-life objects bring to awareness the complexity of the phenomenal and the subtle interplay of perception and artifice in representation. (19) Still-life engages the painter in a steady spirit that discloses new and elusive aspects of the stable object.At first commonplace, it may becomes in the course of that contem plation a mystery, a source of metaphysical wonder. (20) Still-life calls out a response to an implied human presence. The represented objects, in their relation to us, acquire meanings from the desires they satisfy as well as from their analogies and relations to the human body They are a symbol or heraldry of a way of life. (23) * Yet, though the nature of the Apples seems to deserve far richer analysis of simple line and form, the use of apples as a restraint ofCezannes morbid fantasies (29), seems to evoke some wondrous properties of its own. * Apple as a displaced erotic interest? Apple has erotic sensesymbol of love, an designate of Venus and a ritual object in marriage ceremonies. The apple is a natural linear of ripe human beauty (6). Philostatus, Greek writer of 200 AD, describes a painting of Cupids gathering apples in a garden of Venus, which serve as the source of Titians painting of the cult of Venus, and indirectly Rubens picture of putti carrying a parland of the fr uit. * Apples (1875) For Cezanne, the apple is equivalent to the human figure.He could project typical relations of human beings as well as qualities of the larger visible worldsolitude, contact, accord, conflict, serenity, abundance and luxuryand even states of elation and enjoyment. * In passing from the painting of fantasies to the discipline of observation, Cezanne made of colorthe principle of art allied to sensuality and compassion in romantic painting but underdeveloped in his own early pictures of passionthe bonnie substance of stable, solid object-forms and a deeply coherent structure of the composition.It is extremely doubtful that he could impart reached his goal had he followed Delacroix in his choice of subjects. But in the self-chastening process, the painting of still-lifeas latent symbol and intimate tangible realitywas, perhaps more than his other themes, a bridge between his earlier and his later art. (33)