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This article studies the meaning and the truth of Cezanne's myth. Paul Cezanne has been regarded as 'the father of 20th century art'. It means that he is the most important artist who paved the way to abstraction in modern art history. This evaluation was constructed and developed in literatures from early to middle of 20th century, by French and English critics. They interpreted Cezanne's paintings as a search for a 'pure form'. And on this account the myth of Cezanne was constructed. They regarded ‘modernity’ in art as a way to abstraction, and found a proper model for it in Cezanne. The concept lasted during the modernist period, specially in England and America.
The first formation of Cezanne's myth began in his life time from young followers of him. The symbolists Emil Bernard and Maurice Denis saw Cezanne's mature painting as a search for a 'pure form'. As symbolists, hoping to depict essential essence of the world in painting, they preferred the flat plane to three dimensional space. They found a similar form in Cezanne's painting and made him a 'quasi idol' of the new art. From here began Cezanne's myth. But the understanding of french symbolists about Cezanne was not totally correct. They didn't notice the importance of nature in Cezanne's painting.
In 1910's the interpretation of the symbolists was introduced to english critics. Roger Fry and Clive Bell constituted their own aesthetic concept on this base. They regarded form as the essential quality of art and named it 'pure form' or 'significant form'. They established from it their formalism aesthetics, which evaluate abstraction as modern character for autonomy and purity. But it was not a sufficient understanding of symbolists 'pure form'. It nevertheless contributed to make Cezanne's myth firm. This concept of modernity in painting spread throughout Europe and America until 1960's. Clement Greenberg declared the modern painting as a search for a pure form, which logically reduced to flat plane and the division of the plane.
The phrase "refaire(vivifier) Poussin sur nature" means that Cezanne thought nature as the most important model for art. Either it means that Poussin lacks in nature or it urges to return to nature to do Poussin, the concern is the nature. In fact Cezanne thought nature as the most important thing in art. He aimed to render 'nature into art'. And he thought the duty of a painter as representing nature's primordial quality(such as light, colour and atmosphere)in art. Cezanne insisted the ability of strong sensation' to be a painter of nature. He named the method to transfer this 'sensation' into painting as 'modulation'. For him sensation and modulation should be the artist's own and it is the very originality in art. For Cezanne the classic and the modern in painting has the common feature, of the primordial originality. And it explains why the modernity of Cezanne and the classicism of Poussin can be compared.
The myth of Cezanne as the father of 20th century art was formed as above mentioned partly on the ground of incomplete understanding of his art. Cezanne never thought art as a pure form in itself. The most important reason for him was nature. Cezanne's painting is original because it is live and stable, natural and formal at the same time once. Cezanne never planned to abstract nature, he wanted only to render nature into art in his original form.
The first formation of Cezanne's myth began in his life time from young followers of him. The symbolists Emil Bernard and Maurice Denis saw Cezanne's mature painting as a search for a 'pure form'. As symbolists, hoping to depict essential essence of the world in painting, they preferred the flat plane to three dimensional space. They found a similar form in Cezanne's painting and made him a 'quasi idol' of the new art. From here began Cezanne's myth. But the understanding of french symbolists about Cezanne was not totally correct. They didn't notice the importance of nature in Cezanne's painting.
In 1910's the interpretation of the symbolists was introduced to english critics. Roger Fry and Clive Bell constituted their own aesthetic concept on this base. They regarded form as the essential quality of art and named it 'pure form' or 'significant form'. They established from it their formalism aesthetics, which evaluate abstraction as modern character for autonomy and purity. But it was not a sufficient understanding of symbolists 'pure form'. It nevertheless contributed to make Cezanne's myth firm. This concept of modernity in painting spread throughout Europe and America until 1960's. Clement Greenberg declared the modern painting as a search for a pure form, which logically reduced to flat plane and the division of the plane.
The phrase "refaire(vivifier) Poussin sur nature" means that Cezanne thought nature as the most important model for art. Either it means that Poussin lacks in nature or it urges to return to nature to do Poussin, the concern is the nature. In fact Cezanne thought nature as the most important thing in art. He aimed to render 'nature into art'. And he thought the duty of a painter as representing nature's primordial quality(such as light, colour and atmosphere)in art. Cezanne insisted the ability of strong sensation' to be a painter of nature. He named the method to transfer this 'sensation' into painting as 'modulation'. For him sensation and modulation should be the artist's own and it is the very originality in art. For Cezanne the classic and the modern in painting has the common feature, of the primordial originality. And it explains why the modernity of Cezanne and the classicism of Poussin can be compared.
The myth of Cezanne as the father of 20th century art was formed as above mentioned partly on the ground of incomplete understanding of his art. Cezanne never thought art as a pure form in itself. The most important reason for him was nature. Cezanne's painting is original because it is live and stable, natural and formal at the same time once. Cezanne never planned to abstract nature, he wanted only to render nature into art in his original form.
목차
Ⅰ. 시작하며
Ⅱ. 세잔 신화의 기원 : 상징주의자의 세잔 해석
Ⅲ. 순수 형식 : 프라이의 세잔 해석
Ⅳ. ‘refaire Poussin sur nature’
Ⅴ. ‘감각(sensation)’, ‘변조(modulation)’
Ⅵ. 마치며
참고문헌
Abstract
참고문헌 (12)
참고문헌 신청
[학술지(정기간행물)] - / 19071921 / Reprinted in Souvenirs sur Paul Czanne et Lettres : 1 ~
[학술지(정기간행물)] - / 1996 / Czanne
[학술지(정기간행물)] - / 1973 / The Drawings of Paul Cezanne 2 s
[학술지(정기간행물)] - / 1968 / Theories of Modern Art A Source Book by Artists and Critics
[학술지(정기간행물)] - / 1927 / A Study of his Development
[학술지(정기간행물)] - / 1996 / Czanne
[학술지(정기간행물)] - / 1973 / The Drawings of Paul Cezanne 2 s
[학술지(정기간행물)] - / 1968 / Theories of Modern Art A Source Book by Artists and Critics
[학술지(정기간행물)] - / 1927 / A Study of his Development
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