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• W2014714645 abstract "Click to increase image sizeClick to decrease image size Acknowledgments My sincere thanks to T. J. Clark who supervised the first version of this essay years ago. His criticism and encouragement were (and remain) invaluable. Jeff Alsdorf, Joni Spigler, Todd Cronan, John Dixon Hunt and the anonymous reviewers for Word & Image also provided extremely helpful suggestions along the way. Translations are my own unless otherwise indicated. Notes 1 – ‘Eine Nature morte mit der blauen Decke; zwischen ihrem bürgerlichen Baumwollblau und der Wand, die mit leicht wolkiger Bläulichkeit überzogen ist, ein köstlicher grau glasierter großer Ingwertopf, der sich nach rechts und links auseinandersetzt. Eine erdiggrüne Flasche von gelbem Curaçao und weiterhin eine Tonvase, zu zwei Drittel von oben nach unten grün glasiert. Auf der anderen Seite in der blauen Decke, aus einer vom Blau bestimmten Porzellanschale teilweise herausgerollte Äpfel. Das ihr Rot in das Blau hineinrollt erscheint als eine Aktion, die so sehr aus den farbigen Vorgängen des Bildes zu stamen scheint, wie die Verbindung zweier Rodinscher Akte aus ihrer plastischen Affinität’, Rainer Maria Rilke to Clara Rilke-Westhoff, 4 Nov. 1907, Briefe über Cézanne (Frankfurt: Insel-Verlag, 1952), p. 48, trans. Joel Agee in Rilke, Letters on Cézanne (New York: Fromm, 1985), pp. 96–7. 2 – Francouzsti Impressionisté/Tableaux Modernes, Pavillon Manes, Prague, Oct.–Nov. 1907. The exhibition included four paintings by Cézanne: one portrait, two still lifes, and one landscape. The landscape is View of l'Estaque and the Chateau d'If, 1883–1885, in the Fitzwilliam Museum, Cambridge. 3 – ‘Und zum Schluß noch eine Landschaft, aus Luftblau, blauem Meer, roten Dächern, auf Grün mit einander sprechend und sehr bewegt in der inneren Unterhaltung, voller Mitteilung gegeneinander …’ Rilke, Briefe über Cézanne, p. 48, trans. Joel Agee in Rilke, Letters on Cézanne, p. 97. For a study of Rilke's Letters on Cézanne that reflects deeply on the relationship between writing and painting, see Brigid Doherty, ‘Introjektion, Übertragung, and literarische Medienreflexionen in Rainer Maria Rilke's Briefe über Cézanne’, in Literarische Medienreflexionen: Künste und Medien im Fokus moderner und postmoderner Literatur, eds Sandra Poppe, Sascha Seiler (Berlin: Erich Schmidt Verlag, 2008), pp. 40–64. 4 – In my view, the accounts that try hardest and most productively to stake a claim for landscape's signification in Cézanne's painting are those of Fritz Novotny and T.J. Clark. Novotny characterizes Cézanne's landscapes in the negative terms of non-emotional and non-human nature, proposing their perspectival distortions as efforts at a ‘suppression of the subjective’. Clark posits ‘deathly animation’ as the crux of Cézanne's art, finding the paradox particularly vivid in the late landscapes. Both of these accounts have informed this essay. See Novotny, ‘Passages from The End of Scientific Perspective’ (1938), in The Vienna School Reader, ed. Christopher S. Wood (New York: Zone, 2000), pp. 379–433; and Clark, ‘Phenomenality and materiality in Cézanne’, in Material Events: Paul de Man and the Afterlife of Theory, eds Tom Cohen, Barbara Cohen, J. Hillis Miller, Andrzej Warminski (Minneapolis: University of Minnesota Press, 2001), pp. 93–113. 5 – The Aristotelian definition of metaphor is a transfer of the name of one thing onto something else. The concept can be translated into visual art if we substitute ‘appearance’ for ‘name’. This transfer is based on resemblance or shared qualities, often between two otherwise very unlike things, and entails setting up a correspondence between the denotation of one thing and the connotation of the other (the thing metaphorized). On pictorial metaphor see Richard Wollheim, ‘Tainting, metaphor, and the body: Titian, Bellini, De Kooning, etc.’, in Painting as an Art (Princeton: Princeton University Press, 1987), pp. 305–55. Carl R. Hausman's defense of metaphor as both appropriate and productive in art-historical and critical writing has also informed this essay: ‘Figurative language in art history’, in The Language of Art History, eds Salim Kemal, Ivan Gaskell (New York: Cambridge University Press, 1991), pp. 101–28; and Metaphor and Art: Interactionism and Reference in the Verbal and Nonverbal Arts (New York: Cambridge University Press, 1989). 6 – The definitions of metaphor, analogy, association, and simile overlap even when applied to language. When used to understand a nonverbal medium like painting, they are even less precise. Ultimately, whether Cézanne's imagining of still-life-as-landscape is understood as radically metaphorical or more suggestively analogical depends on the viewer's interpretation of the visual effect. 7 – For an early and influential formalist account of Cézanne's art, see Maurice Denis, ‘Cézanne’, L'Occident, September 1907, trans. Roger Fry for The Burlington Magazine, Vol. 16, January 1910, pp. 207–19, and February 1910, pp. 275–80. For a later formalist account that names Cézanne the ‘most copious source’ of twentieth-century Modernism, see Clement Greenberg's canonical essays ‘Cézanne and the Unity of Modern Art’ (1951), and ‘Cézanne: Gateway to Contemporary Painting’ (1952), in Clement Greenberg: The Collected Essays and Criticism, ed. John O'Brian (Chicago: University of Chicago Press, 1993), Vol. 3, pp. 82–91, 113–18. 8 – Roger Fry, Cézanne: A Study of His Development (Chicago: University of Chicago Press, 1989), §X, p. 39. 9 – Fry, Cézanne, §XIV, p. 70. 10 – ‘[H]is was a genius that could only attain its true development through the complete suppression of his subjective impulses …’ Fry, Cézanne, §VIII, p. 29. 11 – Meyer Schapiro, ‘The apples of Cézanne: an essay on the meaning of still life’ (1968), in Modern Art: 19th and 20th Centuries, Selected Papers (New York: G. Braziller, 1979), pp. 1–38. I do not mean to deny, by directing my attention elsewhere, the bodily suggestions in the still lifes examined here. 12 – The flip-side of my interest in Cézanne's landscape metaphors is the metaphorical resonance of his actual landscapes, which I do not have space to address here. For a provocative study of the morphological and phenomenological analogies between Cézanne's paintings of Mont Sainte-Victoire and the female body, rooted in psychoanalysis, see Paul Smith, ‘Cézanne's Maternal Landscape and its Gender’, in Gendering Landscape Art, eds Steven Adams and Anna Gruetzner Robins (New Brunswick: Rutgers University Press, 2001), pp. 116–32. 13 – Describing Still Life with Apples and Oranges, ca. 1899, in the Musée d'Orsay, Schapiro writes: ‘Everything comes forward; yet there is also a palpable depth, as in the succession of fruit at the left. We are reminded of the space of the quarry and the mountain in the picture of Mont Sainte-Victoire. […] The effect is dense, even crowded, like his landscapes with woods and rocks …’ Meyer Schapiro, Paul Cézanne, (New York: Abrams, 1962), 2nd ed., p. 102. 14 – Carol Armstrong, ‘The landscape of still life’, in Cézanne in the Studio: Still Life in Watercolors (Los Angeles, J. Paul Getty Museum, 2004), pp. 45–73. 15 – Richard Shiff, ‘Cézanne's physicality: the politics of touch’, in The Language of Art History, eds Salim Kemal and Ivan Gaskell (New York: Cambridge University Press, 1991), pp. 129–80. 16 – ‘For Cézanne, the hermit painter, there did not seem to be any possibility of social metaphor involved; rather it was a kind of perceptual test for the solitary eye of the viewer: how to distinguish one thing from the other, how to distinguish the figure from its ground, how to read the circuit and invisible back of an object from what is given on the flat plane of the paper. Cézanne … transformed any and all social drama into the perceptual drama of the lone subject’. Armstrong, ‘The landscape of still life’, pp. 54–5. (Armstrong describes the ‘hallucinatory indeterminacy of scale and bodily address’ of Cézanne's still lifes on p. 48.). 17 – Fry, Cézanne, 1927, §X, p. 45. For a discussion of the ways Cézanne's work challenged the vocabulary of art criticism in his own time, see George Heard Hamilton, ‘Cézanne and His Critics’, in Cézanne: The Late Work, ed. William Rubin (New York: Museum of Modern Art, 1977), p. 139, and Hausman, ‘Figurative language in art history’, p. 108. 18 – George T.M. Schackelford, ‘Impressionism and the still life tradition’, in Eliza E. Rathbone and Schackelford, Impressionist Still Life (New York: Abrams, 2001), p. 27. 19 – De Heem specialized in large compositions intended for the magnificent homes of noblemen and merchants. See Charles Sterling, Still Life Painting From Antiquity to the Twentieth Century (New York: Harper & Row, 1981), pp. 70–8. 20 – See Theodore Reff, ‘Reproductions and books in Cézanne's studio’, Gazette des Beaux-Arts, 6, no. 56 (November 1960), pp. 303–9, for a meticulous inventory of what remained in Cézanne's last studio in Aix (1902–1906) after his death. No reproductions of still-life paintings were found or recalled by the artist's intimates, but prints by or after Delacroix made up by far the largest group. 21 – Still Life with Lobster was exhibited at the Exposition au Profit des Alsaciens-Lorrain en Algérie, Palais Bourbon, Paris, 23 April 1874 (no. 118) and at the Exposition Eugène Delacroix au profit de la souscription destinée à éléver à Paris un monument à sa mémoire, Ecole nationale des Beaux-Arts, Paris, 6 March–15 April, 1885 (no. 154). Lee Johnson, The Paintings of Eugène Delacroix : A Critical Catalogue, 1816–1831, 2 vols (Oxford: Clarendon Press, 1981), I: 171. 22 – Much later in his career, Delacroix painted a monumental pair of ‘flower portraits’ for the 1849 Salon that continue this interest in still life displaced to an outdoor setting. These paintings were publicly exhibited in Delacroix's studio in February 1864, following the painter's death 6 months prior. Schackelford, ‘Impressionism and the still-life tradition’, p. 23. Cézanne was living in Paris at the time, brooding over a copy of Delacroix's Dante and Virgil Crossing the Styx that very month, so it is likely he would have seen the exhibition. John Rewald, ed., Correspondance: Paul Cézanne (Paris: B. Grasset, 1995), p. 111. 23 – The phrase is Schapiro's, used with regards to a contemporary work, Still Life with Peppermint Bottle, ca. 1893–1895. Schapiro, Paul Cézanne, p. 96. 24 – For example, see Cézanne's Bibémus Quarry, ca. 1895, in the Museum Folkwang, Essen. 25 – Two rigorous analyses of this aspect of Cézanne's landscapes are Erle Loran's study of ‘The problem of scale and the control of volume and space’, in Cézanne's Composition: Analysis of his Form, with Diagrams and Photographs of His Motifs (Berkeley: University of California Press, 1943), pp. 59–73; and Fritz Novotny's study of Cézanne's construction of space in ‘Passages from The End of Scientific Perspective’, pp. 379–433. 26 – Fry, Cézanne, §X, p. 45. 27 – See, for example, Cézanne's Mont Sainte-Victoire, ca. 1887–1890, in the Musée d'Orsay, Paris. 28 – Fry, Characteristics of French Art (New York: Brentano's, 1933), p. 145. 29 – See, for example, Cézanne's Mont Sainte-Victoire, ca. 1892–1895, in the Barnes Foundation, Merion, PA. 30 – For a discussion of Cézanne's art as a lifelong struggle against cliché, see D.H. Lawrence, ‘Introduction to these paintings’, The Paintings of D.H. Lawrence (London, 1929), reprinted in Michael Herbert, ed., D.H. Lawrence: Selected Critical Writings (Oxford and New York: Oxford University Press, 1998), pp. 248–83. Lawrence argues that this struggle was most successful in the still lifes, and also suggests that the genre of landscape is the most susceptible to cliché because ‘it exists already, ready-made, in our minds’ (92–93). 31 – Photographs of the actual ginger jar that appears in these and many other Cézanne still lifes are reproduced in Rewald, ‘The Last Motifs at Aix’, p. 102. The opening of the jar has visibly shrunk in the Getty picture. Still Life with A Ginger Jar and Eggplants shows a more faithful transcription of the jar's proportions. 32 – Shiff, ‘Cézanne's physicality’, pp. 142–4. 33 – As such, Shiff believes it is metonymy (a figurative form linking two things because of their contiguity rather than their imagined similarity) and catachresis (a literalized metaphor, rooted not in resemblance but in expediency) that define Cézanne's modernism. The argument for Cézanne's use of metonymy (over metaphor) has been further developed by Julia Friedman in ‘Cézanne and the poetics of metonymy’, Word & Image 23, no. 3 (July–September 2007), pp. 327–36. The foundational text for this debate is Roman Jakobson, ‘The Metaphoric and Metonymic Poles’, in Jakobson and Morris Halle, Fundamentals of Language (Mouton: The Hague and Paris, 1975), pp. 90–96. 34 – Shiff, ‘Cézanne's Physicality’, pp. 149–50, 167–9. 35 – ‘La vie commence à être pour moi d'une monotonie sépulcrale’. Cézanne to Philippe Solari, 23 July 1896, in Rewald, ed., Correspondance, pp. 252–3. 36 – Walter Benjamin has described the nineteenth-century interior as the individual's microcosmic universe, ‘a box in the theater of the world’. As an alternative to the increasingly disorienting, commercially driven environment of the urban street, the interior became a refuge for the modern person, a place of leisure scaled to fit, glove-like, to the individual. Benjamin goes on to describe the interior as ‘the asylum of art’, where ‘things are freed from the drudgery of being useful’. Benjamin, ‘Paris, the capital of the nineteenth century (Exposé of 1935)’, in The Arcades Project, trans. Howard Eiland and Kevin McLaughlin (Cambridge, Mass.: Harvard University Press, 2002), pp. 8–9. For an excellent discussion of the two poles of the nineteenth-century interior — its carceral pressures on the one hand and its safe space for imaginative escapism on the other — see Jeannene Marie Przyblyski, ‘Occupying the Bourgeois Interior’, in Les Partis Pris des Choses: French Still Life and Modern Painting, PhD dissertation, University of California, Berkeley, 1995, pp. 271–81. For a more recent study of the concept and experience of the nineteenth-century interior, including an analysis of Benjamin's writings on the subject, see Charles Rice, The Emergence of the Interior: Architecture, Modernity, Domesticity (London and New York: Routledge, 2007). 37 – ‘[Le personnage] ne nous apparaît jamais, dans l'existence, sur des fonds neutres, vides et vagues. Mais autour de lui et derrière lui sont des meubles, des cheminées, des tentures de murailles, une paroi qui exprime sa fortune, sa classe, son métier … Le langage de l'appartement vide devra être assez net pour qu'on en puisse déduire le caractère et les habitudes de celui qui l'habite …’ Edmond Duranty, La Nouvelle Peinture: A propos du groupe d'artistes qui expose dans les galleries Durand-Ruel (Paris: E. Dentu, 1876), reprinted in Ruth Berson, The New Painting: Impressionism 1874–1886, Documentation (University of Washington Press: Seattle, 1986), Vol. 1, p. 78, and translated as ‘The new painting: concerning the group of artists exhibiting at the Durand-Ruel Galleries’, in The New Painting: Impressionism 1874–1886 (Fine Arts Museums of San Francisco: San Francisco, 1986), pp. 44–5. 38 – See note 4. 39 – Søren Kierkegaard, ‘Diary of the Seducer’, in Either/Or, (Princeton: Princeton University Press, 1971), Vol. 1, p. 385. 40 – For more on the central role of the bourgeois interior in Kierkegaard's philosophy see Theodor Adorno's brilliant discussion of this passage in ‘Constitution of inwardness’, in Kierkegaard: Construction of the Aesthetic (Minneapolis: University of Minnesota Press, 1989), pp. 42–4." @default.
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• W2014714645 title "Interior landscapes: metaphor and meaning in Cézanne's late still lifes" @default.
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