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- W5584047 abstract "Paul C6zanne occupies an unusual position in the history of art: a painter who in his lifetime experienced only incomprehension of his art and a plethora of scorn but who has been claimed by many modern movements. On the one hand, Cezanne was mocked and ridiculed, was treated as a madman and a barbarian, and he had no disciple in his own time. On the other hand, he is today revered as the father of modem art, as the inspiration for countless artists; and he is idolized and eulogized by almost every major critic. Despite the praise, the range of interpretations of Cezanne's art is vast; and in general, the criticism of his art is plagued by a great deal of misreading of his theories and by a narrowness of perspective. For example, several stages can be detected in the criticism of Cezanne's art, during his lifetime and subsequently. In the nineteenth century, critics conditioned by scientific naturalism saw in his work only a reaction to or departure from the immediate past and present. They characterized the unexpected aspects of his art as brutal, gauche, childish, and primitive. The criticism was generally negative and focused on characteristics which the next generation of critics, writing after the artist's death, considered as positive elements of his style. It is interesting to note that terms like brutal became synonymous with rugged or powerful; and primitive and childish were absorbed into the concept of Cezanne as the pioneer and forerunner of modern art. What was awkward, unskilled, or gauche to nineteenthcentury eyes, now became a conscious will to distortion. These dis-" @default.
- W5584047 created "2016-06-24" @default.
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- W5584047 date "1979-10-01" @default.
- W5584047 modified "2023-09-26" @default.
- W5584047 title "Cezanne, Cubism, and the Destination Theory of Style." @default.
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