WEBVTT

1
00:00:31.280 --> 00:00:32.639
Hi, everyone.

2
00:00:32.640 --> 00:00:34.059
Welcome to the Billy Wilder Theater.

3
00:00:34.060 --> 00:00:34.999
I'm Claudia Bestor.

4
00:00:35.000 --> 00:00:36.079
I'm the director of public programs

5
00:00:36.080 --> 00:00:37.219
here at the Hammer Museum.

6
00:00:37.220 --> 00:00:38.619
And it's my great pleasure to

7
00:00:38.620 --> 00:00:40.299
introduce today's special

8
00:00:40.300 --> 00:00:42.039
presentation by our distinguished

9
00:00:42.040 --> 00:00:44.279
art historian, John Walsh.

10
00:00:44.280 --> 00:00:45.539
We're gathered for the second

11
00:00:45.540 --> 00:00:47.159
installment in a captivating three

12
00:00:47.160 --> 00:00:49.579
-part series called Paul Cezanne,

13
00:00:49.580 --> 00:00:52.099
A Harmony Parallel with Nature.

14
00:00:52.100 --> 00:00:53.659
Today's lecture, Cezanne and the

15
00:00:53.660 --> 00:00:55.419
Pull of the South, will explore how

16
00:00:55.420 --> 00:00:57.019
the celebrated French painter

17
00:00:57.020 --> 00:00:59.019
embraced his native landscape

18
00:00:59.020 --> 00:01:00.020
in midlife.

19
00:01:00.830 --> 00:01:02.509
developed his unique approach to

20
00:01:02.510 --> 00:01:03.929
still life, and created

21
00:01:03.930 --> 00:01:05.489
unconventional portraiture.

22
00:01:06.530 --> 00:01:08.209
Our speaker brings exceptional

23
00:01:08.210 --> 00:01:09.849
credentials to the subject.

24
00:01:09.850 --> 00:01:11.629
John Walsh arrived in Los Angeles in

25
00:01:11.630 --> 00:01:13.589
1983 when he became the director of

26
00:01:13.590 --> 00:01:15.709
the Getty Museum after serving as

27
00:01:15.710 --> 00:01:17.489
a paintings curator at both the

28
00:01:17.490 --> 00:01:19.329
Metropolitan Museum of Art and the

29
00:01:19.330 --> 00:01:21.509
Boston Museum of Fine Arts.

30
00:01:21.510 --> 00:01:24.409
During his 17 -year

31
00:01:24.410 --> 00:01:25.410
tenure at the Getty,

32
00:01:26.380 --> 00:01:27.799
He strengthened both the collection

33
00:01:27.800 --> 00:01:29.739
and the staff while overseeing the

34
00:01:29.740 --> 00:01:31.219
construction of an entirely new

35
00:01:31.220 --> 00:01:33.159
museum facility before retiring

36
00:01:33.160 --> 00:01:35.219
25 years ago.

37
00:01:35.220 --> 00:01:36.399
Though his formal Getty

38
00:01:36.400 --> 00:01:38.199
responsibilities ended then, Los

39
00:01:38.200 --> 00:01:39.859
Angeles remained his home base as he

40
00:01:39.860 --> 00:01:41.219
continued his work as a freelance

41
00:01:41.220 --> 00:01:43.399
art historian, traveling globally

42
00:01:43.400 --> 00:01:45.219
to research significant artworks

43
00:01:45.220 --> 00:01:46.619
and develop presentations like

44
00:01:46.620 --> 00:01:48.099
today's lecture.

45
00:01:48.100 --> 00:01:50.039
His academic foundation, including a

46
00:01:50.040 --> 00:01:51.659
Ph .D. in art history.

47
00:01:51.660 --> 00:01:53.439
has led to part -time teaching at

48
00:01:53.440 --> 00:01:55.039
Yale and speaking engagements at

49
00:01:55.040 --> 00:01:56.599
various institutions, including our

50
00:01:56.600 --> 00:01:57.819
own Hammer Museum.

51
00:01:59.080 --> 00:02:01.199
Art enthusiasts worldwide can access

52
00:02:01.200 --> 00:02:02.939
Jack John's expertise through his

53
00:02:02.940 --> 00:02:04.959
lecture series on European and

54
00:02:04.960 --> 00:02:06.099
American art.

55
00:02:06.100 --> 00:02:08.219
There are approximately 60 videos

56
00:02:08.220 --> 00:02:10.038
available for free online

57
00:02:10.039 --> 00:02:11.699
that have collectively reached over

58
00:02:11.700 --> 00:02:12.999
1 million visit viewers.

59
00:02:13.000 --> 00:02:14.000
Thank you for watching. I'll see you next time.

60
00:02:14.780 --> 00:02:16.659
Looking ahead, I encourage you

61
00:02:16.660 --> 00:02:18.899
to return on Sunday, March 23,

62
00:02:18.900 --> 00:02:20.819
when John will present the third

63
00:02:20.820 --> 00:02:22.519
lecture in the series, focusing on

64
00:02:22.520 --> 00:02:24.399
Cézanne's remarkably productive

65
00:02:24.400 --> 00:02:26.319
final years in Provence,

66
00:02:26.320 --> 00:02:27.959
painting landscapes and portraits of

67
00:02:27.960 --> 00:02:28.960
local residents.

68
00:02:29.860 --> 00:02:31.439
After today's presentation, please

69
00:02:31.440 --> 00:02:33.299
join us in the theater for

70
00:02:33.300 --> 00:02:35.299
coffee, tea, and cookies in

71
00:02:35.300 --> 00:02:37.219
the lobby and an

72
00:02:37.220 --> 00:02:38.419
opportunity for continued

73
00:02:38.420 --> 00:02:40.139
conversation about Cézanne's

74
00:02:40.140 --> 00:02:42.139
remarkable work. Now it's

75
00:02:42.140 --> 00:02:44.019
my great pleasure to welcome

76
00:02:44.020 --> 00:02:45.020
John Walsh.

77
00:02:49.880 --> 00:02:50.879
Thank you.

78
00:02:50.880 --> 00:02:51.880
Thank you.

79
00:03:06.620 --> 00:03:07.979
Thank you, Claudia. Thank you,

80
00:03:07.980 --> 00:03:08.980
everybody.

81
00:03:10.320 --> 00:03:12.279
When we ended the first

82
00:03:12.280 --> 00:03:14.259
lecture with

83
00:03:14.260 --> 00:03:16.839
Cézanne and his early

84
00:03:16.840 --> 00:03:18.819
40s painting landscapes

85
00:03:18.820 --> 00:03:21.479
in his native south,

86
00:03:21.480 --> 00:03:22.599
in Provence,

87
00:03:24.460 --> 00:03:27.479
I promised that we would move on.

88
00:03:27.480 --> 00:03:28.799
But first, we're going to flash back

89
00:03:28.800 --> 00:03:30.819
20 years or so with

90
00:03:30.820 --> 00:03:32.799
him and just recap a

91
00:03:32.800 --> 00:03:34.779
bit of what we saw in the last

92
00:03:34.780 --> 00:03:35.759
lecture.

93
00:03:35.760 --> 00:03:36.760
While,

94
00:03:37.720 --> 00:03:39.719
20 years ago, he

95
00:03:39.720 --> 00:03:41.639
had come to Paris

96
00:03:41.640 --> 00:03:43.719
while Manet and

97
00:03:43.720 --> 00:03:45.599
Monet and Degas were

98
00:03:45.600 --> 00:03:48.119
still struggling for acceptance by

99
00:03:48.120 --> 00:03:50.979
juries for the official Salon

100
00:03:50.980 --> 00:03:52.819
and exhibitions.

101
00:03:52.820 --> 00:03:55.299
And they had been refused

102
00:03:55.300 --> 00:03:57.259
all too often, as Cézanne

103
00:03:57.260 --> 00:03:58.800
more or less trained himself.

104
00:04:00.100 --> 00:04:02.319
He had a rebellious streak,

105
00:04:02.320 --> 00:04:04.099
and he cultivated it.

106
00:04:04.100 --> 00:04:06.289
Oh, he kind of projected this.

107
00:04:06.290 --> 00:04:08.429
One of his friends

108
00:04:08.430 --> 00:04:10.869
growing up called Cézanne

109
00:04:10.870 --> 00:04:13.729
that poetic,

110
00:04:13.730 --> 00:04:15.829
fantastic, magic,

111
00:04:15.830 --> 00:04:18.449
erotic, antique,

112
00:04:18.450 --> 00:04:20.449
physical, geometrical friend of

113
00:04:20.450 --> 00:04:21.450
ours.

114
00:04:22.590 --> 00:04:25.069
He absorbed outdoor

115
00:04:25.070 --> 00:04:27.169
painting, plein air painting,

116
00:04:27.170 --> 00:04:29.129
techniques, working in the

117
00:04:29.130 --> 00:04:31.389
countryside near Paris,

118
00:04:31.390 --> 00:04:33.509
coached by his mentor and fellow

119
00:04:33.510 --> 00:04:36.069
radical Camus Pizarro.

120
00:04:36.070 --> 00:04:38.029
there at the bottom, who

121
00:04:38.030 --> 00:04:39.989
painted Cézanne's portrait

122
00:04:39.990 --> 00:04:42.329
there at the top, every inch

123
00:04:42.330 --> 00:04:44.309
the proletarian

124
00:04:44.310 --> 00:04:45.310
art worker.

125
00:04:47.070 --> 00:04:48.669
Their work is sometimes not so easy

126
00:04:48.670 --> 00:04:49.949
to tell apart.

127
00:04:49.950 --> 00:04:51.589
Now the curator, Joseph Richel,

128
00:04:51.590 --> 00:04:53.709
wrote, "'Their mutual influence

129
00:04:53.710 --> 00:04:55.629
over 10 years "'is one of the great

130
00:04:55.630 --> 00:04:57.749
chapters "'in the history of 19th

131
00:04:57.750 --> 00:04:58.789
century painting.

132
00:04:58.790 --> 00:05:00.649
"'At the beginning,

133
00:05:00.650 --> 00:05:02.929
the sage Pissarro

134
00:05:02.930 --> 00:05:04.250
endeavored to calm Thanks for

135
00:05:04.251 --> 00:05:06.299
watching! the ferocious young

136
00:05:06.300 --> 00:05:07.479
Cézanne.

137
00:05:07.480 --> 00:05:09.639
But as time passed, as Cézanne

138
00:05:09.640 --> 00:05:11.499
progressively found himself in the

139
00:05:11.500 --> 00:05:13.579
lead, encouraging the

140
00:05:13.580 --> 00:05:15.479
older artist to follow his example

141
00:05:15.480 --> 00:05:17.479
in testing the limits of

142
00:05:17.480 --> 00:05:18.759
Impressionist landscape painting.

143
00:05:20.500 --> 00:05:23.999
In his choice of landscape motifs,

144
00:05:24.000 --> 00:05:26.339
Cézanne was full of surprises.

145
00:05:26.340 --> 00:05:28.699
At the left, a slice of

146
00:05:28.700 --> 00:05:30.859
farmyard confined by two

147
00:05:30.860 --> 00:05:33.120
high, unexplained walls.

148
00:05:34.140 --> 00:05:35.819
It's hardly the ingratiating

149
00:05:35.820 --> 00:05:37.680
picturesque view that we expect.

150
00:05:39.120 --> 00:05:41.259
At the right, a dizzying

151
00:05:41.260 --> 00:05:43.259
complexity of a wooden bridge

152
00:05:43.260 --> 00:05:45.219
and stone piers

153
00:05:45.220 --> 00:05:47.559
and their patchwork reflections

154
00:05:47.560 --> 00:05:49.699
in the water under

155
00:05:49.700 --> 00:05:51.719
a canopy of leaves that

156
00:05:51.720 --> 00:05:53.579
he painted with short parallel

157
00:05:53.580 --> 00:05:55.519
strokes, a technique

158
00:05:55.520 --> 00:05:57.679
that we saw him use over and over

159
00:05:57.680 --> 00:05:59.260
in this period.

160
00:06:00.280 --> 00:06:02.419
We also looked at portraits.

161
00:06:02.420 --> 00:06:05.079
by Cézanne of his friends.

162
00:06:05.080 --> 00:06:07.179
At the right here, thickly

163
00:06:07.180 --> 00:06:08.119
painted.

164
00:06:08.120 --> 00:06:10.299
At the left, again,

165
00:06:10.300 --> 00:06:12.079
withdrawn, both of them.

166
00:06:12.080 --> 00:06:13.959
Almost evasive,

167
00:06:13.960 --> 00:06:16.299
both fluent and

168
00:06:16.300 --> 00:06:17.379
lively in the painting.

169
00:06:19.420 --> 00:06:21.339
Something similar happened in still

170
00:06:21.340 --> 00:06:23.339
life, a dozen years apart.

171
00:06:24.360 --> 00:06:27.079
On the right, an earlier, darker,

172
00:06:27.080 --> 00:06:29.319
and more emphatic

173
00:06:29.320 --> 00:06:30.339
technique.

174
00:06:30.340 --> 00:06:32.439
can then at the left.

175
00:06:32.440 --> 00:06:34.499
colorful and delicately

176
00:06:34.500 --> 00:06:35.500
balanced.

177
00:06:37.120 --> 00:06:39.079
Well, we derive here, at

178
00:06:39.080 --> 00:06:41.039
the end of the first lecture, with

179
00:06:41.040 --> 00:06:43.199
Cézanne drawn back to

180
00:06:43.200 --> 00:06:45.019
Provence,

181
00:06:45.020 --> 00:06:47.279
where he was going to spend much

182
00:06:47.280 --> 00:06:49.139
of his time in the 1880s

183
00:06:49.140 --> 00:06:50.859
and practically all of his time

184
00:06:50.860 --> 00:06:52.980
during his last 15 years.

185
00:06:54.380 --> 00:06:56.399
This is the seaside village

186
00:06:56.400 --> 00:06:58.719
of Lestac,

187
00:06:58.720 --> 00:07:00.559
not far from his family house

188
00:07:00.560 --> 00:07:01.800
in Aix -en -Provence.

189
00:07:03.170 --> 00:07:05.109
where life was difficult

190
00:07:05.110 --> 00:07:07.069
for him as he reached his mid

191
00:07:07.070 --> 00:07:08.549
40s.

192
00:07:08.550 --> 00:07:10.549
His paintings had admirers,

193
00:07:10.550 --> 00:07:12.829
but since he had hardly exhibited,

194
00:07:12.830 --> 00:07:14.969
there were not many viewers and

195
00:07:14.970 --> 00:07:16.049
still fewer buyers.

196
00:07:16.050 --> 00:07:17.163
Thank you for watching. I'll see you in the next one.

197
00:07:18.560 --> 00:07:20.579
In Paris, he was often ridiculed

198
00:07:20.580 --> 00:07:22.439
as a rude provincial

199
00:07:22.440 --> 00:07:24.119
or avoided.

200
00:07:25.200 --> 00:07:27.659
His patient mistress hadn't

201
00:07:27.660 --> 00:07:28.839
yet become his wife.

202
00:07:28.840 --> 00:07:31.899
That's going to happen in 1886.

203
00:07:31.900 --> 00:07:33.519
And the situation with his parents

204
00:07:33.520 --> 00:07:35.599
and siblings at the family

205
00:07:35.600 --> 00:07:37.779
house in X was

206
00:07:37.780 --> 00:07:39.639
uneasy, because

207
00:07:39.640 --> 00:07:42.259
it's much until his rich

208
00:07:42.260 --> 00:07:44.319
banker father died

209
00:07:44.320 --> 00:07:46.339
in 1886,

210
00:07:46.340 --> 00:07:48.320
making Paul's finances easier.

211
00:07:49.810 --> 00:07:51.649
His famous childhood friend,

212
00:07:51.650 --> 00:07:53.609
Émile Zola, published a

213
00:07:53.610 --> 00:07:55.669
novel, L 'œuvre,

214
00:07:55.670 --> 00:07:57.709
the masterpiece,

215
00:07:57.710 --> 00:08:00.169
in which Cézanne is the unmistakable

216
00:08:00.170 --> 00:08:02.729
model for Zola's unsuccessful

217
00:08:02.730 --> 00:08:05.269
avant -garde painter who

218
00:08:05.270 --> 00:08:06.449
dies a suicide.

219
00:08:08.070 --> 00:08:09.889
Well, that ended the relationship

220
00:08:09.890 --> 00:08:11.769
with Zola and put

221
00:08:11.770 --> 00:08:13.829
an end to his visits to

222
00:08:13.830 --> 00:08:16.769
Zola in the suburbs of

223
00:08:16.770 --> 00:08:18.170
Paris, where

224
00:08:19.940 --> 00:08:22.179
He had painted this wonderful,

225
00:08:22.180 --> 00:08:24.179
shimmering view across the river

226
00:08:24.180 --> 00:08:26.579
to the village where

227
00:08:26.580 --> 00:08:28.679
Zola lived and the castle

228
00:08:28.680 --> 00:08:29.680
of Medan.

229
00:08:31.220 --> 00:08:32.639
So this is a moment to add that

230
00:08:32.640 --> 00:08:34.599
although we saw Cézanne had

231
00:08:34.600 --> 00:08:36.418
moved away from Pizarro

232
00:08:36.419 --> 00:08:39.079
and although Cézanne's

233
00:08:39.080 --> 00:08:41.058
technique had evolved into

234
00:08:41.059 --> 00:08:43.139
something quite different and

235
00:08:43.140 --> 00:08:45.099
distinct, those short parallel

236
00:08:45.100 --> 00:08:47.099
diagonal strokes, The

237
00:08:47.100 --> 00:08:49.329
two are still in touch.

238
00:08:49.330 --> 00:08:51.349
For example, when Pizarro

239
00:08:51.350 --> 00:08:53.449
paints this large woodland

240
00:08:53.450 --> 00:08:55.569
scene, he's still using

241
00:08:55.570 --> 00:08:57.969
a whole variety of different

242
00:08:57.970 --> 00:08:59.989
kinds of strokes, the characteristic

243
00:08:59.990 --> 00:09:01.769
impressionist variety.

244
00:09:04.010 --> 00:09:06.369
The lesson of Cezanne's

245
00:09:06.370 --> 00:09:08.269
technique sticks

246
00:09:08.270 --> 00:09:10.409
with Pissarro and

247
00:09:10.410 --> 00:09:12.349
he can use it when he needs

248
00:09:12.350 --> 00:09:14.129
it and he does.

249
00:09:15.470 --> 00:09:17.309
If you look at the leaves here

250
00:09:17.310 --> 00:09:19.209
in this composition on

251
00:09:19.210 --> 00:09:21.269
the right, he

252
00:09:21.270 --> 00:09:23.349
does until the mid -1880s and

253
00:09:23.350 --> 00:09:25.349
in the mid -1880s something

254
00:09:25.350 --> 00:09:26.449
new arrives.

255
00:09:26.450 --> 00:09:28.929
system

256
00:09:28.930 --> 00:09:31.450
of painting that sacrifices

257
00:09:34.370 --> 00:09:36.589
dazzle and impulse

258
00:09:36.590 --> 00:09:39.189
and subjective untidiness

259
00:09:39.190 --> 00:09:41.109
for something else, for

260
00:09:41.110 --> 00:09:42.709
optical science.

261
00:09:42.710 --> 00:09:45.589
This was Georges Seurat's

262
00:09:45.590 --> 00:09:49.529
method of using small dots of

263
00:09:49.530 --> 00:09:51.689
related colors or contrasting

264
00:09:51.690 --> 00:09:53.669
colors to recreate

265
00:09:53.670 --> 00:09:55.469
in the eye of the beholder the

266
00:09:55.470 --> 00:09:57.709
experience of bright light and

267
00:09:57.710 --> 00:09:59.529
very subtle gradations

268
00:09:59.530 --> 00:10:02.169
of shade pretty

269
00:10:02.170 --> 00:10:02.989
soon.

270
00:10:02.990 --> 00:10:04.609
After the grand jade here was

271
00:10:04.610 --> 00:10:07.009
exhibited, Cézanne attracted

272
00:10:07.010 --> 00:10:09.029
some followers,

273
00:10:09.030 --> 00:10:10.869
including, of all people,

274
00:10:10.870 --> 00:10:13.489
Pissarro, who was in his late 60s,

275
00:10:13.490 --> 00:10:15.309
but was still open -minded enough to

276
00:10:15.310 --> 00:10:16.689
give it a try.

277
00:10:16.690 --> 00:10:19.009
And he became enthusiastic about it

278
00:10:19.010 --> 00:10:20.909
and patient,

279
00:10:20.910 --> 00:10:22.389
too, because with this technique,

280
00:10:22.390 --> 00:10:23.390
that's a virtue.

281
00:10:24.950 --> 00:10:27.369
Pissarro taught it to his Dutch

282
00:10:27.370 --> 00:10:29.289
protégé,

283
00:10:29.290 --> 00:10:31.149
Vincent van Gogh, who used

284
00:10:31.150 --> 00:10:32.669
it for some months.

285
00:10:32.670 --> 00:10:34.609
before it got so laborious for

286
00:10:34.610 --> 00:10:36.469
him that he dropped it, and

287
00:10:36.470 --> 00:10:38.909
the same happened with Pissarro.

288
00:10:38.910 --> 00:10:40.669
But there were other believers in

289
00:10:40.670 --> 00:10:42.809
pointillism or divisionism

290
00:10:42.810 --> 00:10:44.629
as it was called, including

291
00:10:44.630 --> 00:10:47.089
the very successful Paul Signac

292
00:10:47.090 --> 00:10:49.529
there on the right,

293
00:10:49.530 --> 00:10:51.369
and his protégé on

294
00:10:51.370 --> 00:10:53.090
the left, Henri Matisse,

295
00:10:54.250 --> 00:10:56.109
working just 90 miles away in

296
00:10:56.110 --> 00:10:57.110
Saint -Tropez.

297
00:10:57.770 --> 00:10:59.989
Matisse resisted the uniform

298
00:10:59.990 --> 00:11:02.159
dot technique as as you can see.

299
00:11:02.160 --> 00:11:04.019
and compromised in this sketch

300
00:11:04.020 --> 00:11:05.799
for a picture of a picnic.

301
00:11:07.400 --> 00:11:08.259
Then he went for it.

302
00:11:08.260 --> 00:11:10.319
And the version that went in

303
00:11:10.320 --> 00:11:12.179
1905 helped

304
00:11:12.180 --> 00:11:14.019
make his reputation

305
00:11:14.020 --> 00:11:15.899
in Paris as a

306
00:11:15.900 --> 00:11:17.739
wild man, as he was called a

307
00:11:17.740 --> 00:11:19.859
wild beast, a fauve.

308
00:11:21.200 --> 00:11:22.299
But that's another story.

309
00:11:23.780 --> 00:11:25.979
It's also the end of this little off

310
00:11:25.980 --> 00:11:28.159
-road excursion into

311
00:11:28.160 --> 00:11:30.499
alternative techniques during

312
00:11:30.500 --> 00:11:31.640
Cézanne's lifetime.

313
00:11:34.080 --> 00:11:36.019
Meanwhile, Cézanne would

314
00:11:36.020 --> 00:11:38.159
have no use for

315
00:11:38.160 --> 00:11:39.339
pointillism himself.

316
00:11:39.340 --> 00:11:41.759
He did hope for recognition,

317
00:11:41.760 --> 00:11:43.659
but he loathed Paris and the

318
00:11:43.660 --> 00:11:45.219
art world.

319
00:11:45.220 --> 00:11:48.239
His remedies were retreat,

320
00:11:48.240 --> 00:11:50.179
withdrawal from Paris to

321
00:11:50.180 --> 00:11:52.059
Provence for frequent

322
00:11:52.060 --> 00:11:54.079
and lengthening periods, and

323
00:11:54.080 --> 00:11:56.179
of course, total absorption in

324
00:11:56.180 --> 00:11:58.799
his work. This

325
00:11:58.800 --> 00:12:00.639
decade of the

326
00:12:00.640 --> 00:12:03.649
mid -1880s and early 90s.

327
00:12:03.650 --> 00:12:05.649
is when he found locales

328
00:12:05.650 --> 00:12:07.929
for austere Provençal

329
00:12:07.930 --> 00:12:10.509
subjects, mostly inland,

330
00:12:10.510 --> 00:12:12.649
around X, and

331
00:12:12.650 --> 00:12:14.689
where he found ways

332
00:12:14.690 --> 00:12:17.029
of rendering them that he's

333
00:12:17.030 --> 00:12:18.929
best known for and we recognize

334
00:12:18.930 --> 00:12:19.809
easily.

335
00:12:19.810 --> 00:12:21.369
And this is a view from the family

336
00:12:21.370 --> 00:12:23.389
property, now with

337
00:12:23.390 --> 00:12:25.549
gray -green leaves on the chestnut

338
00:12:25.550 --> 00:12:27.589
trees and drying

339
00:12:27.590 --> 00:12:29.549
patches of short grass on

340
00:12:29.550 --> 00:12:31.909
the fields, stepping down.

341
00:12:31.910 --> 00:12:34.090
to the distant buildings and hills.

342
00:12:35.810 --> 00:12:38.089
The detail shows you

343
00:12:38.090 --> 00:12:39.929
that Cézanne is still experimenting

344
00:12:39.930 --> 00:12:42.589
with brushstrokes that are regular,

345
00:12:42.590 --> 00:12:44.289
but changing directions and degree

346
00:12:44.290 --> 00:12:45.449
of saturation

347
00:12:46.670 --> 00:12:48.489
to produce a light and

348
00:12:48.490 --> 00:12:49.490
shade.

349
00:12:50.750 --> 00:12:52.569
In the winter, conditions

350
00:12:52.570 --> 00:12:54.849
called for a different technique,

351
00:12:54.850 --> 00:12:57.149
partly translucent, like watercolor,

352
00:12:58.430 --> 00:13:00.209
letting the tree trunks and the bare

353
00:13:00.210 --> 00:13:01.869
branches do it.

354
00:13:01.870 --> 00:13:04.269
dance in the foreground and

355
00:13:04.270 --> 00:13:06.029
reveal the blue shape of the

356
00:13:06.030 --> 00:13:07.609
mountain. We'll be seeing a lot more

357
00:13:07.610 --> 00:13:09.350
of Mont Saint Victoire.

358
00:13:12.140 --> 00:13:14.159
Vincent van Gogh, who spent two

359
00:13:14.160 --> 00:13:16.559
years not far from here,

360
00:13:16.560 --> 00:13:19.559
wrote to his brother that

361
00:13:19.560 --> 00:13:21.479
Cézanne's painting

362
00:13:21.480 --> 00:13:23.539
showed the harsh side

363
00:13:23.540 --> 00:13:25.699
of Provence.

364
00:13:25.700 --> 00:13:27.619
And that seems to be true

365
00:13:27.620 --> 00:13:28.639
here.

366
00:13:28.640 --> 00:13:30.839
It's dry and stony,

367
00:13:30.840 --> 00:13:33.059
abrupt, dizzying,

368
00:13:33.060 --> 00:13:34.899
too. You don't see

369
00:13:34.900 --> 00:13:36.839
right away where

370
00:13:36.840 --> 00:13:38.859
you're standing or the

371
00:13:38.860 --> 00:13:40.079
path that was going to get you up

372
00:13:40.080 --> 00:13:41.080
that slope.

373
00:13:41.710 --> 00:13:43.669
But you do find it climbing

374
00:13:43.670 --> 00:13:45.569
there across the bottom

375
00:13:45.570 --> 00:13:47.369
of the picture and disappearing

376
00:13:47.370 --> 00:13:49.849
behind those overlapping

377
00:13:49.850 --> 00:13:51.889
blade shapes, blades

378
00:13:51.890 --> 00:13:53.889
of shadow that fan

379
00:13:53.890 --> 00:13:56.149
out at the bottom,

380
00:13:56.150 --> 00:13:58.109
left here seemingly from that

381
00:13:58.110 --> 00:14:01.029
green hub -like thing,

382
00:14:01.030 --> 00:14:02.030
and point us upward.

383
00:14:04.350 --> 00:14:06.209
The buildings sit

384
00:14:06.210 --> 00:14:08.569
there securely with

385
00:14:08.570 --> 00:14:10.429
no signs of human or animal

386
00:14:10.430 --> 00:14:12.289
life, typical of

387
00:14:12.290 --> 00:14:13.290
Cézanne.

388
00:14:13.950 --> 00:14:16.329
But their shapes are active and

389
00:14:16.330 --> 00:14:18.389
quirky and credible,

390
00:14:18.390 --> 00:14:20.369
not in strict perspective,

391
00:14:20.370 --> 00:14:22.549
though. What's striking is

392
00:14:22.550 --> 00:14:24.369
the contrast of the

393
00:14:24.370 --> 00:14:26.229
flat stucco of the buildings

394
00:14:26.230 --> 00:14:28.529
with the shivery surfaces

395
00:14:28.530 --> 00:14:30.249
of the landscape all around.

396
00:14:30.250 --> 00:14:32.689
The most elaborate.

397
00:14:32.690 --> 00:14:34.549
in all of his work and just look

398
00:14:34.550 --> 00:14:36.749
at the smooth walls.

399
00:14:39.760 --> 00:14:41.759
how they contrast with the rock

400
00:14:41.760 --> 00:14:42.760
outcrop below.

401
00:14:44.060 --> 00:14:46.599
Three layered steps,

402
00:14:46.600 --> 00:14:48.459
which he paints with short

403
00:14:48.460 --> 00:14:50.299
diagonals, changing

404
00:14:50.300 --> 00:14:52.699
colors all across,

405
00:14:52.700 --> 00:14:54.739
from white and gray and

406
00:14:54.740 --> 00:14:56.799
ochre stripes at the

407
00:14:56.800 --> 00:14:58.759
lower left, in and

408
00:14:58.760 --> 00:15:00.699
out of shadow, all the way around

409
00:15:00.700 --> 00:15:02.699
to dark gray and black

410
00:15:02.700 --> 00:15:03.700
at the right.

411
00:15:05.700 --> 00:15:07.939
He slips in strokes

412
00:15:07.940 --> 00:15:10.279
of contrasting color among

413
00:15:10.280 --> 00:15:12.579
the predominant ones,

414
00:15:12.580 --> 00:15:14.299
giving the areas of shifts of light

415
00:15:14.300 --> 00:15:16.819
or shade or tint without

416
00:15:16.820 --> 00:15:19.019
first mixing the

417
00:15:19.020 --> 00:15:20.020
paints on the palette.

418
00:15:22.500 --> 00:15:24.200
Below the outcrop here,

419
00:15:25.260 --> 00:15:28.179
the row of greens and

420
00:15:28.180 --> 00:15:31.139
blues and ochres and

421
00:15:31.140 --> 00:15:33.119
some dry branches, sort of

422
00:15:33.120 --> 00:15:34.120
cavorting.

423
00:15:36.220 --> 00:15:38.179
Another seemingly abandoned

424
00:15:38.180 --> 00:15:40.079
house is this

425
00:15:40.080 --> 00:15:42.439
one, the long ridge of

426
00:15:42.440 --> 00:15:43.840
Mont Saint -Victoire behind.

427
00:15:45.220 --> 00:15:48.259
On the blue slopes above,

428
00:15:48.260 --> 00:15:50.459
Cézanne reverts to techniques that

429
00:15:50.460 --> 00:15:52.579
he's been using with watercolor.

430
00:15:52.580 --> 00:15:54.579
Darker washes over

431
00:15:54.580 --> 00:15:55.580
middle tones. Thanks for watching!

432
00:15:58.330 --> 00:16:00.369
his easel in a field outside the

433
00:16:00.370 --> 00:16:02.229
town of Gardan,

434
00:16:02.230 --> 00:16:04.010
a few miles south of X,

435
00:16:05.070 --> 00:16:07.029
and showed its buildings of

436
00:16:07.030 --> 00:16:08.030
climbing.

437
00:16:09.520 --> 00:16:11.479
in a jumble of blocks

438
00:16:11.480 --> 00:16:13.519
and slanting

439
00:16:13.520 --> 00:16:14.520
roofs.

440
00:16:15.220 --> 00:16:17.139
He also toted his easel higher

441
00:16:17.140 --> 00:16:18.959
up to spots where he

442
00:16:18.960 --> 00:16:21.919
composed two quite different views,

443
00:16:21.920 --> 00:16:23.699
neither of them fully finished,

444
00:16:24.700 --> 00:16:26.519
but evidently put aside for some

445
00:16:26.520 --> 00:16:29.519
other time, as he sometimes did,

446
00:16:29.520 --> 00:16:31.260
but times that often never came.

447
00:16:32.840 --> 00:16:34.899
The appeal of the town for Cézanne,

448
00:16:34.900 --> 00:16:36.799
obviously, was the surge upward

449
00:16:36.800 --> 00:16:38.679
of the buildings. And they're

450
00:16:38.680 --> 00:16:40.589
mostly... kind of vernacular

451
00:16:40.590 --> 00:16:42.569
buildings built and rebuilt over the

452
00:16:42.570 --> 00:16:44.609
centuries into a sort of lively pile

453
00:16:44.610 --> 00:16:46.929
-up, unplanned,

454
00:16:46.930 --> 00:16:48.769
of man

455
00:16:48.770 --> 00:16:52.049
-made geometries.

456
00:16:52.050 --> 00:16:53.889
Cézanne found other places within a

457
00:16:53.890 --> 00:16:55.729
few miles of here that took his

458
00:16:55.730 --> 00:16:57.729
imagination, and some of them

459
00:16:57.730 --> 00:16:59.169
actually along the road.

460
00:17:00.930 --> 00:17:02.969
His interest was both

461
00:17:02.970 --> 00:17:04.970
human and geological.

462
00:17:06.010 --> 00:17:07.828
Here's it's a rocky bank by

463
00:17:07.829 --> 00:17:10.009
the road probably

464
00:17:10.010 --> 00:17:12.049
cut for building stone and then

465
00:17:12.050 --> 00:17:13.868
left looking a bit like a

466
00:17:13.869 --> 00:17:15.829
miniature village with red roofs.

467
00:17:18.230 --> 00:17:21.149
Drawn to the geometry of

468
00:17:21.150 --> 00:17:22.150
the Rocky Bank,

469
00:17:23.109 --> 00:17:25.009
all those repeated diagonals are

470
00:17:25.010 --> 00:17:26.670
picked up in the hills way beyond.

471
00:17:29.180 --> 00:17:31.059
separated by a screen of

472
00:17:31.060 --> 00:17:32.119
vigorous young trees.

473
00:17:34.870 --> 00:17:37.249
Cézanne said, for me,

474
00:17:39.110 --> 00:17:41.809
to paint a landscape well,

475
00:17:41.810 --> 00:17:43.469
I need first to discover its

476
00:17:43.470 --> 00:17:44.910
geological foundations.

477
00:17:47.480 --> 00:17:49.639
He found it and painted it here

478
00:17:49.640 --> 00:17:51.799
with the utmost care,

479
00:17:51.800 --> 00:17:53.759
not simply to depict

480
00:17:53.760 --> 00:17:56.099
it accurately, but to

481
00:17:56.100 --> 00:17:58.099
put across how it felt to

482
00:17:58.100 --> 00:17:59.999
him, what sensations,

483
00:18:01.040 --> 00:18:02.919
what associations it aroused in

484
00:18:02.920 --> 00:18:03.920
him.

485
00:18:04.660 --> 00:18:06.739
And that would include amusement at

486
00:18:06.740 --> 00:18:09.059
these sort of visual rhymes that

487
00:18:09.060 --> 00:18:10.959
he came upon and made the subject of

488
00:18:10.960 --> 00:18:12.859
his own kind of visual poem.

489
00:18:15.890 --> 00:18:17.989
I need now to take you away

490
00:18:17.990 --> 00:18:20.469
from the dazzling light of Provence

491
00:18:20.470 --> 00:18:22.649
for a moment and go north with

492
00:18:22.650 --> 00:18:24.769
Cézanne in a very different locale

493
00:18:24.770 --> 00:18:26.989
that fascinated him and

494
00:18:26.990 --> 00:18:29.729
that he painted on several visits.

495
00:18:29.730 --> 00:18:31.329
And this was the Forest of

496
00:18:31.330 --> 00:18:33.909
Fontainebleau near Barbizon,

497
00:18:33.910 --> 00:18:35.929
the cradle of modern

498
00:18:35.930 --> 00:18:36.930
landscape Anything.

499
00:18:38.980 --> 00:18:40.679
also stirred his poetical

500
00:18:40.680 --> 00:18:42.159
imagination.

501
00:18:42.160 --> 00:18:43.939
But what Cézanne chose to paint

502
00:18:43.940 --> 00:18:46.119
there was nothing

503
00:18:46.120 --> 00:18:48.359
conventionally sylvan or

504
00:18:48.360 --> 00:18:49.679
peaceable.

505
00:18:49.680 --> 00:18:51.819
It's a dusky

506
00:18:51.820 --> 00:18:54.819
scene of boulders.

507
00:18:54.820 --> 00:18:56.979
Meyer Shapiro described

508
00:18:56.980 --> 00:18:59.119
the picture as the vision

509
00:18:59.120 --> 00:19:00.939
of a hermit in

510
00:19:00.940 --> 00:19:01.940
despair.

511
00:19:03.420 --> 00:19:05.279
There's nothing and nobody to give

512
00:19:05.280 --> 00:19:07.499
us a sense of scale, just

513
00:19:07.500 --> 00:19:09.639
spindly pine trees.

514
00:19:09.640 --> 00:19:12.479
sky dimmed with clouds,

515
00:19:12.480 --> 00:19:14.299
and these amazing rocks

516
00:19:14.300 --> 00:19:15.300
jostling.

517
00:19:17.250 --> 00:19:20.149
Cezanne tints them with soft

518
00:19:20.150 --> 00:19:22.589
and surprising colors.

519
00:19:22.590 --> 00:19:25.289
And look at that long rock

520
00:19:25.290 --> 00:19:28.269
squashed in

521
00:19:28.270 --> 00:19:30.549
right in the middle

522
00:19:30.550 --> 00:19:32.709
with orange and green

523
00:19:32.710 --> 00:19:35.509
and bleak, green and blue zones

524
00:19:35.510 --> 00:19:37.469
end to end, all

525
00:19:37.470 --> 00:19:38.470
over the spectrum.

526
00:19:40.810 --> 00:19:42.549
This is an aspect of Fontainebleau

527
00:19:42.550 --> 00:19:44.089
forest that we don't often see

528
00:19:44.090 --> 00:19:45.449
illustrated.

529
00:19:45.450 --> 00:19:47.449
This 15 square miles of

530
00:19:47.450 --> 00:19:49.289
sandstone eroded into

531
00:19:49.290 --> 00:19:50.530
huge rocks,

532
00:19:51.550 --> 00:19:54.109
where Cézanne, sitting

533
00:19:54.110 --> 00:19:56.089
there at the bottom,

534
00:19:56.090 --> 00:19:58.089
was able to find a soft spot in some

535
00:19:58.090 --> 00:19:59.090
ferns.

536
00:20:00.970 --> 00:20:02.889
It's not the relatively hospitable

537
00:20:02.890 --> 00:20:04.749
terrain that Corot

538
00:20:04.750 --> 00:20:06.709
had painted, where

539
00:20:06.710 --> 00:20:08.229
it's easy enough to find the picnic

540
00:20:08.230 --> 00:20:09.249
spot.

541
00:20:09.250 --> 00:20:11.250
Try that in Cézanne's picture.

542
00:20:12.710 --> 00:20:14.809
And it's not

543
00:20:14.810 --> 00:20:16.849
any of the famous

544
00:20:16.850 --> 00:20:18.789
oak trees,

545
00:20:18.790 --> 00:20:20.809
some of which were given

546
00:20:20.810 --> 00:20:22.989
names of artists like Karl Bodmer,

547
00:20:22.990 --> 00:20:24.629
who painted them.

548
00:20:24.630 --> 00:20:26.529
This is Monet

549
00:20:26.530 --> 00:20:28.749
in Gorgeous

550
00:20:28.750 --> 00:20:29.750
Dapple Light.

551
00:20:30.930 --> 00:20:32.729
What interested Cézanne instead was

552
00:20:32.730 --> 00:20:34.829
a kind of prehistoric condition.

553
00:20:36.410 --> 00:20:38.409
Ancient boulders as host to

554
00:20:38.410 --> 00:20:39.670
some recent vegetation.

555
00:20:42.330 --> 00:20:45.249
a situation that must have fed his

556
00:20:45.250 --> 00:20:47.149
meditation on the

557
00:20:47.150 --> 00:20:48.969
sequences of primordial

558
00:20:48.970 --> 00:20:50.849
forces that brought all this

559
00:20:50.850 --> 00:20:51.850
about.

560
00:20:52.730 --> 00:20:54.529
These thoughts had been on his mind

561
00:20:54.530 --> 00:20:55.530
for much of his life.

562
00:20:57.780 --> 00:20:59.639
Back in Provence,

563
00:20:59.640 --> 00:21:01.559
these geological sequences were

564
00:21:01.560 --> 00:21:03.099
very well understood.

565
00:21:03.100 --> 00:21:04.419
And the rock itself had been

566
00:21:04.420 --> 00:21:06.699
exploited for centuries, harvested

567
00:21:06.700 --> 00:21:08.619
in quarries

568
00:21:08.620 --> 00:21:11.119
like this one called Bibemus,

569
00:21:12.220 --> 00:21:13.979
where you could see what was left

570
00:21:13.980 --> 00:21:15.939
behind and

571
00:21:15.940 --> 00:21:17.719
realize that humans had been

572
00:21:17.720 --> 00:21:19.879
occupying only the thinnest layer

573
00:21:19.880 --> 00:21:21.999
lying on top of eons

574
00:21:22.000 --> 00:21:23.119
of sedimented rock.

575
00:21:25.690 --> 00:21:28.209
Here, in fact, is a map that

576
00:21:28.210 --> 00:21:30.189
could have hung on the wall of

577
00:21:30.190 --> 00:21:32.309
any of

578
00:21:32.310 --> 00:21:34.589
one of Cézanne's

579
00:21:34.590 --> 00:21:35.590
classrooms.

580
00:21:36.450 --> 00:21:38.229
The various layers of the region

581
00:21:38.230 --> 00:21:40.429
around X have been studied,

582
00:21:40.430 --> 00:21:42.289
had been studied and mapped

583
00:21:42.290 --> 00:21:44.469
in detail, color -coded by

584
00:21:44.470 --> 00:21:46.209
Strata.

585
00:21:46.210 --> 00:21:48.349
Inside the big blue oval

586
00:21:48.350 --> 00:21:50.409
there at the top of the far side

587
00:21:50.410 --> 00:21:51.589
is X.

588
00:21:53.110 --> 00:21:55.329
In the middle of the oval, in gray,

589
00:21:55.330 --> 00:21:56.330
running all along,

590
00:21:57.330 --> 00:21:59.229
all the way to the right, is the

591
00:21:59.230 --> 00:22:01.209
long ridge of Mont -Saint -Vicroir.

592
00:22:02.730 --> 00:22:04.309
And in between are most of the

593
00:22:04.310 --> 00:22:06.249
places we've been seeing in

594
00:22:06.250 --> 00:22:07.829
Cézanne's pictures.

595
00:22:07.830 --> 00:22:09.809
In fact, I put a blue circle down

596
00:22:09.810 --> 00:22:12.229
there at the left for

597
00:22:12.230 --> 00:22:13.230
Gardin.

598
00:22:13.970 --> 00:22:16.029
I can't show you Le Stac,

599
00:22:16.030 --> 00:22:17.929
which is out of the picture, down it

600
00:22:17.930 --> 00:22:19.769
would be, down to the

601
00:22:19.770 --> 00:22:20.770
lower left.

602
00:22:22.370 --> 00:22:24.669
A close school friend of Cézanne's

603
00:22:24.670 --> 00:22:26.029
had, in the meantime, become a

604
00:22:26.030 --> 00:22:28.709
pioneer in geology and

605
00:22:28.710 --> 00:22:31.009
paleontology, the study of

606
00:22:31.010 --> 00:22:33.689
fossil remains of prehistoric humans

607
00:22:33.690 --> 00:22:35.889
who'd lived in caves there

608
00:22:35.890 --> 00:22:36.890
in those mountains.

609
00:22:38.650 --> 00:22:40.949
Like Lyell's principles of

610
00:22:40.950 --> 00:22:43.149
geology and like

611
00:22:43.150 --> 00:22:45.849
Darwin's publications on

612
00:22:45.850 --> 00:22:47.849
evolution, these had

613
00:22:47.850 --> 00:22:50.269
become a popular subject,

614
00:22:50.270 --> 00:22:52.369
subject of general interest.

615
00:22:52.370 --> 00:22:54.569
and excitement in educated

616
00:22:54.570 --> 00:22:55.570
French circles.

617
00:22:57.490 --> 00:22:59.389
So Cézanne painted that

618
00:22:59.390 --> 00:23:02.849
same geological friend,

619
00:23:02.850 --> 00:23:05.129
Antoine Fortuné -Marion,

620
00:23:05.130 --> 00:23:07.189
the man in the top

621
00:23:07.190 --> 00:23:09.209
center, and

622
00:23:09.210 --> 00:23:10.549
their mutual friend, Anthony

623
00:23:10.550 --> 00:23:13.029
Vallabregue, as you've seen before,

624
00:23:13.030 --> 00:23:14.969
at the bottom, still in their

625
00:23:14.970 --> 00:23:17.289
20s, off with him, Cézanne,

626
00:23:17.290 --> 00:23:19.109
on one of their long walks

627
00:23:19.110 --> 00:23:21.869
in the valley of the Arc River.

628
00:23:21.870 --> 00:23:24.729
or down the coast at Les Stac,

629
00:23:24.730 --> 00:23:26.809
examining strata deposited

630
00:23:26.810 --> 00:23:28.649
by millions of years

631
00:23:28.650 --> 00:23:31.029
of silting and then erosion,

632
00:23:32.570 --> 00:23:34.069
all of that beneath the relatively

633
00:23:34.070 --> 00:23:36.009
recent layers of animal

634
00:23:36.010 --> 00:23:37.809
and human habitation.

635
00:23:39.170 --> 00:23:41.169
Cézanne made drawings and small

636
00:23:41.170 --> 00:23:43.229
paintings like this of

637
00:23:43.230 --> 00:23:44.270
what he observed.

638
00:23:46.320 --> 00:23:48.379
Near his family's house, there was

639
00:23:48.380 --> 00:23:50.399
a ridge recently cut

640
00:23:50.400 --> 00:23:52.779
through by the railroad builders.

641
00:23:52.780 --> 00:23:54.819
It was a textbook cross -section of

642
00:23:54.820 --> 00:23:56.639
geologic history, and

643
00:23:56.640 --> 00:23:58.379
Cézanne made this large painting of

644
00:23:58.380 --> 00:23:59.380
it.

645
00:24:00.990 --> 00:24:02.969
Further up the valley, other people

646
00:24:02.970 --> 00:24:04.949
had been cutting into the rock for

647
00:24:04.950 --> 00:24:06.089
profit.

648
00:24:06.090 --> 00:24:08.170
This, again, is the Bibemus Quarry,

649
00:24:09.330 --> 00:24:11.269
which says, on paints in strong

650
00:24:11.270 --> 00:24:13.249
sunlight, a deep

651
00:24:13.250 --> 00:24:15.609
pit with orangey -red sandstone

652
00:24:15.610 --> 00:24:17.649
walls, mostly filled

653
00:24:17.650 --> 00:24:19.289
with giant rocks,

654
00:24:20.470 --> 00:24:22.629
bleached blue -gray at the top,

655
00:24:22.630 --> 00:24:23.509
and big trees.

656
00:24:23.510 --> 00:24:24.510
Thanks for watching!

657
00:24:25.919 --> 00:24:28.099
His spots of

658
00:24:28.100 --> 00:24:30.059
yellow and red make

659
00:24:30.060 --> 00:24:31.559
it dazzle.

660
00:24:32.800 --> 00:24:34.919
The short strokes give it energy

661
00:24:34.920 --> 00:24:36.219
and coherence.

662
00:24:37.580 --> 00:24:39.279
And if you look at the clusters of

663
00:24:39.280 --> 00:24:40.920
rounded forms in the center,

664
00:24:42.020 --> 00:24:43.479
they're so amazing and beautiful

665
00:24:43.480 --> 00:24:45.439
that you stop wondering

666
00:24:45.440 --> 00:24:47.099
what they're supposed to represent.

667
00:24:48.700 --> 00:24:50.000
In another of these views,

668
00:24:51.160 --> 00:24:53.319
here at the right side,

669
00:24:53.320 --> 00:24:55.039
We, of the last picture.

670
00:24:56.590 --> 00:24:58.669
You wonder, is that a ruined

671
00:24:58.670 --> 00:25:00.709
tower with

672
00:25:00.710 --> 00:25:01.710
windows?

673
00:25:02.610 --> 00:25:04.469
No, it's a rock

674
00:25:04.470 --> 00:25:06.609
actually left standing after

675
00:25:06.610 --> 00:25:08.029
everything else has been removed.

676
00:25:10.190 --> 00:25:12.449
So what kind of event could

677
00:25:12.450 --> 00:25:14.509
have caused all this colossal mess?

678
00:25:15.750 --> 00:25:17.609
The trees try to hide it,

679
00:25:17.610 --> 00:25:18.610
but they can't.

680
00:25:20.700 --> 00:25:22.959
Another view is positively

681
00:25:22.960 --> 00:25:23.759
scary.

682
00:25:23.760 --> 00:25:25.419
Now we can see what made the rocks

683
00:25:25.420 --> 00:25:27.259
collapse. People did,

684
00:25:27.260 --> 00:25:30.419
with drills and saws.

685
00:25:30.420 --> 00:25:32.099
At the upper right, the quarrymen

686
00:25:32.100 --> 00:25:33.919
have removed some of

687
00:25:33.920 --> 00:25:35.279
the rectangular blocks.

688
00:25:36.340 --> 00:25:38.979
What remains is immense central

689
00:25:38.980 --> 00:25:41.219
pillar and some precariously

690
00:25:41.220 --> 00:25:43.539
poised slabs.

691
00:25:43.540 --> 00:25:45.379
And right across the middle,

692
00:25:45.380 --> 00:25:47.099
a sweeping arc.

693
00:25:47.100 --> 00:25:48.899
that's collected stray blocks that

694
00:25:48.900 --> 00:25:50.279
seem to have their own little

695
00:25:50.280 --> 00:25:51.280
conversations going.

696
00:25:52.740 --> 00:25:54.779
Down below, there's a glimpse

697
00:25:54.780 --> 00:25:56.999
of a more colossal.

698
00:26:00.700 --> 00:26:02.579
A few years earlier,

699
00:26:02.580 --> 00:26:04.899
another great painter, working just

700
00:26:04.900 --> 00:26:08.079
30 miles away at Saint -Rémy,

701
00:26:08.080 --> 00:26:10.619
tried to convey the

702
00:26:10.620 --> 00:26:12.519
elemental strangeness of a

703
00:26:12.520 --> 00:26:13.520
quarry.

704
00:26:14.580 --> 00:26:15.859
This one with a grotto.

705
00:26:15.860 --> 00:26:16.860
Thank you.

706
00:26:18.130 --> 00:26:20.169
Unlike Cézanne, he locates

707
00:26:20.170 --> 00:26:22.149
the quarry, surrounding it by

708
00:26:22.150 --> 00:26:23.950
a heaving landscape

709
00:26:25.250 --> 00:26:27.269
that's created by his

710
00:26:27.270 --> 00:26:29.410
incessant curving brushstrokes.

711
00:26:31.920 --> 00:26:34.059
Van Gogh, who was a

712
00:26:34.060 --> 00:26:36.839
dozen years younger than Cézanne,

713
00:26:36.840 --> 00:26:38.899
may have met him, Cézanne, in

714
00:26:38.900 --> 00:26:41.599
Paris a couple of years before.

715
00:26:41.600 --> 00:26:43.599
They shared a dealer of sorts,

716
00:26:43.600 --> 00:26:44.779
the paint merchant

717
00:26:45.839 --> 00:26:48.779
Julien Tanguy on the far right,

718
00:26:48.780 --> 00:26:51.039
a man with a tolerance for difficult

719
00:26:51.040 --> 00:26:52.040
artists.

720
00:26:53.280 --> 00:26:55.159
The painter, Emile Bernard, reported

721
00:26:55.160 --> 00:26:57.659
this slightly fishy sounding

722
00:26:57.660 --> 00:27:00.249
story, but still worth repeating.

723
00:27:00.250 --> 00:27:02.409
One afternoon, when Cezanne came up

724
00:27:02.410 --> 00:27:04.249
to Paris, Vincent, who

725
00:27:04.250 --> 00:27:06.329
had had lunch there, met him

726
00:27:06.330 --> 00:27:07.709
at Tanguy's.

727
00:27:07.710 --> 00:27:09.629
They chatted together, and after

728
00:27:09.630 --> 00:27:11.629
having talked about art in general,

729
00:27:11.630 --> 00:27:13.089
they started in on their own

730
00:27:13.090 --> 00:27:14.589
individual ideas.

731
00:27:16.190 --> 00:27:17.749
Van Gogh could not explain his

732
00:27:17.750 --> 00:27:19.649
theories better than by

733
00:27:19.650 --> 00:27:21.489
showing his pictures to Cezanne

734
00:27:21.490 --> 00:27:23.389
and asking his opinion of

735
00:27:23.390 --> 00:27:24.629
them.

736
00:27:24.630 --> 00:27:26.609
He brought out canvases of

737
00:27:26.610 --> 00:27:28.549
various kinds, portraits, and still

738
00:27:28.550 --> 00:27:29.789
life's landscapes.

739
00:27:31.010 --> 00:27:33.009
Cezanne, whose nature was timid

740
00:27:33.010 --> 00:27:35.029
but violent,

741
00:27:35.030 --> 00:27:36.849
said after inspecting

742
00:27:36.850 --> 00:27:39.169
them all, truly,

743
00:27:39.170 --> 00:27:40.870
you paint like a madman.

744
00:27:44.510 --> 00:27:46.690
In this view on the right,

745
00:27:48.290 --> 00:27:49.869
we get the idea of what it would be

746
00:27:49.870 --> 00:27:51.969
like to walk in the path down

747
00:27:51.970 --> 00:27:53.809
there in the quarry

748
00:27:53.810 --> 00:27:56.069
and be enveloped.

749
00:27:56.070 --> 00:27:57.949
Nina Athanasalu, who has

750
00:27:57.950 --> 00:27:59.469
written very helpfully about

751
00:27:59.470 --> 00:28:02.269
Cézanne's Provençal works,

752
00:28:02.270 --> 00:28:04.589
pointed out that the strange shape

753
00:28:04.590 --> 00:28:06.569
of the intruding rock face

754
00:28:06.570 --> 00:28:08.509
there on the right was made

755
00:28:08.510 --> 00:28:10.489
by a quarryman with a mechanical

756
00:28:10.490 --> 00:28:12.069
saw.

757
00:28:12.070 --> 00:28:13.510
The contrast.

758
00:28:14.640 --> 00:28:16.579
of the exuberant life

759
00:28:16.580 --> 00:28:18.480
of the foliage is violent.

760
00:28:19.660 --> 00:28:21.459
But she describes the brush strokes

761
00:28:21.460 --> 00:28:22.719
here on the left beautifully.

762
00:28:22.720 --> 00:28:24.539
She says, they are a

763
00:28:24.540 --> 00:28:27.179
masterful demonstration of Cézanne's

764
00:28:27.180 --> 00:28:29.519
application of hatching,

765
00:28:29.520 --> 00:28:31.619
his brushwork of

766
00:28:31.620 --> 00:28:34.359
parallel diagonal strokes,

767
00:28:34.360 --> 00:28:35.539
that both constructed and

768
00:28:35.540 --> 00:28:37.579
deconstructed solid form

769
00:28:37.580 --> 00:28:41.259
into dematerialized,

770
00:28:41.260 --> 00:28:43.480
evanescent, vibrant surfaces.

771
00:28:44.670 --> 00:28:46.729
Painted in patches of thin

772
00:28:46.730 --> 00:28:49.269
striations of green and yellow,

773
00:28:49.270 --> 00:28:51.929
the pine trees shimmer from

774
00:28:51.930 --> 00:28:53.549
underneath their invisible

775
00:28:53.550 --> 00:28:55.429
atmospheric curtain of

776
00:28:55.430 --> 00:28:56.530
heat and sunlight.

777
00:28:58.880 --> 00:29:01.039
Well, you can actually go,

778
00:29:01.040 --> 00:29:03.439
and some of you may have done,

779
00:29:03.440 --> 00:29:04.799
and you can go there to the quarry,

780
00:29:04.800 --> 00:29:05.979
and you can get some of that feeling

781
00:29:05.980 --> 00:29:06.980
yourself.

782
00:29:08.220 --> 00:29:09.739
It's normally open to the public.

783
00:29:09.740 --> 00:29:11.399
You better check first, though, when

784
00:29:11.400 --> 00:29:13.259
you go and get a guide

785
00:29:13.260 --> 00:29:15.139
to let you

786
00:29:15.140 --> 00:29:17.119
in, because that may be necessary.

787
00:29:17.120 --> 00:29:18.359
Anyway, you can check on the

788
00:29:18.360 --> 00:29:20.479
website, which I've put in

789
00:29:20.480 --> 00:29:22.440
the readings on the website here,

790
00:29:24.200 --> 00:29:25.379
the Hammer website.

791
00:29:25.380 --> 00:29:27.019
that there's also a notice for.

792
00:29:28.510 --> 00:29:29.989
that would take you directly to the

793
00:29:29.990 --> 00:29:31.629
tourist authorities in Aix -en

794
00:29:31.630 --> 00:29:32.409
-Provence.

795
00:29:32.410 --> 00:29:33.410
You should go.

796
00:29:35.390 --> 00:29:37.429
Anyway, because of quarrying

797
00:29:37.430 --> 00:29:39.649
started up again for

798
00:29:39.650 --> 00:29:41.409
a little while during World War II,

799
00:29:41.410 --> 00:29:42.949
the rocks are very different now.

800
00:29:42.950 --> 00:29:45.169
And the trees have grown up.

801
00:29:45.170 --> 00:29:46.989
But you can go along a path

802
00:29:46.990 --> 00:29:48.989
that passes the little cabin

803
00:29:48.990 --> 00:29:50.809
that Cézanne used to store

804
00:29:50.810 --> 00:29:52.649
his easel and canvases.

805
00:29:52.650 --> 00:29:54.719
And you can go out on a platform

806
00:29:54.720 --> 00:29:55.789
with a view of the mountain.

807
00:29:58.970 --> 00:30:01.369
Painting in Baltimore has

808
00:30:01.370 --> 00:30:03.529
us looking across the quarry

809
00:30:03.530 --> 00:30:05.449
in a composition where the bulk of

810
00:30:05.450 --> 00:30:07.449
the mountain echoes the up thrust

811
00:30:07.450 --> 00:30:09.629
of the bulging pillar

812
00:30:09.630 --> 00:30:11.649
of the quarry itself

813
00:30:11.650 --> 00:30:13.509
and seemingly pushed

814
00:30:13.510 --> 00:30:15.749
up by converging

815
00:30:15.750 --> 00:30:17.689
pines at the left

816
00:30:17.690 --> 00:30:19.549
and Framed by the

817
00:30:19.550 --> 00:30:21.050
tall tree at the right edge

818
00:30:22.070 --> 00:30:24.169
Up closer you

819
00:30:24.170 --> 00:30:25.170
can see

820
00:30:27.760 --> 00:30:29.719
big disks,

821
00:30:29.720 --> 00:30:31.959
as though they were millstones cut

822
00:30:31.960 --> 00:30:34.059
and abandoned, which they may

823
00:30:34.060 --> 00:30:35.060
be.

824
00:30:35.780 --> 00:30:37.819
Anyway, it's an image of superhuman

825
00:30:37.820 --> 00:30:40.419
forces at work across immeasurable

826
00:30:40.420 --> 00:30:42.239
time, right

827
00:30:42.240 --> 00:30:44.239
through up to our own

828
00:30:44.240 --> 00:30:46.499
human interventions and

829
00:30:46.500 --> 00:30:48.319
even to lowly,

830
00:30:48.320 --> 00:30:50.499
persistent plant

831
00:30:50.500 --> 00:30:51.500
life.

832
00:30:53.190 --> 00:30:54.969
Well, enough of rocks for now.

833
00:30:54.970 --> 00:30:56.449
Let's talk about trees.

834
00:30:58.450 --> 00:31:00.929
One of the beloved subjects for

835
00:31:00.930 --> 00:31:02.909
19th century landscape painters and

836
00:31:02.910 --> 00:31:04.869
collectors was the so -called

837
00:31:04.870 --> 00:31:06.749
sous -bois,

838
00:31:06.750 --> 00:31:08.949
a shady scene in

839
00:31:08.950 --> 00:31:09.950
the woods,

840
00:31:11.250 --> 00:31:12.709
underspreading branches with

841
00:31:12.710 --> 00:31:14.869
canopies of leaves and soft,

842
00:31:14.870 --> 00:31:16.829
spotted light on the forest

843
00:31:16.830 --> 00:31:18.129
floor.

844
00:31:18.130 --> 00:31:20.139
Here's Pissarro again.

845
00:31:20.140 --> 00:31:22.159
And on the right, another important

846
00:31:22.160 --> 00:31:24.079
protégé of Pizarro's,

847
00:31:24.080 --> 00:31:25.080
Paul Gauguin.

848
00:31:26.660 --> 00:31:28.839
I'm pretty confident that nobody had

849
00:31:28.840 --> 00:31:30.699
ever done a sous -bois

850
00:31:30.700 --> 00:31:31.700
like this one.

851
00:31:35.920 --> 00:31:37.819
Tall format is

852
00:31:37.820 --> 00:31:39.839
unusual for Cézanne.

853
00:31:39.840 --> 00:31:41.759
There's no busky landscape and

854
00:31:41.760 --> 00:31:43.359
no shady undergrowth.

855
00:31:43.360 --> 00:31:45.219
Just a hill, but

856
00:31:45.220 --> 00:31:47.239
a lot going on up above

857
00:31:47.240 --> 00:31:49.379
with the snaky

858
00:31:49.380 --> 00:31:51.639
trunks and spiky

859
00:31:51.640 --> 00:31:52.819
branches.

860
00:31:52.820 --> 00:31:55.439
A kind of a wild dance of

861
00:31:55.440 --> 00:31:58.199
limbs flung out,

862
00:31:58.200 --> 00:32:00.180
wearing wispy fronds of green.

863
00:32:01.320 --> 00:32:03.599
Every tint of green shot

864
00:32:03.600 --> 00:32:05.039
through with light.

865
00:32:05.040 --> 00:32:06.040
Thanks for watching!

866
00:32:06.450 --> 00:32:08.089
And there are shrubs and grass

867
00:32:08.090 --> 00:32:10.589
below, buzzing with

868
00:32:10.590 --> 00:32:12.429
muted color, but

869
00:32:12.430 --> 00:32:15.189
put down in quick, short strokes.

870
00:32:15.190 --> 00:32:17.009
The picture is absolutely one of

871
00:32:17.010 --> 00:32:18.929
a kind, and it deserves a

872
00:32:18.930 --> 00:32:20.769
long, slow look.

873
00:32:20.770 --> 00:32:22.869
And best of all, it's here in LA,

874
00:32:22.870 --> 00:32:23.870
and you can do that.

875
00:32:26.430 --> 00:32:28.389
Here the trees are better

876
00:32:28.390 --> 00:32:29.390
behaved.

877
00:32:29.910 --> 00:32:31.649
The scene is probably also in

878
00:32:31.650 --> 00:32:34.069
Provence, a sort of syncopated

879
00:32:34.070 --> 00:32:36.009
march of trees that

880
00:32:36.010 --> 00:32:38.569
have grown up straight among

881
00:32:38.570 --> 00:32:40.829
boulders that Cézanne painted with

882
00:32:40.830 --> 00:32:42.969
firm outlines and delicate

883
00:32:42.970 --> 00:32:45.269
translucent colors,

884
00:32:45.270 --> 00:32:47.469
and then finished with

885
00:32:47.470 --> 00:32:49.449
scribbling black shadows into

886
00:32:49.450 --> 00:32:52.489
the deep crevices where

887
00:32:52.490 --> 00:32:54.329
he gets

888
00:32:54.330 --> 00:32:55.489
to get some

889
00:32:56.540 --> 00:32:58.119
added vibrancy.

890
00:32:58.120 --> 00:33:00.159
He uses the familiar

891
00:33:00.160 --> 00:33:01.619
diagonal hatchings that you

892
00:33:01.620 --> 00:33:03.099
recognize from the quarry.

893
00:33:03.100 --> 00:33:05.619
And to give life to the sky,

894
00:33:05.620 --> 00:33:06.499
he puts yellow.

895
00:33:06.500 --> 00:33:08.459
You can see that on the upper right.

896
00:33:08.460 --> 00:33:10.339
Puts yellow in

897
00:33:10.340 --> 00:33:11.179
between the branches.

898
00:33:11.180 --> 00:33:12.180
Thank you for watching.

899
00:33:13.760 --> 00:33:15.859
Now a different proposition,

900
00:33:15.860 --> 00:33:16.880
a rock pile.

901
00:33:18.420 --> 00:33:20.239
There's no land on either side

902
00:33:20.240 --> 00:33:22.519
to explain its situation.

903
00:33:22.520 --> 00:33:24.159
But there's a blue sky and a mass of

904
00:33:24.160 --> 00:33:25.359
rock surging upward.

905
00:33:27.910 --> 00:33:29.969
supporting tall trees that

906
00:33:29.970 --> 00:33:31.310
reach even higher.

907
00:33:32.710 --> 00:33:34.269
The feeling is different from the

908
00:33:34.270 --> 00:33:35.889
slopes of the Chateau Noir, as

909
00:33:35.890 --> 00:33:37.069
you're going to see in a minute,

910
00:33:38.770 --> 00:33:40.529
where the slopes above have sent

911
00:33:40.530 --> 00:33:41.969
boulders crashing down.

912
00:33:41.970 --> 00:33:43.809
Here, no explanation for

913
00:33:43.810 --> 00:33:45.829
the pileup, and no

914
00:33:45.830 --> 00:33:48.229
sense of crushing gravity

915
00:33:48.230 --> 00:33:49.230
either.

916
00:33:49.890 --> 00:33:51.269
But there's one of the most

917
00:33:51.270 --> 00:33:53.809
sumptuous compositions of

918
00:33:53.810 --> 00:33:55.130
rock in all of art.

919
00:33:57.910 --> 00:34:00.189
Nothing slapdash or even

920
00:34:00.190 --> 00:34:01.189
speedy about it.

921
00:34:01.190 --> 00:34:03.549
Nothing impressionist even.

922
00:34:03.550 --> 00:34:06.109
It's built at

923
00:34:06.110 --> 00:34:08.468
the right, you can see,

924
00:34:08.469 --> 00:34:10.448
with blunt wide strokes

925
00:34:10.449 --> 00:34:12.629
of white and gray,

926
00:34:12.630 --> 00:34:14.809
carefully applied in

927
00:34:14.810 --> 00:34:16.529
the center, and the left, a kind of

928
00:34:16.530 --> 00:34:18.669
jittering mass of diagonals.

929
00:34:19.830 --> 00:34:20.928
And look at the right side.

930
00:34:20.929 --> 00:34:22.928
The right side is just

931
00:34:22.929 --> 00:34:24.669
a mass of green.

932
00:34:24.670 --> 00:34:26.289
It's the pines.

933
00:34:26.290 --> 00:34:28.189
Summarize we don't

934
00:34:28.190 --> 00:34:30.388
really need more

935
00:34:30.389 --> 00:34:31.389
detail

936
00:34:35.989 --> 00:34:37.809
Eloquent trees here

937
00:34:37.810 --> 00:34:39.849
painted by themselves minus

938
00:34:39.850 --> 00:34:41.729
rocks a pair

939
00:34:41.730 --> 00:34:43.589
of them both

940
00:34:43.590 --> 00:34:46.529
of a certain age weathered

941
00:34:46.530 --> 00:34:48.629
and bent and broken off

942
00:34:48.630 --> 00:34:51.069
here and there In

943
00:34:51.070 --> 00:34:53.289
between them and farther back a

944
00:34:53.290 --> 00:34:55.289
perfectly straight tree

945
00:34:55.290 --> 00:34:57.829
evidently much younger

946
00:34:57.830 --> 00:34:59.649
In the watercolor study, he

947
00:34:59.650 --> 00:35:01.449
gives the trees close attention.

948
00:35:01.450 --> 00:35:03.389
He adjusts the contours

949
00:35:03.390 --> 00:35:05.239
and discrete

950
00:35:05.240 --> 00:35:07.879
indications of color and shading.

951
00:35:07.880 --> 00:35:10.239
Then he takes this upright canvas

952
00:35:10.240 --> 00:35:12.259
and paints the trees on

953
00:35:12.260 --> 00:35:14.619
a patchwork of ground,

954
00:35:14.620 --> 00:35:16.560
moving them closer together,

955
00:35:18.080 --> 00:35:20.379
copying the left -hand tree pretty

956
00:35:20.380 --> 00:35:22.219
closely in the painting,

957
00:35:22.220 --> 00:35:24.219
but applying new twists to the

958
00:35:24.220 --> 00:35:26.119
branches, including a

959
00:35:26.120 --> 00:35:27.699
couple of them branches, that is,

960
00:35:27.700 --> 00:35:29.779
that reach all across the top

961
00:35:29.780 --> 00:35:31.239
of the picture to the right -hand

962
00:35:31.240 --> 00:35:33.059
tree, almost to the

963
00:35:33.060 --> 00:35:34.060
point of touching.

964
00:35:36.340 --> 00:35:37.820
The effect in the painting,

965
00:35:39.080 --> 00:35:40.859
combined with the repeated outlines

966
00:35:40.860 --> 00:35:42.799
and the splashes and dashes of the

967
00:35:42.800 --> 00:35:44.819
leaves, is commotion,

968
00:35:44.820 --> 00:35:46.259
something like the trees in the

969
00:35:46.260 --> 00:35:47.260
Lachma picture.

970
00:35:48.800 --> 00:35:50.639
Trees have associations for Cézanne.

971
00:35:50.640 --> 00:35:52.619
He feels wonder and

972
00:35:52.620 --> 00:35:55.039
excitement at them as

973
00:35:55.040 --> 00:35:56.239
he looks.

974
00:35:56.240 --> 00:35:58.099
That sensation, that word that

975
00:35:58.100 --> 00:36:00.019
he keeps using, that sensation

976
00:36:00.020 --> 00:36:01.919
is what he labors to pass on

977
00:36:01.920 --> 00:36:03.278
to us.

978
00:36:03.279 --> 00:36:05.279
even if the product is.

979
00:36:05.280 --> 00:36:07.299
looks untidy and incomplete.

980
00:36:08.380 --> 00:36:11.479
And here, I'd go a step further.

981
00:36:11.480 --> 00:36:13.399
I think he's inviting us to make our

982
00:36:13.400 --> 00:36:15.959
own human associations

983
00:36:15.960 --> 00:36:17.000
with those trees,

984
00:36:18.020 --> 00:36:19.999
the couple, the exuberant

985
00:36:20.000 --> 00:36:21.539
limbs coming together,

986
00:36:23.220 --> 00:36:25.119
even the upright young tree in

987
00:36:25.120 --> 00:36:26.120
between.

988
00:36:26.780 --> 00:36:29.339
You could say, and I do say,

989
00:36:29.340 --> 00:36:31.819
that he makes them alive, like us.

990
00:36:31.820 --> 00:36:33.719
Well -worn,

991
00:36:33.720 --> 00:36:34.689
vigorous.

992
00:36:34.690 --> 00:36:36.429
and in the presence of a successor.

993
00:36:40.800 --> 00:36:43.419
Now, a quick footnote on trees at

994
00:36:43.420 --> 00:36:47.779
this moment, this is 1891.

995
00:36:47.780 --> 00:36:49.939
Here's what Cézanne's friend and

996
00:36:49.940 --> 00:36:52.119
admirer, Camille Monet,

997
00:36:52.120 --> 00:36:55.279
was painting near Giverny.

998
00:36:55.280 --> 00:36:57.159
And here is, about the

999
00:36:57.160 --> 00:36:59.059
same time, a river view by

1000
00:36:59.060 --> 00:37:00.239
Cézanne,

1001
00:37:01.440 --> 00:37:04.559
probably also painted in one

1002
00:37:04.560 --> 00:37:07.019
of those rivers in the north.

1003
00:37:07.020 --> 00:37:09.359
You can see that

1004
00:37:09.360 --> 00:37:11.519
Cézanne didn't start with

1005
00:37:11.520 --> 00:37:13.739
a graceful unified

1006
00:37:13.740 --> 00:37:15.799
planned composition the way

1007
00:37:15.800 --> 00:37:17.759
Monet did, but

1008
00:37:17.760 --> 00:37:19.899
instead began with the houses

1009
00:37:19.900 --> 00:37:21.779
and the boats and their

1010
00:37:21.780 --> 00:37:23.679
forms reflected

1011
00:37:23.680 --> 00:37:26.399
pretty willy nilly in

1012
00:37:26.400 --> 00:37:28.279
the center, wildly

1013
00:37:28.280 --> 00:37:29.400
broken up.

1014
00:37:30.600 --> 00:37:31.839
He worked outward.

1015
00:37:33.700 --> 00:37:35.639
The trees were going to be the

1016
00:37:35.640 --> 00:37:36.640
main thing in the picture.

1017
00:37:38.010 --> 00:37:39.789
Bending with the wind, more or less

1018
00:37:39.790 --> 00:37:41.449
in unison.

1019
00:37:41.450 --> 00:37:42.829
But they're improvised.

1020
00:37:42.830 --> 00:37:44.709
And he clearly didn't finish the

1021
00:37:44.710 --> 00:37:45.710
picture.

1022
00:37:48.820 --> 00:37:49.939
We're going to go back to the

1023
00:37:49.940 --> 00:37:51.319
portraits that Cézanne had been

1024
00:37:51.320 --> 00:37:53.659
painting in Paris and Provence

1025
00:37:53.660 --> 00:37:55.560
during these past dozen years.

1026
00:37:58.240 --> 00:38:00.239
Cézanne's portrait sitters in his

1027
00:38:00.240 --> 00:38:01.899
early years were all his friends and

1028
00:38:01.900 --> 00:38:03.699
all men, except for his companion

1029
00:38:03.700 --> 00:38:04.979
Hortense.

1030
00:38:04.980 --> 00:38:06.599
You've seen this man a few times

1031
00:38:06.600 --> 00:38:08.859
with his gently inclined

1032
00:38:08.860 --> 00:38:10.819
posture and an expression that seems

1033
00:38:10.820 --> 00:38:12.319
reflective.

1034
00:38:12.320 --> 00:38:14.839
He painted it not long after

1035
00:38:14.840 --> 00:38:17.859
this notorious portrait,

1036
00:38:17.860 --> 00:38:19.779
which he had submitted to the Salon

1037
00:38:19.780 --> 00:38:21.819
jury, basically defying them

1038
00:38:21.820 --> 00:38:23.779
to accept it.

1039
00:38:23.780 --> 00:38:25.639
Another friend of his in

1040
00:38:25.640 --> 00:38:26.999
X.

1041
00:38:27.000 --> 00:38:28.799
A man with a quick and sensitive

1042
00:38:28.800 --> 00:38:30.919
mind who was deformed at

1043
00:38:30.920 --> 00:38:31.920
birth.

1044
00:38:32.800 --> 00:38:35.499
The Cezanne posed him

1045
00:38:35.500 --> 00:38:37.499
frontally, almost

1046
00:38:37.500 --> 00:38:39.399
life -size,

1047
00:38:39.400 --> 00:38:40.779
regally, you could say, in an

1048
00:38:40.780 --> 00:38:42.500
armchair as though it were a throne,

1049
00:38:43.620 --> 00:38:45.519
and his feet on a stool like

1050
00:38:45.520 --> 00:38:46.520
royalty.

1051
00:38:47.900 --> 00:38:49.639
And up above his head, his name in

1052
00:38:49.640 --> 00:38:52.159
an inscription, like a grandee,

1053
00:38:52.160 --> 00:38:53.559
but with his profession.

1054
00:38:53.560 --> 00:38:54.969
Painter.

1055
00:38:54.970 --> 00:38:56.869
in stencil letters, like a

1056
00:38:56.870 --> 00:38:58.270
tradesman.

1057
00:38:59.490 --> 00:39:01.609
Cézanne drew him twice,

1058
00:39:01.610 --> 00:39:03.769
two really beautiful soulful heads

1059
00:39:03.770 --> 00:39:05.929
with a sort of 17th

1060
00:39:05.930 --> 00:39:08.469
century flavor, like Cézanne.

1061
00:39:08.470 --> 00:39:10.489
Cézanne, like van

1062
00:39:10.490 --> 00:39:11.490
Dyck.

1063
00:39:13.500 --> 00:39:15.059
By sticking it to the Salon

1064
00:39:15.060 --> 00:39:16.879
Jouerage, Cézanne got some of the

1065
00:39:16.880 --> 00:39:18.819
attention he wanted, but

1066
00:39:18.820 --> 00:39:20.739
it was from a cartoonist.

1067
00:39:20.740 --> 00:39:22.899
He's shown as a wild man

1068
00:39:22.900 --> 00:39:24.919
with a nude painting pinned to

1069
00:39:24.920 --> 00:39:26.919
his ear and brandishing

1070
00:39:26.920 --> 00:39:28.579
his portrait of Empereur.

1071
00:39:28.580 --> 00:39:29.580
Thank you for watching!

1072
00:39:32.370 --> 00:39:34.189
You saw him at the left

1073
00:39:34.190 --> 00:39:36.029
at the beginning of his career

1074
00:39:36.030 --> 00:39:38.149
using a palette knife and thick oil

1075
00:39:38.150 --> 00:39:40.029
paint to present himself

1076
00:39:40.030 --> 00:39:42.189
as a rough customer,

1077
00:39:42.190 --> 00:39:44.849
somebody not to be trifled

1078
00:39:44.850 --> 00:39:45.850
with.

1079
00:39:46.990 --> 00:39:48.989
A dozen years later on

1080
00:39:48.990 --> 00:39:51.769
the right, he's still wary with

1081
00:39:51.770 --> 00:39:53.589
the painting technique that's

1082
00:39:53.590 --> 00:39:55.929
still rough, still abrupt,

1083
00:39:55.930 --> 00:39:57.909
but it's painted with brushes and

1084
00:39:57.910 --> 00:39:59.229
behind him on the wall, there's a

1085
00:39:59.230 --> 00:40:01.189
landscape by a friend of his.

1086
00:40:01.190 --> 00:40:03.269
sort of a humanizing attribute

1087
00:40:03.270 --> 00:40:04.270
of his trade.

1088
00:40:05.510 --> 00:40:07.949
The face is less challenging,

1089
00:40:07.950 --> 00:40:09.850
perhaps even quizzical.

1090
00:40:12.490 --> 00:40:14.229
Cézanne's development as a portrait

1091
00:40:14.230 --> 00:40:16.829
painter doesn't proceed in

1092
00:40:16.830 --> 00:40:18.469
a straight line.

1093
00:40:18.470 --> 00:40:21.109
One of the

1094
00:40:21.110 --> 00:40:23.109
experiments he did with his

1095
00:40:23.110 --> 00:40:24.949
friends was

1096
00:40:24.950 --> 00:40:26.929
with a modest customs

1097
00:40:26.930 --> 00:40:28.810
official called Victor Choquet,

1098
00:40:29.830 --> 00:40:31.909
who became Cézanne's most

1099
00:40:31.910 --> 00:40:33.569
avid collector and who was very well

1100
00:40:33.570 --> 00:40:35.110
known in the impressionist circle.

1101
00:40:36.270 --> 00:40:37.689
Cézanne and several of his

1102
00:40:37.690 --> 00:40:40.209
contemporaries painted his portrait.

1103
00:40:40.210 --> 00:40:41.319
I have a little...

1104
00:40:41.320 --> 00:40:43.279
exercise for you

1105
00:40:43.280 --> 00:40:45.559
to look at these

1106
00:40:45.560 --> 00:40:46.560
three portraits,

1107
00:40:48.580 --> 00:40:51.519
and Choquet, made of Choquet,

1108
00:40:51.520 --> 00:40:53.379
couple of years apart, same

1109
00:40:53.380 --> 00:40:55.359
size, and decide which

1110
00:40:55.360 --> 00:40:56.360
one you prefer,

1111
00:40:57.780 --> 00:40:58.780
or which you prefer,

1112
00:41:00.120 --> 00:41:01.820
and which is by Cézanne.

1113
00:41:04.340 --> 00:41:05.340
No winners,

1114
00:41:06.740 --> 00:41:07.740
no prizes,

1115
00:41:08.940 --> 00:41:10.839
no hurry, just

1116
00:41:10.840 --> 00:41:11.840
have a look.

1117
00:41:33.350 --> 00:41:35.269
You could hardly find the bigger

1118
00:41:35.270 --> 00:41:36.270
contrast

1119
00:41:37.490 --> 00:41:39.669
than Renoir's delicate

1120
00:41:39.670 --> 00:41:40.949
portrait on the left.

1121
00:41:42.690 --> 00:41:44.849
The soulful direction,

1122
00:41:44.850 --> 00:41:47.229
directness of his eyes and

1123
00:41:47.230 --> 00:41:49.349
the delicate fingers and

1124
00:41:49.350 --> 00:41:51.329
the intimacy with

1125
00:41:51.330 --> 00:41:53.629
the painting behind him,

1126
00:41:53.630 --> 00:41:55.649
Renoir's weave of

1127
00:41:55.650 --> 00:41:57.809
small touches for the fabric

1128
00:41:57.810 --> 00:41:59.669
and feathery strokes for his hair.

1129
00:41:59.670 --> 00:42:00.599
all of them.

1130
00:42:00.600 --> 00:42:02.599
gives Choquet a sympathetic

1131
00:42:02.600 --> 00:42:03.600
kind of refinement.

1132
00:42:06.180 --> 00:42:07.180
It's worth.

1133
00:42:08.710 --> 00:42:10.729
comparing, I think, the other two

1134
00:42:10.730 --> 00:42:12.190
by Cézanne up close.

1135
00:42:14.960 --> 00:42:16.879
On the left, he gives Shoke a

1136
00:42:16.880 --> 00:42:18.719
longer face and

1137
00:42:18.720 --> 00:42:19.979
abstracted expression,

1138
00:42:21.020 --> 00:42:22.839
the hair that's thick with

1139
00:42:22.840 --> 00:42:24.280
a heavy buildup of paint.

1140
00:42:26.840 --> 00:42:28.719
On the right, the surface agitation

1141
00:42:28.720 --> 00:42:29.819
is gone.

1142
00:42:29.820 --> 00:42:31.819
The thinner paint is

1143
00:42:31.820 --> 00:42:33.779
patiently applied and

1144
00:42:33.780 --> 00:42:35.699
may suggest something of

1145
00:42:35.700 --> 00:42:37.599
what Cézanne had to say

1146
00:42:37.600 --> 00:42:39.379
about Choquet and also about

1147
00:42:39.380 --> 00:42:40.380
himself.

1148
00:42:41.380 --> 00:42:44.260
I'm struck by his serenity.

1149
00:42:45.340 --> 00:42:47.179
Faith has not endowed me with

1150
00:42:47.180 --> 00:42:49.499
an equal stability,

1151
00:42:49.500 --> 00:42:51.119
which is the only regret I have

1152
00:42:51.120 --> 00:42:52.979
about the things on

1153
00:42:52.980 --> 00:42:53.980
this earth.

1154
00:42:58.470 --> 00:43:00.669
This applies, I think, to another

1155
00:43:00.670 --> 00:43:03.609
portrait of Choquet at home,

1156
00:43:03.610 --> 00:43:05.130
in his slippers, at ease,

1157
00:43:06.350 --> 00:43:08.349
a casual pose, surrounded

1158
00:43:08.350 --> 00:43:10.150
by his furniture and his paintings.

1159
00:43:13.140 --> 00:43:15.439
You've seen that working alongside

1160
00:43:15.440 --> 00:43:17.140
his kindly mentor,

1161
00:43:18.899 --> 00:43:21.499
Cézanne absorbed impressionist

1162
00:43:21.500 --> 00:43:23.499
light and color, while Pizaro

1163
00:43:23.500 --> 00:43:25.139
absorbed something of Cézanne's

1164
00:43:25.140 --> 00:43:27.099
originality as

1165
00:43:27.100 --> 00:43:28.100
a composer.

1166
00:43:29.780 --> 00:43:31.979
Here, Cézanne has an amazing idea.

1167
00:43:31.980 --> 00:43:34.159
The expression is similar,

1168
00:43:34.160 --> 00:43:36.019
but he's had a haircut and

1169
00:43:36.020 --> 00:43:37.839
he's put himself in

1170
00:43:37.840 --> 00:43:39.279
front of a wallpaper with a great

1171
00:43:39.280 --> 00:43:41.459
big rococo pattern.

1172
00:43:41.460 --> 00:43:43.299
on a kind of

1173
00:43:43.300 --> 00:43:44.320
polite pink.

1174
00:43:46.200 --> 00:43:48.719
Cézanne paints the pattern roughly,

1175
00:43:48.720 --> 00:43:50.439
impatiently, as though he were

1176
00:43:50.440 --> 00:43:52.419
signaling and even acting out some

1177
00:43:52.420 --> 00:43:54.479
of his own bottled -up energy.

1178
00:43:56.280 --> 00:43:58.139
The gentle colors may reflect

1179
00:43:58.140 --> 00:44:00.139
Pissarro's civilizing influence,

1180
00:44:00.140 --> 00:44:02.239
but there was another person

1181
00:44:02.240 --> 00:44:04.239
with influence in these same

1182
00:44:04.240 --> 00:44:05.219
years.

1183
00:44:05.220 --> 00:44:07.159
That is Cézanne's companion

1184
00:44:07.160 --> 00:44:09.139
and wife -to -be, or

1185
00:44:09.140 --> 00:44:10.140
transphike.

1186
00:44:11.890 --> 00:44:13.929
Like Cézanne, she was from the

1187
00:44:13.930 --> 00:44:16.729
provinces, in her case

1188
00:44:16.730 --> 00:44:18.829
from eastern France, from

1189
00:44:18.830 --> 00:44:20.849
the Jura, a

1190
00:44:20.850 --> 00:44:22.949
respectable family,

1191
00:44:22.950 --> 00:44:24.869
several rungs down the social ladder

1192
00:44:24.870 --> 00:44:27.109
from Cézanne's,

1193
00:44:27.110 --> 00:44:28.969
a woman who'd worked as a bookbinder

1194
00:44:28.970 --> 00:44:30.809
and had a flair for clothes.

1195
00:44:32.590 --> 00:44:34.429
By now they had a five -year -old

1196
00:44:34.430 --> 00:44:36.249
son called Paul.

1197
00:44:37.330 --> 00:44:38.849
She sits in their huge.

1198
00:44:38.850 --> 00:44:39.729
Thanks for watching!

1199
00:44:39.730 --> 00:44:41.269
wing armchair in their Paris

1200
00:44:41.270 --> 00:44:43.329
apartment, comfortable in her

1201
00:44:43.330 --> 00:44:45.269
pose, leaning on one

1202
00:44:45.270 --> 00:44:46.829
arm, looking in the general

1203
00:44:46.830 --> 00:44:48.809
direction of the artist, but not

1204
00:44:48.810 --> 00:44:51.009
focusing, seemingly lost

1205
00:44:51.010 --> 00:44:52.010
in thought.

1206
00:44:55.900 --> 00:44:57.899
Her face may not tell us

1207
00:44:57.900 --> 00:44:59.859
much about her personality and

1208
00:44:59.860 --> 00:45:01.519
her expression might leave us

1209
00:45:01.520 --> 00:45:04.559
wondering about their relationship,

1210
00:45:04.560 --> 00:45:06.539
which proved actually to be durable.

1211
00:45:07.800 --> 00:45:09.599
And she was a patient, reliable

1212
00:45:09.600 --> 00:45:11.599
model for countless

1213
00:45:11.600 --> 00:45:13.319
long sessions.

1214
00:45:13.320 --> 00:45:15.379
She sat for nearly 30 portraits.

1215
00:45:16.520 --> 00:45:18.059
Each of them would typically take

1216
00:45:18.060 --> 00:45:20.399
many, many sittings.

1217
00:45:20.400 --> 00:45:21.800
So she was a working partner.

1218
00:45:24.150 --> 00:45:25.909
She gave Cézanne the opportunity to

1219
00:45:25.910 --> 00:45:27.909
refine his techniques of rendering

1220
00:45:27.910 --> 00:45:30.069
delicate colors and skin tones

1221
00:45:30.070 --> 00:45:31.090
and costume.

1222
00:45:32.450 --> 00:45:34.629
You see how her face is

1223
00:45:34.630 --> 00:45:36.769
delicately modeled and

1224
00:45:36.770 --> 00:45:39.049
in flat planes.

1225
00:45:39.050 --> 00:45:40.050
Look at her chin.

1226
00:45:42.370 --> 00:45:43.789
the highlights everywhere on the

1227
00:45:43.790 --> 00:45:44.790
face.

1228
00:45:45.410 --> 00:45:47.129
But in the picture, maybe the most

1229
00:45:47.130 --> 00:45:49.090
amazing thing is the skirt.

1230
00:45:51.450 --> 00:45:53.749
It's made of rippling

1231
00:45:53.750 --> 00:45:56.129
bands of sort of limpid

1232
00:45:56.130 --> 00:45:58.069
stripes, each

1233
00:45:58.070 --> 00:46:00.709
one very gently modeled,

1234
00:46:00.710 --> 00:46:02.689
like watercolor, mottled

1235
00:46:02.690 --> 00:46:05.369
in muted greens

1236
00:46:05.370 --> 00:46:07.349
and grays and blues.

1237
00:46:08.710 --> 00:46:11.069
He gets the effect of a shiny

1238
00:46:11.070 --> 00:46:13.649
alternating with

1239
00:46:13.650 --> 00:46:14.650
matte.

1240
00:46:15.670 --> 00:46:17.809
So he paints on a light ground

1241
00:46:17.810 --> 00:46:20.269
here, and he leaves

1242
00:46:20.270 --> 00:46:21.349
bits of it.

1243
00:46:22.450 --> 00:46:24.229
unpainted to form highlights.

1244
00:46:25.770 --> 00:46:27.569
All in all, it is a gorgeous and

1245
00:46:27.570 --> 00:46:29.469
sympathetic portrait and a

1246
00:46:29.470 --> 00:46:31.709
display of virtuosity.

1247
00:46:31.710 --> 00:46:33.269
But virtuosity that doesn't make a

1248
00:46:33.270 --> 00:46:35.209
show of itself, but by its

1249
00:46:35.210 --> 00:46:37.469
technique, creates new possibilities

1250
00:46:37.470 --> 00:46:38.470
for oil paint.

1251
00:46:40.520 --> 00:46:42.939
Her gentle lean to one side is

1252
00:46:42.940 --> 00:46:44.939
a device that Cézanne uses in many

1253
00:46:44.940 --> 00:46:47.019
portraits of Hortense,

1254
00:46:47.020 --> 00:46:49.239
calculated imbalance.

1255
00:46:49.240 --> 00:46:51.179
In fact, for

1256
00:46:51.180 --> 00:46:53.039
the next great

1257
00:46:53.040 --> 00:46:54.779
portrait on the right here,

1258
00:46:54.780 --> 00:46:56.819
calculated imbalance is

1259
00:46:56.820 --> 00:46:58.899
what makes this life -sized

1260
00:46:58.900 --> 00:47:00.819
portrait a dozen or so years

1261
00:47:00.820 --> 00:47:02.319
later so wonderfully strange.

1262
00:47:03.760 --> 00:47:05.819
He's turned her chair away

1263
00:47:05.820 --> 00:47:07.739
from the wall.

1264
00:47:07.740 --> 00:47:10.739
behind her, that chair rail.

1265
00:47:10.740 --> 00:47:12.639
dips down in a diagonal

1266
00:47:12.640 --> 00:47:14.820
in the direction of her gentle lean,

1267
00:47:15.920 --> 00:47:19.019
but the rail is discontinuous

1268
00:47:19.020 --> 00:47:21.279
on the other side of her.

1269
00:47:21.280 --> 00:47:23.139
In fact, the surroundings are all

1270
00:47:23.140 --> 00:47:25.359
a bit askew or

1271
00:47:25.360 --> 00:47:27.219
afloat, like the

1272
00:47:27.220 --> 00:47:29.039
mirror in a gilt frame

1273
00:47:29.040 --> 00:47:31.119
in the upper left above the

1274
00:47:31.120 --> 00:47:33.199
fireplace, which we really only

1275
00:47:33.200 --> 00:47:34.799
recognize as a fireplace because of

1276
00:47:34.800 --> 00:47:37.019
the tongs propped up next to it.

1277
00:47:37.020 --> 00:47:38.879
the heavy

1278
00:47:38.880 --> 00:47:40.959
Curtain at the right has no visible

1279
00:47:40.960 --> 00:47:41.960
means of support.

1280
00:47:43.040 --> 00:47:44.779
So we're obviously not expected to

1281
00:47:44.780 --> 00:47:46.559
take this as an accurate rendition

1282
00:47:46.560 --> 00:47:47.560
of the interior.

1283
00:47:49.120 --> 00:47:50.739
So are these devices suggesting

1284
00:47:50.740 --> 00:47:51.999
something?

1285
00:47:52.000 --> 00:47:53.719
Something about her, maybe that

1286
00:47:53.720 --> 00:47:55.480
she's a steadying force,

1287
00:47:56.500 --> 00:47:59.319
despite her own slight tilt,

1288
00:47:59.320 --> 00:48:01.280
in an otherwise unsteady household?

1289
00:48:04.130 --> 00:48:05.509
Sorry, D .H.

1290
00:48:05.510 --> 00:48:06.729
Lawrence, who wrote beautifully

1291
00:48:06.730 --> 00:48:07.789
about Cézanne.

1292
00:48:07.790 --> 00:48:09.709
D .H. Lawrence wrote that by making

1293
00:48:09.710 --> 00:48:12.369
her still, the artist starts

1294
00:48:12.370 --> 00:48:14.989
making the universe slip

1295
00:48:14.990 --> 00:48:16.550
uneasily about her.

1296
00:48:17.910 --> 00:48:19.909
It was part of the desire

1297
00:48:19.910 --> 00:48:21.889
to make the human form,

1298
00:48:21.890 --> 00:48:23.749
the life form,

1299
00:48:23.750 --> 00:48:25.449
come to rest.

1300
00:48:25.450 --> 00:48:27.329
Not static, on

1301
00:48:27.330 --> 00:48:28.909
the contrary.

1302
00:48:28.910 --> 00:48:30.889
Mobile, but come to

1303
00:48:30.890 --> 00:48:31.849
rest.

1304
00:48:31.850 --> 00:48:33.699
and at the same time He

1305
00:48:33.700 --> 00:48:35.799
set the unmoving material

1306
00:48:35.800 --> 00:48:37.139
world into motion.

1307
00:48:41.650 --> 00:48:43.629
There are 29

1308
00:48:43.630 --> 00:48:45.669
more paintings of

1309
00:48:45.670 --> 00:48:47.069
Hortense in existence.

1310
00:48:47.070 --> 00:48:49.329
Most of them quite different in size

1311
00:48:49.330 --> 00:48:51.709
and finish and

1312
00:48:51.710 --> 00:48:52.710
how she looks.

1313
00:48:53.890 --> 00:48:55.869
10 years ago at

1314
00:48:55.870 --> 00:48:57.449
the Met, I had a marvelous

1315
00:48:57.450 --> 00:48:58.989
exhibition on the subject of Madame

1316
00:48:58.990 --> 00:48:59.990
Cezanne.

1317
00:49:00.790 --> 00:49:02.869
Charlotte Hale, the

1318
00:49:02.870 --> 00:49:04.889
paintings conservator at the Met,

1319
00:49:04.890 --> 00:49:06.069
wrote this in the catalog about

1320
00:49:06.070 --> 00:49:08.009
visitors to

1321
00:49:08.010 --> 00:49:10.409
the show. She said,

1322
00:49:10.410 --> 00:49:12.299
they asked her. Why does she look so

1323
00:49:12.300 --> 00:49:14.280
sad, so bored,

1324
00:49:15.440 --> 00:49:16.739
frankly so odd?

1325
00:49:18.500 --> 00:49:19.500
They wonder,

1326
00:49:20.840 --> 00:49:22.899
why does she look so,

1327
00:49:22.900 --> 00:49:24.520
why do her eyes look blank?

1328
00:49:27.000 --> 00:49:30.439
Why are her hands unfinished?

1329
00:49:30.440 --> 00:49:32.159
Why does she appear to be tipping

1330
00:49:32.160 --> 00:49:33.299
over?

1331
00:49:33.300 --> 00:49:34.819
And what exactly was going on

1332
00:49:34.820 --> 00:49:36.179
between the artist and his model?

1333
00:49:38.910 --> 00:49:40.889
Hale's answer is that Cézanne

1334
00:49:40.890 --> 00:49:42.829
was recalibrating the

1335
00:49:42.830 --> 00:49:44.669
relation of what he saw, the

1336
00:49:44.670 --> 00:49:46.529
subject, the motif,

1337
00:49:46.530 --> 00:49:48.809
and how it could be expressed on

1338
00:49:48.810 --> 00:49:49.810
canvas.

1339
00:49:50.810 --> 00:49:52.629
What Cézanne said about his job as a

1340
00:49:52.630 --> 00:49:54.449
painter was that it was to

1341
00:49:54.450 --> 00:49:56.889
perceive and capture harmony

1342
00:49:56.890 --> 00:50:00.309
from among many relationships.

1343
00:50:00.310 --> 00:50:02.229
The painter must transpose

1344
00:50:02.230 --> 00:50:04.409
them on a scale of his own invention

1345
00:50:04.410 --> 00:50:06.349
while he develops them according

1346
00:50:06.350 --> 00:50:08.389
to a new and original

1347
00:50:08.390 --> 00:50:09.390
logic.

1348
00:50:10.940 --> 00:50:13.079
Hale added, without expectations

1349
00:50:13.080 --> 00:50:15.059
on either side, Cézanne seems to

1350
00:50:15.060 --> 00:50:16.939
have felt the freedom to explore

1351
00:50:16.940 --> 00:50:18.799
this process when painting

1352
00:50:18.800 --> 00:50:20.679
his wife, using her as

1353
00:50:20.680 --> 00:50:22.639
a template for experimentation.

1354
00:50:24.820 --> 00:50:27.379
Well, her unfinished hands are

1355
00:50:27.380 --> 00:50:28.380
holding a flower.

1356
00:50:30.870 --> 00:50:32.569
If Cézanne had finished the hands

1357
00:50:32.570 --> 00:50:34.529
and the flower, could any

1358
00:50:34.530 --> 00:50:36.509
of this be more vivid

1359
00:50:36.510 --> 00:50:38.250
or have more meaning?

1360
00:50:39.810 --> 00:50:40.810
I doubt it.

1361
00:50:44.470 --> 00:50:45.989
Hortense was a very good sport.

1362
00:50:47.190 --> 00:50:49.389
These two paintings hang together

1363
00:50:49.390 --> 00:50:51.969
at the Philadelphia Museum.

1364
00:50:51.970 --> 00:50:53.789
Her body language is

1365
00:50:53.790 --> 00:50:54.790
subtle.

1366
00:50:55.450 --> 00:50:57.749
The expressions are never smiling,

1367
00:50:57.750 --> 00:50:59.569
always pensive, sometimes

1368
00:50:59.570 --> 00:51:01.049
withdrawn.

1369
00:51:01.050 --> 00:51:02.929
Sometimes we might think

1370
00:51:02.930 --> 00:51:05.550
needy, even imploring.

1371
00:51:06.790 --> 00:51:08.609
But of course, it's

1372
00:51:08.610 --> 00:51:10.389
too early and too easy, I should

1373
00:51:10.390 --> 00:51:12.909
say, to project emotional

1374
00:51:12.910 --> 00:51:13.859
states. Thanks for watching!

1375
00:51:13.860 --> 00:51:15.759
on people we have never seen in the

1376
00:51:15.760 --> 00:51:16.760
original.

1377
00:51:18.040 --> 00:51:20.059
Now and then, Cézanne shows her

1378
00:51:20.060 --> 00:51:21.979
in a way we have to call

1379
00:51:21.980 --> 00:51:22.980
tender.

1380
00:51:24.630 --> 00:51:26.749
Here at the top, she shares

1381
00:51:26.750 --> 00:51:29.189
this sheet of watercolor paper

1382
00:51:29.190 --> 00:51:31.650
with a bouquet of hydrangeas.

1383
00:51:32.970 --> 00:51:35.089
Their French name is Hortensia.

1384
00:51:35.090 --> 00:51:36.090
Thanks for watching!

1385
00:51:37.570 --> 00:51:39.549
Here, now, she

1386
00:51:39.550 --> 00:51:41.709
sits stable on a

1387
00:51:41.710 --> 00:51:42.810
pyramid of skirt,

1388
00:51:44.470 --> 00:51:46.289
secure on a little wooden chair,

1389
00:51:47.330 --> 00:51:49.189
not in a household full of floating

1390
00:51:49.190 --> 00:51:51.329
attributes, but

1391
00:51:51.330 --> 00:51:53.909
inside in the garden at

1392
00:51:53.910 --> 00:51:55.510
the family manor at X.

1393
00:51:56.570 --> 00:51:58.669
After Cézanne's father

1394
00:51:58.670 --> 00:52:00.489
died a few years

1395
00:52:00.490 --> 00:52:02.349
earlier, tensions in the

1396
00:52:02.350 --> 00:52:04.409
family relaxed some, and Hortense

1397
00:52:04.410 --> 00:52:06.189
was welcomed finally at the Jade

1398
00:52:06.190 --> 00:52:07.190
Buffon.

1399
00:52:08.440 --> 00:52:10.219
The portrait is not only unusual for

1400
00:52:10.220 --> 00:52:12.659
its outdoor light,

1401
00:52:12.660 --> 00:52:15.059
but also that he made a pencil study

1402
00:52:15.060 --> 00:52:16.839
of Hortense's head some time

1403
00:52:16.840 --> 00:52:17.840
beforehand.

1404
00:52:18.780 --> 00:52:20.619
The changes are slight, but

1405
00:52:20.620 --> 00:52:21.699
they're symptomatic.

1406
00:52:21.700 --> 00:52:23.579
In the painting, the lips are a bit

1407
00:52:23.580 --> 00:52:25.839
less curvy and the nose

1408
00:52:25.840 --> 00:52:28.219
and eyebrows treated

1409
00:52:28.220 --> 00:52:30.099
with straight lines.

1410
00:52:30.100 --> 00:52:31.939
Her cowlick is gone

1411
00:52:31.940 --> 00:52:34.279
to emphasize the oval,

1412
00:52:34.280 --> 00:52:36.280
mask -like oval of her face.

1413
00:52:38.420 --> 00:52:40.619
This is an impressionist subject,

1414
00:52:40.620 --> 00:52:42.699
you know, and well -dressed women

1415
00:52:42.700 --> 00:52:44.719
in winter gardens.

1416
00:52:44.720 --> 00:52:47.320
The comparison is by Manet.

1417
00:52:48.880 --> 00:52:50.999
And a dozen years earlier,

1418
00:52:51.000 --> 00:52:52.719
a couple who were friends of his

1419
00:52:52.720 --> 00:52:54.619
painting them with the best

1420
00:52:54.620 --> 00:52:56.380
of manners, Comte -Uffour.

1421
00:52:58.860 --> 00:53:00.599
You've just seen that the

1422
00:53:00.600 --> 00:53:02.879
background, her

1423
00:53:02.880 --> 00:53:04.779
surroundings, make

1424
00:53:04.780 --> 00:53:06.719
suggestions about her in a new kind

1425
00:53:06.720 --> 00:53:07.720
of way. Thank you.

1426
00:53:09.190 --> 00:53:10.589
In the case of this portrait, the

1427
00:53:10.590 --> 00:53:12.869
method is different and

1428
00:53:12.870 --> 00:53:14.270
centuries old.

1429
00:53:15.610 --> 00:53:17.769
You show a man,

1430
00:53:17.770 --> 00:53:19.909
a writer, in his

1431
00:53:19.910 --> 00:53:21.729
habitat with his

1432
00:53:21.730 --> 00:53:23.369
work and at work.

1433
00:53:24.830 --> 00:53:26.789
This man, Gustave Géfroy,

1434
00:53:26.790 --> 00:53:28.809
was a new friend in

1435
00:53:28.810 --> 00:53:30.829
1895, a man who'd

1436
00:53:30.830 --> 00:53:32.689
published the first profile

1437
00:53:32.690 --> 00:53:35.109
of Cézanne, who was,

1438
00:53:35.110 --> 00:53:37.169
Cézanne was delighted and

1439
00:53:37.170 --> 00:53:38.849
grateful for it then.

1440
00:53:38.850 --> 00:53:40.869
offered to paint Geoffroy's

1441
00:53:40.870 --> 00:53:41.870
portrait.

1442
00:53:43.360 --> 00:53:45.379
Well, Cézanne had to be

1443
00:53:45.380 --> 00:53:47.499
thinking not just about getting

1444
00:53:47.500 --> 00:53:49.459
a good likeness of Geoffroy, but

1445
00:53:49.460 --> 00:53:51.879
also about the competition from

1446
00:53:51.880 --> 00:53:53.699
Manet, there in the middle,

1447
00:53:53.700 --> 00:53:55.859
who had painted Emile Zola

1448
00:53:55.860 --> 00:53:57.919
in his

1449
00:53:57.920 --> 00:54:00.279
study with a display of

1450
00:54:00.280 --> 00:54:02.899
letters and artistic memorabilia,

1451
00:54:02.900 --> 00:54:05.579
and competition at the right from

1452
00:54:05.580 --> 00:54:07.139
Degas, who had painted another

1453
00:54:07.140 --> 00:54:09.259
prominent critic, Edmond

1454
00:54:09.260 --> 00:54:11.319
Duranty,

1455
00:54:11.320 --> 00:54:13.209
posed in deep thought.

1456
00:54:13.210 --> 00:54:14.929
in his impressive library.

1457
00:54:16.570 --> 00:54:18.549
Cézanne liberated and

1458
00:54:18.550 --> 00:54:20.689
animated the background and

1459
00:54:20.690 --> 00:54:22.449
the still life.

1460
00:54:22.450 --> 00:54:25.489
He made Geoffroy less stagey

1461
00:54:25.490 --> 00:54:28.289
and maybe a bit distracted.

1462
00:54:28.290 --> 00:54:30.029
But after three months of almost

1463
00:54:30.030 --> 00:54:31.590
daily sittings,

1464
00:54:33.370 --> 00:54:36.109
Cézanne apologized,

1465
00:54:36.110 --> 00:54:37.629
confessed that he couldn't complete

1466
00:54:37.630 --> 00:54:39.309
the painting and took it back.

1467
00:54:41.660 --> 00:54:42.779
That's funny, because everything

1468
00:54:42.780 --> 00:54:44.559
seems to be finished, except the

1469
00:54:44.560 --> 00:54:45.560
hands.

1470
00:54:46.040 --> 00:54:47.619
It's never been clear just why

1471
00:54:47.620 --> 00:54:49.899
Cézanne wasn't satisfied with it,

1472
00:54:49.900 --> 00:54:52.299
but he soon broke with

1473
00:54:52.300 --> 00:54:53.300
Geoffroy.

1474
00:54:55.240 --> 00:54:58.119
Word in art circles about Cézanne's

1475
00:54:58.120 --> 00:55:00.179
extreme slowness

1476
00:55:00.180 --> 00:55:02.019
didn't prevent this man on the

1477
00:55:02.020 --> 00:55:03.299
left from having his portrait

1478
00:55:03.300 --> 00:55:04.479
painted.

1479
00:55:04.480 --> 00:55:06.319
That's his astute and ambitious

1480
00:55:06.320 --> 00:55:08.399
art dealer, Ambroise

1481
00:55:08.400 --> 00:55:10.279
Vollard, who had read

1482
00:55:10.280 --> 00:55:11.280
Geoffroy's.

1483
00:55:12.510 --> 00:55:14.089
account of Cézanne.

1484
00:55:15.550 --> 00:55:17.489
Vollard had a small gallery in a

1485
00:55:17.490 --> 00:55:18.629
fashionable street.

1486
00:55:18.630 --> 00:55:20.849
And in 1895, he gave Cézanne

1487
00:55:20.850 --> 00:55:23.069
his first solo exhibition,

1488
00:55:23.070 --> 00:55:24.909
about 150 paintings that

1489
00:55:24.910 --> 00:55:26.669
he rotated during the show, selling

1490
00:55:26.670 --> 00:55:28.549
many of them, some to

1491
00:55:28.550 --> 00:55:30.409
artists who'd been admirers

1492
00:55:30.410 --> 00:55:32.249
of Cézanne, Monet,

1493
00:55:32.250 --> 00:55:34.429
Degas, and Pissarro,

1494
00:55:34.430 --> 00:55:35.430
among others.

1495
00:55:36.310 --> 00:55:38.809
Later on,

1496
00:55:38.810 --> 00:55:40.689
Vollard described his experience

1497
00:55:40.690 --> 00:55:42.659
to a friend.

1498
00:55:42.660 --> 00:55:45.299
who wrote this.

1499
00:55:45.300 --> 00:55:47.179
Vollard has been posing

1500
00:55:47.180 --> 00:55:49.779
every morning at Cézanne's

1501
00:55:49.780 --> 00:55:51.379
for what seems like forever.

1502
00:55:52.920 --> 00:55:54.739
As soon as he moves, Cézanne

1503
00:55:54.740 --> 00:55:56.379
complains that he's made him lose

1504
00:55:56.380 --> 00:55:58.239
his line of concentration.

1505
00:55:59.940 --> 00:56:01.899
Vollard recalled how Cézanne

1506
00:56:01.900 --> 00:56:03.979
reacted one time when

1507
00:56:03.980 --> 00:56:04.980
he did move.

1508
00:56:06.100 --> 00:56:08.179
You wretch,

1509
00:56:08.180 --> 00:56:09.979
you've spoiled the pose.

1510
00:56:09.980 --> 00:56:10.799
Thank you very much for joining us.

1511
00:56:10.800 --> 00:56:12.419
Do I have to tell you again that you

1512
00:56:12.420 --> 00:56:15.319
have to sit like an apple?

1513
00:56:15.320 --> 00:56:16.320
Does an apple move?

1514
00:56:19.480 --> 00:56:21.639
Well, Vollard said

1515
00:56:21.640 --> 00:56:23.619
this, that he had sat

1516
00:56:23.620 --> 00:56:26.719
for 115 sessions,

1517
00:56:28.580 --> 00:56:29.859
each beginning at 8 in the morning

1518
00:56:29.860 --> 00:56:31.920
and ending at 11 .30 at night.

1519
00:56:33.160 --> 00:56:35.679
Even if that's an exaggeration,

1520
00:56:35.680 --> 00:56:37.919
it became part of Cézanne's legend,

1521
00:56:37.920 --> 00:56:39.839
this slow pace.

1522
00:56:39.840 --> 00:56:40.629
Thanks for watching!

1523
00:56:40.630 --> 00:56:42.329
deep thought that went into every

1524
00:56:42.330 --> 00:56:43.330
stroke.

1525
00:56:44.650 --> 00:56:47.189
This man, Joachim

1526
00:56:47.190 --> 00:56:49.309
Gasquet, was a bright 23

1527
00:56:49.310 --> 00:56:51.209
-year -old friend who'd been taking

1528
00:56:51.210 --> 00:56:53.089
long walks with Cézanne in X and had

1529
00:56:53.090 --> 00:56:54.449
a real rapport with him.

1530
00:56:55.550 --> 00:56:57.709
Cézanne gave him that tilted pose

1531
00:56:57.710 --> 00:56:59.249
and keen expression that he'd been

1532
00:56:59.250 --> 00:57:01.529
giving other friends long before

1533
00:57:01.530 --> 00:57:04.169
in the pictures you've seen.

1534
00:57:04.170 --> 00:57:06.049
But he only gave Gasquet five or

1535
00:57:06.050 --> 00:57:07.889
six sittings and left the

1536
00:57:07.890 --> 00:57:08.969
picture unfinished.

1537
00:57:10.580 --> 00:57:12.339
Gives us a good look, though, at how

1538
00:57:12.340 --> 00:57:13.159
Cézanne worked.

1539
00:57:13.160 --> 00:57:15.139
You can see pencil lines

1540
00:57:15.140 --> 00:57:17.219
under the thinnest

1541
00:57:17.220 --> 00:57:18.220
of first layers.

1542
00:57:19.400 --> 00:57:21.019
On the forehead, you can see the

1543
00:57:21.020 --> 00:57:22.980
washy patches of yellow and blue.

1544
00:57:24.380 --> 00:57:26.659
On the near cheek,

1545
00:57:26.660 --> 00:57:29.659
you can see a few big curving

1546
00:57:29.660 --> 00:57:31.559
swoops of pink over

1547
00:57:31.560 --> 00:57:33.599
a lavender swoop that makes

1548
00:57:33.600 --> 00:57:34.600
the shadow.

1549
00:57:35.280 --> 00:57:37.139
Caskey said, I

1550
00:57:37.140 --> 00:57:39.059
thought he'd given it

1551
00:57:39.060 --> 00:57:40.109
up.

1552
00:57:40.110 --> 00:57:41.769
Later I discovered that he'd spent

1553
00:57:41.770 --> 00:57:44.649
60 more sessions on it.

1554
00:57:44.650 --> 00:57:46.429
He'd worked on it after I left.

1555
00:57:46.430 --> 00:57:47.850
He'd been painting from memory.

1556
00:57:50.430 --> 00:57:51.749
Cézanne almost never got a

1557
00:57:51.750 --> 00:57:54.069
commission for a portrait or

1558
00:57:54.070 --> 00:57:55.969
spent wages for, gave

1559
00:57:55.970 --> 00:57:58.749
wages to models for his

1560
00:57:58.750 --> 00:57:59.750
figure compositions.

1561
00:58:01.900 --> 00:58:03.739
Once, though,

1562
00:58:03.740 --> 00:58:05.639
Vollard hired a teenage

1563
00:58:05.640 --> 00:58:07.599
Italian boy called

1564
00:58:07.600 --> 00:58:10.539
Michelangelo de Rosa.

1565
00:58:10.540 --> 00:58:12.379
And Cezanne made six paintings

1566
00:58:12.380 --> 00:58:14.339
of him, all in different poses

1567
00:58:14.340 --> 00:58:16.419
and states of mind, mostly

1568
00:58:16.420 --> 00:58:18.419
dreamy, even

1569
00:58:18.420 --> 00:58:20.679
absent or

1570
00:58:20.680 --> 00:58:21.840
sullen.

1571
00:58:23.020 --> 00:58:25.420
And one, the largest of them,

1572
00:58:26.800 --> 00:58:29.159
the boy in the middle,

1573
00:58:29.160 --> 00:58:31.619
there gets a sort of hip shot.

1574
00:58:31.620 --> 00:58:33.499
pose, the classical

1575
00:58:33.500 --> 00:58:35.339
contrapposto, that

1576
00:58:35.340 --> 00:58:37.799
comes down to Cézanne from

1577
00:58:37.800 --> 00:58:39.999
the Renaissance and centuries

1578
00:58:40.000 --> 00:58:41.699
of life drawing exercises.

1579
00:58:42.900 --> 00:58:44.259
An art historian friend of ours has

1580
00:58:44.260 --> 00:58:46.359
wrote a delightful essay about this

1581
00:58:46.360 --> 00:58:48.219
pose called The

1582
00:58:48.220 --> 00:58:50.819
Renaissance Elbow that

1583
00:58:50.820 --> 00:58:52.659
went backward, beginning with Mick

1584
00:58:52.660 --> 00:58:53.660
Jagger.

1585
00:58:54.700 --> 00:58:55.949
Cézanne.

1586
00:58:55.950 --> 00:58:58.069
studied statues in the Louver and

1587
00:58:58.070 --> 00:58:59.869
locally at Exxon, he made very many

1588
00:58:59.870 --> 00:59:01.429
drawings of poses that never left

1589
00:59:01.430 --> 00:59:02.630
him all his life.

1590
00:59:04.330 --> 00:59:06.429
This is a good moment

1591
00:59:06.430 --> 00:59:08.249
to return to

1592
00:59:08.250 --> 00:59:09.969
another of Cézanne's old fashioned

1593
00:59:09.970 --> 00:59:12.049
interests that

1594
00:59:12.050 --> 00:59:13.969
never left him in the figurative

1595
00:59:13.970 --> 00:59:15.289
art of the Renaissance, including

1596
00:59:15.290 --> 00:59:17.329
history painting and idyllic

1597
00:59:17.330 --> 00:59:18.330
outdoor subjects.

1598
00:59:19.310 --> 00:59:21.489
When I was a student in New York, I

1599
00:59:21.490 --> 00:59:22.969
looked at this painting by Cézanne

1600
00:59:22.970 --> 00:59:24.709
in the Museum of Modern Art almost

1601
00:59:24.710 --> 00:59:26.479
every time I came.

1602
00:59:26.480 --> 00:59:28.139
You couldn't miss it.

1603
00:59:28.140 --> 00:59:29.799
The curator put it right in the

1604
00:59:29.800 --> 00:59:31.839
middle of the wall at the entrance

1605
00:59:31.840 --> 00:59:33.259
to the modern and contemporary

1606
00:59:33.260 --> 00:59:34.419
galleries.

1607
00:59:34.420 --> 00:59:35.719
So it was the first thing you saw.

1608
00:59:37.320 --> 00:59:39.699
Also for this installation,

1609
00:59:39.700 --> 00:59:41.479
he parked the John the Baptist by

1610
00:59:41.480 --> 00:59:43.299
Rodin outside to welcome you

1611
00:59:43.300 --> 00:59:44.300
to modern art.

1612
00:59:46.680 --> 00:59:48.939
Label said that the subject here

1613
00:59:48.940 --> 00:59:50.959
had interested Cézanne since

1614
00:59:50.960 --> 00:59:51.799
its youth.

1615
00:59:51.800 --> 00:59:53.659
And the Barnes collection had the

1616
00:59:53.660 --> 00:59:55.379
evidence up in the right, which is

1617
00:59:55.380 --> 00:59:57.629
this composition of bathers

1618
00:59:57.630 --> 00:59:59.649
in a river valley with Mont

1619
00:59:59.650 --> 01:00:01.929
-Saint -Victoire in the distance,

1620
01:00:01.930 --> 01:00:03.729
a major project that Cézanne had

1621
01:00:03.730 --> 01:00:05.309
worked on 10 years earlier.

1622
01:00:06.569 --> 01:00:09.129
So in the MoMA bather, he

1623
01:00:09.130 --> 01:00:11.068
took it up again 10

1624
01:00:11.069 --> 01:00:12.829
years later. But because he hadn't

1625
01:00:12.830 --> 01:00:14.869
been satisfied with the pose,

1626
01:00:14.870 --> 01:00:16.669
he had a photographer shoot the

1627
01:00:16.670 --> 01:00:18.028
model.

1628
01:00:18.029 --> 01:00:19.849
And using this photo, he

1629
01:00:19.850 --> 01:00:21.670
corrected the head and the legs.

1630
01:00:23.250 --> 01:00:25.409
He had chosen another impressionist

1631
01:00:25.410 --> 01:00:26.619
subject here.

1632
01:00:26.620 --> 01:00:28.519
young men swimming out of doors in a

1633
01:00:28.520 --> 01:00:29.778
landscape.

1634
01:00:29.779 --> 01:00:30.779
This is Basile.

1635
01:00:32.080 --> 01:00:33.798
And it recalled for Cézanne some of

1636
01:00:33.799 --> 01:00:35.659
the happiest times of his

1637
01:00:35.660 --> 01:00:37.539
life, hiking around

1638
01:00:37.540 --> 01:00:39.258
the river valley as a carefree

1639
01:00:39.259 --> 01:00:41.219
teenager with his fellow

1640
01:00:41.220 --> 01:00:43.179
schoolmates skinny

1641
01:00:43.180 --> 01:00:44.180
dipping.

1642
01:00:45.420 --> 01:00:47.798
After fixing up the composition a

1643
01:00:47.799 --> 01:00:49.039
dozen years later, and obviously

1644
01:00:49.040 --> 01:00:51.219
feeling it was satisfactory, Cézanne

1645
01:00:51.220 --> 01:00:52.899
made a color lithograph of it.

1646
01:00:56.630 --> 01:00:58.829
Having visited the south of

1647
01:00:58.830 --> 01:01:00.649
France around this

1648
01:01:00.650 --> 01:01:02.969
time, Paul Gauguin was a big admirer

1649
01:01:02.970 --> 01:01:04.469
of Cézanne's, describes him this

1650
01:01:04.470 --> 01:01:07.109
way, a man of the midi,

1651
01:01:07.110 --> 01:01:08.949
a man who spends his entire

1652
01:01:08.950 --> 01:01:11.129
days in the mountains reading Virgil

1653
01:01:11.130 --> 01:01:13.449
and looking at the sky.

1654
01:01:13.450 --> 01:01:15.289
Therefore, his horizons are sky,

1655
01:01:15.290 --> 01:01:16.969
his blues very intense, and the red

1656
01:01:16.970 --> 01:01:20.269
in the work has astounding vibrancy.

1657
01:01:20.270 --> 01:01:22.109
He said, just like.

1658
01:01:22.110 --> 01:01:24.048
Virgil, who has many meanings

1659
01:01:24.049 --> 01:01:25.548
and can be interpreted as one

1660
01:01:25.549 --> 01:01:27.629
wishes, his work has a

1661
01:01:27.630 --> 01:01:29.489
metaphorical sense with two

1662
01:01:29.490 --> 01:01:30.609
aims.

1663
01:01:30.610 --> 01:01:32.489
Its essence is imaginative

1664
01:01:32.490 --> 01:01:34.209
as it is realistic.

1665
01:01:35.410 --> 01:01:37.469
So this idea of Cézanne as

1666
01:01:37.470 --> 01:01:39.369
a kind of Provençal

1667
01:01:39.370 --> 01:01:41.229
Virgil, a poet dreaming up

1668
01:01:41.230 --> 01:01:43.629
fantasy landscapes in modern dress,

1669
01:01:43.630 --> 01:01:45.528
is an idea that generated images

1670
01:01:45.529 --> 01:01:47.028
that run all the way through

1671
01:01:47.029 --> 01:01:48.869
Cézanne's work from the start to the

1672
01:01:48.870 --> 01:01:49.989
finish.

1673
01:01:49.990 --> 01:01:51.559
And nude bathing is only part of it.

1674
01:01:52.870 --> 01:01:55.548
To show some of the variety,

1675
01:01:55.549 --> 01:01:57.829
the picture at the top left is

1676
01:01:57.830 --> 01:01:59.489
a bit of a mystery, but seems to

1677
01:01:59.490 --> 01:02:01.449
have three young men on

1678
01:02:01.450 --> 01:02:02.869
the riverbank, including Cézanne

1679
01:02:02.870 --> 01:02:04.369
himself, in the company of three

1680
01:02:04.370 --> 01:02:05.370
nude women,

1681
01:02:06.210 --> 01:02:08.089
real or imagined by

1682
01:02:08.090 --> 01:02:09.929
the men we don't know.

1683
01:02:09.930 --> 01:02:11.769
Below it, at

1684
01:02:11.770 --> 01:02:13.089
the bottom there, a little painting

1685
01:02:13.090 --> 01:02:14.989
has two contemporary men

1686
01:02:14.990 --> 01:02:16.909
and a doll -like

1687
01:02:16.910 --> 01:02:18.949
18th century girl, all of them

1688
01:02:18.950 --> 01:02:20.689
decorous.

1689
01:02:20.690 --> 01:02:21.608
At the right.

1690
01:02:21.609 --> 01:02:24.409
a young man daydreaming who

1691
01:02:24.410 --> 01:02:27.068
resembles his own 16 -year -old son,

1692
01:02:27.069 --> 01:02:29.048
Paul, maybe daydreaming

1693
01:02:29.049 --> 01:02:30.869
of the company he'd like to

1694
01:02:30.870 --> 01:02:33.169
be keeping, such as the foursome

1695
01:02:33.170 --> 01:02:34.769
at the top,

1696
01:02:35.970 --> 01:02:38.369
all classical poses derived

1697
01:02:38.370 --> 01:02:40.149
from ancient Greek and Roman

1698
01:02:40.150 --> 01:02:41.150
statues.

1699
01:02:43.069 --> 01:02:44.909
Some of his painted fantasies,

1700
01:02:44.910 --> 01:02:46.829
like the one at the bottom, connect

1701
01:02:46.830 --> 01:02:48.729
to a puzzling group of earlier

1702
01:02:48.730 --> 01:02:50.149
pictures we saw in the first lecture

1703
01:02:50.150 --> 01:02:52.108
with imaginary scenes of

1704
01:02:52.109 --> 01:02:54.009
violence and rape and murder.

1705
01:02:55.170 --> 01:02:57.489
Rather than being symptoms

1706
01:02:57.490 --> 01:02:59.369
of personality disorders, as

1707
01:02:59.370 --> 01:03:01.789
some critics used to feel,

1708
01:03:01.790 --> 01:03:03.789
these may well have been stimulated

1709
01:03:03.790 --> 01:03:05.709
by stories that he

1710
01:03:05.710 --> 01:03:08.129
read in

1711
01:03:08.130 --> 01:03:09.210
the contemporary,

1712
01:03:12.970 --> 01:03:15.169
well, Greek and Latin epics.

1713
01:03:15.170 --> 01:03:17.169
But there's also a

1714
01:03:17.170 --> 01:03:18.989
lot of explicit violence in

1715
01:03:18.990 --> 01:03:20.889
contemporary historical fiction by

1716
01:03:20.890 --> 01:03:22.568
Provençal writers.

1717
01:03:22.569 --> 01:03:24.429
So the connection doesn't seem far

1718
01:03:24.430 --> 01:03:25.909
-fetched.

1719
01:03:25.910 --> 01:03:28.409
In any case, let's now

1720
01:03:28.410 --> 01:03:30.289
return to

1721
01:03:30.290 --> 01:03:32.409
Cézanne's landscapes

1722
01:03:32.410 --> 01:03:34.389
of the 1880s and

1723
01:03:34.390 --> 01:03:35.390
end.

1724
01:03:36.029 --> 01:03:37.889
His wanderings in

1725
01:03:37.890 --> 01:03:40.129
the Provençal territory around X

1726
01:03:40.130 --> 01:03:41.130
So.

1727
01:03:43.590 --> 01:03:45.949
Cézanne's imaginations sometimes

1728
01:03:45.950 --> 01:03:48.189
to paint cabins

1729
01:03:48.190 --> 01:03:49.568
and farm buildings that were

1730
01:03:49.569 --> 01:03:51.608
abandoned or ruined,

1731
01:03:51.609 --> 01:03:53.329
but were sometimes still lived in.

1732
01:03:53.330 --> 01:03:55.068
They had a kind of old -fashioned

1733
01:03:55.069 --> 01:03:57.229
romantic allure for him.

1734
01:03:58.670 --> 01:04:00.508
Not far from the Bebemos

1735
01:04:00.509 --> 01:04:02.409
quarry is an even

1736
01:04:02.410 --> 01:04:03.749
stranger site.

1737
01:04:03.750 --> 01:04:05.568
It's the Chateau Noir,

1738
01:04:05.569 --> 01:04:07.489
hardly a chateau, but it's a big

1739
01:04:07.490 --> 01:04:09.429
country house perched up

1740
01:04:09.430 --> 01:04:10.739
above the valley.

1741
01:04:10.740 --> 01:04:12.579
built or being built for

1742
01:04:12.580 --> 01:04:14.439
a local businessman

1743
01:04:14.440 --> 01:04:16.399
some 40 years before and then

1744
01:04:16.400 --> 01:04:17.879
abandoned.

1745
01:04:17.880 --> 01:04:18.880
Never finished.

1746
01:04:20.759 --> 01:04:22.639
Cézanne prowled around making

1747
01:04:22.640 --> 01:04:23.939
drawings like that.

1748
01:04:25.040 --> 01:04:27.039
And here you see the

1749
01:04:27.040 --> 01:04:28.899
upper part of two buildings

1750
01:04:28.900 --> 01:04:30.839
made of that familiar orangey

1751
01:04:30.840 --> 01:04:32.798
reddish sandstone that we saw in

1752
01:04:32.799 --> 01:04:34.739
the quarry.

1753
01:04:34.740 --> 01:04:36.739
After Cézanne's father died and

1754
01:04:36.740 --> 01:04:38.599
his in -laws sold the

1755
01:04:38.600 --> 01:04:40.519
family property in Aix

1756
01:04:40.520 --> 01:04:43.358
-le -Jardin -Bouffon in 1889,

1757
01:04:43.359 --> 01:04:45.139
Cézanne tried to buy the Chateau

1758
01:04:45.140 --> 01:04:47.619
Noir, but couldn't.

1759
01:04:47.620 --> 01:04:49.439
As he moved around it, he

1760
01:04:49.440 --> 01:04:50.579
could see it.

1761
01:04:52.319 --> 01:04:54.298
looking like an actual

1762
01:04:54.299 --> 01:04:56.139
medieval ruin with neo

1763
01:04:56.140 --> 01:04:57.818
-Gothic pointed windows and a

1764
01:04:57.819 --> 01:05:00.419
massive structure beneath it,

1765
01:05:00.420 --> 01:05:01.420
built on cliffs,

1766
01:05:02.359 --> 01:05:04.079
on a steep slope.

1767
01:05:06.660 --> 01:05:08.679
cliffs above that were

1768
01:05:08.680 --> 01:05:10.739
thick with huge

1769
01:05:10.740 --> 01:05:12.380
pines and oaks and brush.

1770
01:05:13.819 --> 01:05:15.278
For Cezanne, the trees gave it a

1771
01:05:15.279 --> 01:05:16.119
spooky flavor.

1772
01:05:16.120 --> 01:05:17.879
So they were reaching out to finish

1773
01:05:17.880 --> 01:05:18.880
the job.

1774
01:05:19.819 --> 01:05:21.499
Having failed to buy the place, he

1775
01:05:21.500 --> 01:05:23.159
rented a room in what was left of

1776
01:05:23.160 --> 01:05:25.179
the building, this little stone

1777
01:05:25.180 --> 01:05:27.219
cabin at the top,

1778
01:05:27.220 --> 01:05:29.079
so he could stash his painting

1779
01:05:29.080 --> 01:05:30.539
equipment there.

1780
01:05:30.540 --> 01:05:32.339
And in the courtyard, there was an

1781
01:05:32.340 --> 01:05:34.318
elderly pistachio.

1782
01:05:34.319 --> 01:05:36.059
tree that he studied in one of the

1783
01:05:36.060 --> 01:05:37.919
most beautiful of his watercolors on

1784
01:05:37.920 --> 01:05:38.920
the left.

1785
01:05:39.480 --> 01:05:41.439
He set about exploring the

1786
01:05:41.440 --> 01:05:43.459
rocky grounds where, at

1787
01:05:43.460 --> 01:05:45.739
the right, there were

1788
01:05:45.740 --> 01:05:48.659
some relics of

1789
01:05:48.660 --> 01:05:50.539
earlier times. A big cistern in

1790
01:05:50.540 --> 01:05:52.298
the middle and a millstone at the

1791
01:05:52.299 --> 01:05:54.159
left, cylindrical

1792
01:05:54.160 --> 01:05:56.199
shapes that Cézanne often spotted in

1793
01:05:56.200 --> 01:05:57.200
the landscape.

1794
01:05:58.560 --> 01:06:00.439
Here's the cistern again

1795
01:06:00.440 --> 01:06:01.659
at the left.

1796
01:06:01.660 --> 01:06:03.519
Yeah, painting on the right,

1797
01:06:03.520 --> 01:06:04.520
I should say.

1798
01:06:05.120 --> 01:06:07.519
with a huge limestone boulder

1799
01:06:07.520 --> 01:06:09.258
that's landed between the red rock

1800
01:06:09.259 --> 01:06:11.258
of the ground and the steep slope

1801
01:06:11.259 --> 01:06:12.259
behind it.

1802
01:06:14.279 --> 01:06:16.239
Cézanne's composition must

1803
01:06:16.240 --> 01:06:18.139
have fed his thoughts about time

1804
01:06:18.140 --> 01:06:19.140
and sequence.

1805
01:06:20.240 --> 01:06:22.278
The cistern is a way for

1806
01:06:22.279 --> 01:06:24.239
humans, after all, to survive

1807
01:06:24.240 --> 01:06:26.479
in arid places.

1808
01:06:26.480 --> 01:06:28.239
At some point, that boulder at the

1809
01:06:28.240 --> 01:06:29.840
right invaded.

1810
01:06:32.270 --> 01:06:34.249
this little bit of empty

1811
01:06:34.250 --> 01:06:36.068
level ground, and

1812
01:06:36.069 --> 01:06:37.169
now it's as though we're almost

1813
01:06:37.170 --> 01:06:39.289
behind bars, confined,

1814
01:06:39.290 --> 01:06:40.529
restrained by the young trees.

1815
01:06:41.670 --> 01:06:43.629
The boulder stays put, the slender

1816
01:06:43.630 --> 01:06:45.629
trees all around go on

1817
01:06:45.630 --> 01:06:47.969
growing, and they have branches

1818
01:06:47.970 --> 01:06:49.909
that make sort of joyous

1819
01:06:49.910 --> 01:06:51.229
arcs of green.

1820
01:06:51.230 --> 01:06:52.590
There's an equilibrium here.

1821
01:06:54.009 --> 01:06:56.129
At the left you see

1822
01:06:56.130 --> 01:06:58.489
a view towards the rocky caves

1823
01:06:58.490 --> 01:07:00.649
above the chateau.

1824
01:07:00.650 --> 01:07:02.209
Good shot, say sounds.

1825
01:07:02.210 --> 01:07:04.389
studied in

1826
01:07:04.390 --> 01:07:06.869
oil paintings like this one.

1827
01:07:06.870 --> 01:07:09.209
His geologist and paleontologist

1828
01:07:09.210 --> 01:07:11.028
friend Marion had discovered, as I

1829
01:07:11.029 --> 01:07:13.008
mentioned, prehistoric relics

1830
01:07:13.009 --> 01:07:15.568
in caves nearby this.

1831
01:07:15.569 --> 01:07:17.789
And Cézanne, knowing their

1832
01:07:17.790 --> 01:07:19.449
ancient human history,

1833
01:07:20.450 --> 01:07:21.969
must have been even more attracted

1834
01:07:21.970 --> 01:07:24.129
to those rocks.

1835
01:07:24.130 --> 01:07:26.209
Here on the left, the trees

1836
01:07:26.210 --> 01:07:28.028
bend before the

1837
01:07:28.029 --> 01:07:29.709
overarching mass of rock.

1838
01:07:31.790 --> 01:07:33.629
moved in the past, you can see that

1839
01:07:33.630 --> 01:07:34.989
there are boulders at the bottom,

1840
01:07:36.109 --> 01:07:38.189
and let them grow tall and spread

1841
01:07:38.190 --> 01:07:39.710
their canopies and thrive.

1842
01:07:43.740 --> 01:07:45.639
At the right, I think one of the

1843
01:07:45.640 --> 01:07:48.339
greatest paintings of Cézanne

1844
01:07:48.340 --> 01:07:49.278
at all.

1845
01:07:49.279 --> 01:07:51.939
Here the colors are abbreviated

1846
01:07:51.940 --> 01:07:53.879
into large

1847
01:07:53.880 --> 01:07:55.739
translucent patches

1848
01:07:55.740 --> 01:07:57.439
like watercolor.

1849
01:07:57.440 --> 01:07:59.299
And the opposing forces,

1850
01:08:00.340 --> 01:08:02.179
rocks on one side, trees on the

1851
01:08:02.180 --> 01:08:03.959
other, are in equilibrium.

1852
01:08:05.540 --> 01:08:09.119
The curator Francois Cachin

1853
01:08:09.120 --> 01:08:10.979
quotes Henri Matisse.

1854
01:08:10.980 --> 01:08:11.980
Thanks for watching!

1855
01:08:12.980 --> 01:08:15.959
who owned this picture on

1856
01:08:15.960 --> 01:08:18.179
Cézanne's colors, Matisse wrote,

1857
01:08:18.180 --> 01:08:20.119
he applied some blue to

1858
01:08:20.120 --> 01:08:22.318
make his yellow sing,

1859
01:08:22.319 --> 01:08:24.459
but he used it with the discernment

1860
01:08:24.460 --> 01:08:26.339
that was characteristic of

1861
01:08:26.340 --> 01:08:28.379
Cézanne on every occasion,

1862
01:08:28.380 --> 01:08:30.699
him and him alone.

1863
01:08:30.700 --> 01:08:33.619
He had the great merit of

1864
01:08:33.620 --> 01:08:35.499
trying to give to his task

1865
01:08:35.500 --> 01:08:37.959
of painting its highest mission,

1866
01:08:37.960 --> 01:08:39.778
which is to make his

1867
01:08:39.779 --> 01:08:41.639
colors forces in a picture.

1868
01:08:43.200 --> 01:08:46.159
Forces, I mean, they certainly are.

1869
01:08:46.160 --> 01:08:48.679
You add to them the elemental drama

1870
01:08:48.680 --> 01:08:50.739
of what Cézanne chooses to

1871
01:08:50.740 --> 01:08:51.740
paint.

1872
01:08:53.550 --> 01:08:55.688
As the end, one example

1873
01:08:55.689 --> 01:08:57.989
of that drama,

1874
01:08:57.990 --> 01:08:59.528
Cézanne made a series of studies in

1875
01:08:59.529 --> 01:09:01.469
watercolor of various struggles, I

1876
01:09:01.470 --> 01:09:03.308
would say, between rocks and

1877
01:09:03.309 --> 01:09:04.309
trees.

1878
01:09:05.229 --> 01:09:07.129
The writer and biographer

1879
01:09:07.130 --> 01:09:09.249
of Cézanne, John Riewald,

1880
01:09:09.250 --> 01:09:11.369
tried to retrace Cézanne's

1881
01:09:11.370 --> 01:09:13.648
steps at the Chateau Noir

1882
01:09:13.649 --> 01:09:16.049
and took this photograph,

1883
01:09:16.050 --> 01:09:18.009
found some of the ledges and trees

1884
01:09:18.010 --> 01:09:19.728
that Cézanne had painted 30 years

1885
01:09:19.729 --> 01:09:20.729
before.

1886
01:09:22.450 --> 01:09:25.148
Another favorite subject,

1887
01:09:25.149 --> 01:09:27.308
object for study for Cézanne

1888
01:09:27.309 --> 01:09:29.309
had always been sculpture.

1889
01:09:30.769 --> 01:09:32.608
The more Baroque, the better, and

1890
01:09:32.609 --> 01:09:34.728
the more physically expressive the

1891
01:09:34.729 --> 01:09:35.849
figures.

1892
01:09:35.850 --> 01:09:37.888
Here at the left of the Louver is

1893
01:09:37.889 --> 01:09:40.009
an abduction seen by

1894
01:09:40.010 --> 01:09:41.709
a hero of Cézanne's, the great

1895
01:09:41.710 --> 01:09:44.148
sculptor Pierre Puget.

1896
01:09:44.149 --> 01:09:46.169
Cézanne made several drawings of

1897
01:09:46.170 --> 01:09:48.108
it, never too

1898
01:09:48.109 --> 01:09:50.149
old at the age of 40 to learn.

1899
01:09:51.580 --> 01:09:52.959
It's been suggested that for

1900
01:09:52.960 --> 01:09:54.799
Cézanne, these rocks

1901
01:09:54.800 --> 01:09:57.719
and slender pines,

1902
01:09:57.720 --> 01:10:00.138
these struggles in

1903
01:10:00.139 --> 01:10:02.138
extreme slow motion

1904
01:10:02.139 --> 01:10:04.518
of brute power and

1905
01:10:04.519 --> 01:10:06.558
slender beauty suggest

1906
01:10:06.559 --> 01:10:08.739
human entanglement through

1907
01:10:08.740 --> 01:10:10.638
the zigzag form of

1908
01:10:10.639 --> 01:10:12.719
the trees, like the limbs

1909
01:10:12.720 --> 01:10:13.720
thrown out,

1910
01:10:14.700 --> 01:10:16.840
the aggressors leaning back.

1911
01:10:18.160 --> 01:10:20.260
Nature, in other words, as struggle.

1912
01:10:24.660 --> 01:10:26.959
When he was well past 60,

1913
01:10:26.960 --> 01:10:28.799
working hard in the studio

1914
01:10:28.800 --> 01:10:31.039
at figure compositions and

1915
01:10:31.040 --> 01:10:32.638
going off to paint views of the

1916
01:10:32.639 --> 01:10:34.880
valley and distant mountains,

1917
01:10:35.900 --> 01:10:37.299
Cézanne would still come back to the

1918
01:10:37.300 --> 01:10:39.179
Chateau Noir and hike around

1919
01:10:39.180 --> 01:10:40.180
and paint.

1920
01:10:41.420 --> 01:10:43.539
He was stretching

1921
01:10:43.540 --> 01:10:46.159
his amazing powers of suggestion

1922
01:10:47.220 --> 01:10:49.279
and, you feel,

1923
01:10:49.280 --> 01:10:51.279
having intimations of

1924
01:10:51.280 --> 01:10:52.280
mortality. Thank you for watching.

1925
01:10:55.370 --> 01:10:57.209
We see

1926
01:10:57.210 --> 01:10:59.649
this even in the very last

1927
01:10:59.650 --> 01:11:01.529
works, this

1928
01:11:01.530 --> 01:11:04.009
sense of complete involvement

1929
01:11:04.010 --> 01:11:05.829
in

1930
01:11:05.830 --> 01:11:06.830
that landscape. Okay.

1931
01:11:08.950 --> 01:11:11.308
those living things against

1932
01:11:11.309 --> 01:11:13.249
those seemingly ageless

1933
01:11:13.250 --> 01:11:15.268
but doomed human

1934
01:11:15.269 --> 01:11:16.269
creations.

1935
01:11:20.750 --> 01:11:22.569
Please come back in two

1936
01:11:22.570 --> 01:11:24.388
weeks and see more

1937
01:11:24.389 --> 01:11:25.389
of what I mean.

1938
01:11:33.990 --> 01:11:35.970
from Champaign.