Show Cézanne Milan

Milan, from 20 October 2011 to the 26 February 2012

A tribute to the great teacher originally from Aix-en-Provence and its unique way of painting which had much influence on artists of the later movements such as Cubism and Surrealism.

The first works, the magnificent portraits, landscapes, The famous still lifes, until the last extraordinary paintings of the early twentieth century: approximately forty works, from major international museums including the Musée d'Orsay, He Petit Palais, Tate, l’Hermitage e la National Gallery di Washington.


The exhibition

Entering the studio of Paul Cezanne means penetrating deep into his creative process.
Within the study has its origin history, cross biological life and the life of dreams; His work draws on the drive through knowledge. His feelings, the perception, reflection are sublimated; his poetry is developed and fully realized.
For those who, as the master of Aix, devoted their whole lives looking pictorial, space where the focus and work is a fundamental dimension, a real “place of the mind and memory”, yes that is the space within which the artist defined his work reinforces and builds his compositions, but at the same time identifies himself with a dimension of mind in which the motif or the natural world, his Provence, symbolically represented by the mountain Sainte Victoire, is incorporated in its essence and transformed into an image.
In this great, ideal and extraordinarily unique “Workshop of the South” Cezanne processes and develops the fundamental directions of modern art is relative to a line of continuity with the great tradition and in relation to the renewal of the avant garde, for which his silent and dogged research will be an indispensable reference.

Just look at the portraits on the fly in order to understand the character of Cézanne: hard, stubborn, determined. In the physical and character, resembles the outline of the mountain of Sainte-Victoire, his favorite scene: stubbornly true to itself, property before the change of times and seasons, yet able to grasp the subtle variations of light, to understand reasons and geometries, to measure with any quiet space.
In his unshakable consistency, Cezanne had a fight with all: friends, letters, painters. It looks out over Paris, but he loved, preferring a narrow and simple circuit of familiar places; flaunted by the Impressionists preferred cigars to the patience of the pipe, dances to a game of cards in the village bar, the local parks of Montmartre and the Seine a simple country house immersed in nature.
In his rocky solitude out of fashion, Cezanne is certainly the greatest painter of his generation and conscious.

He understood everything: the light and the color, the shape and the design, perspective and freedom. He jumped at the limit of Impressionism, the downward spiral of a movement that was mirroring itself, risk of not finding opportunities and developments; returned to a deep sense “Art History”, recovering feared, masters and compositions that were deemed too quickly outdated; anticipated in a striking avant-garde movements of the early twentieth century with statements and dry lightning, but above all with pictures of a disconcerting modernity.
In a life framed by the stately provincial bourgeoisie, Cézanne builds virtually only the art of the twentieth century. His is a superior, in the sense of ability to understand the rules of art, take them apart one by one and reassemble them in new ways, extraordinarily effective.
Away from the spotlight of the City of Lights, and only marginally from the attention of critics lapped, Cézanne keeps the profile of a “craftsman” Painting. Only after his death, when given a retrospective exhibition tributata, young painters such as Picasso and Matisse understand the debt of a great teacher, rather, against a “classic” which gives a new meaning to the whole course of modern art.


Texts and images taken from the official site: