Cézanne Portraits

Very good print quality, arrived very quickly, I just loved it .

Cezanne is my favourite artist. I fell in love with his work when l was 14 years old. I saw an exhibition in Newcastle at the Lainge gallery and was over powered by his scenes of the French countryside. I have prints in my bedroom. So that l wake up looking at them.

A really good read

I bought this having seen the exhibition in London. it was for a present and my friend to whom I gave it was really thrilled. it has all the pictures we had seen in the exhibition and narratives accompanying. Well worth buying.

Excellent reproduction of paintings

Lovely book. Great value as well

Great thnaks a lot

3月25日から始まったセザンヌの肖像画を集めた企画展の冊子。コンパクトで、一般書ながら持ち運びしやすい。印象派の作品を比較的多く収蔵する美術館が、プリンストン大学の専門家に委嘱して作成された企画展の解説書。流石に意外な指摘もあり、一読の価値あり。

Many of Cezanne's portraits, beautifully presented. Not one for focussing heavily on text, but this seems to be very well written and informative. The quality of printing is very pleasing, the portraits are generally full page, so you get a good look at this masters work. Very happy with this edition. Also check out Cezanne: Rocks and Quarries - outstanding.

Cezanne war ein Sonderling. Er mochte die Menschen nicht sonderlich, und doch! Immer wieder hat er die Präsenz dieser seltsamen Personen seiner näheren Umgebung, einschließlich seiner selbst, untersucht und in seinen Kosmos der Gegenwärtigkeit eingeordnet. Nichts wird beschönigt. Er schmeichelt nie. Und doch spürt man seine Anteilnahme und, so will mir scheinen, seine gewaltigen Emotionen, denen er beim Malen Ausdruck verleiht.

A beautifully written and produced book. I ordered it after seeing the exhibition at the National Portrait Gallery in London, and this catalog extended the learning and pleasure of my visit. The essays discuss the gradual development of Cezanne's approach to portraiture, the relationships he had with his sitters, and the significant influences on his life. Unlike many artists, Cezanne rarely used professional models and did not make portraits for paying clients. He did paint his family (his father, uncle, wife and son); friends (the writer Emile Zola, his dealer Ambroise Vollard, his major patron Victor Chocquet); and the men, women and children he knew in his native Aix-en-Provence. He also made a number of self-portraits, and we see the early versions in which he portrays himself as an uncouth almost sinister bohemian, the midlife versions where he looks more bourgeois, and the late versions which pitilessly track his physical decline. Art critics attacked Cezanne early in his career. Curator John Elderfield quotes some of them, and they sound much like the attacks that would later rain down on such Impressionists as Monet, Manet, and Renoir. Most surprising are the attacks on Hortense Fiquet, Cezzanne's wife and primary model. She is accused of not being beautiful, not smiling, and worse. Elderfield calls them "one of the more startling strains of misogyny in art history." They have no redeeming value, and it's too bad that, as Elderfield says, "the dehumanization and vilification of Hortense is generic to the Cezanne literature." The attacks on both Cezanne and Hortense demonstrate how artistic taste (and indeed all concepts of beauty) can be shaped by a herd mentality tied to a particular time in history. Today the Impressionists are almost universally admired, even loved. Cezanne is celebrated; his rigid, backward-looking critics are mere footnoted examples of folly. I would recommend this book as an enhancement of (not a substitute for) the actual exhibition. The show has closed in London and is now on at the National Gallery of Art in Washington (until July 1, 2018). Go see it, then buy and read the book.

Best art book actually