.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
拍品专文
These two Provençal scenes, Paysage avec pêcheur (recto) and Maison dans les arbres (verso), reveal Cezanne’s deep attachment to the region’s natural landscape as well as the refinement of his celebrated draftsmanship. While arboreal motifs occupied the artist throughout his career, Paysage avec pêcheur introduces a bucolic addition: a solitary fisherman set along the bank of a sleepy river. Bark, foliage, and flowing water are rendered through delicate tonal modulations, simultaneously creating spatial recession and capturing the distinctive luminosity of Provence, to which Cezanne returned in the late 1870s following frequent stays in Paris.
Despite areas of unworked paper in the upper portions of the composition, the surrounding forms envelop the scene through subtle contours and a remarkable suggestion of volume. Celebrating nature’s fecundity, the interlacing forms create the impression of an outdoor refuge. A branch extending over the figure and across the sheet poignantly recalls Cezanne’s oft-quoted reflection, as remembered by his friend, poet, and first biographer Joachim Gasquet: 'He loved trees. Toward the end, with his need for sustained solitude, an olive tree became his friend. The tree’s wisdom entered his heart. "It’s like a living being", he said to me one day. "I love it like an old colleague. I’d like to be buried at its feet.”' (quoted in: Cezanne, exh. cat., Philadelphia Museum of Art, 1996, p. 372).
Both the figure on the recto and the secluded house partially obscured by foliage on the verso evoke a quiet solitude coloured with peace - an atmosphere that speaks to the harmony of nature which envelops the human experience. At the same time, the precision of the spatial construction and the economy of means with which the scenes are articulated underscore a defining concern of this period in Cezanne’s oeuvre: a growing preoccupation with geometry and a rigorous command of line and form.
Despite areas of unworked paper in the upper portions of the composition, the surrounding forms envelop the scene through subtle contours and a remarkable suggestion of volume. Celebrating nature’s fecundity, the interlacing forms create the impression of an outdoor refuge. A branch extending over the figure and across the sheet poignantly recalls Cezanne’s oft-quoted reflection, as remembered by his friend, poet, and first biographer Joachim Gasquet: 'He loved trees. Toward the end, with his need for sustained solitude, an olive tree became his friend. The tree’s wisdom entered his heart. "It’s like a living being", he said to me one day. "I love it like an old colleague. I’d like to be buried at its feet.”' (quoted in: Cezanne, exh. cat., Philadelphia Museum of Art, 1996, p. 372).
Both the figure on the recto and the secluded house partially obscured by foliage on the verso evoke a quiet solitude coloured with peace - an atmosphere that speaks to the harmony of nature which envelops the human experience. At the same time, the precision of the spatial construction and the economy of means with which the scenes are articulated underscore a defining concern of this period in Cezanne’s oeuvre: a growing preoccupation with geometry and a rigorous command of line and form.