Revered and misunderstood by his peers and lauded by later generations as the father of modern art, Paul Cézanne (1839-1906) has long been a subject of fascination for artists and art lovers, writers, poets, and philosophers. His life was a ceaseless artistic quest, and he channeled much of his wide-ranging intellect and ferocious wit into his letters. Punctuated by exasperated theorizing and philosophical reflection, outbursts of creative ecstasy and melancholic confession, the artist’s correspondence reveals both the heroic and all-toohuman qualities of a man who is indisputably among the pantheon of all-time greats.
This new translation of Cézanne’s letters includes more than twenty that were previously unpublished and reproduces the sketches and caricatures with which Cézanne occasionally illustrated his words. The letters shed light on some of the key artistic relationships of the modern period—about one third of Cézanne’s more than 250 letters are to his boyhood companion Émile Zola, and he communicated extensively with Camille Pissarro and the dealer Ambroise Vollard. The translation is richly annotated with explanatory notes, and, for the first time, the letters are cross-referenced to the current catalogue raisonné. Numerous inaccuracies and archaisms in the previous English edition of the letters are corrected, and many intriguing passages that were unaccountably omitted have been restored. The result is a publishing landmark that ably conveys Cézanne’s intricacy of expression.
Alex Danchev was Professor of International Relations at the University of Nottingham, and a long-standing friend of the Tate in London, where he has been a member of the Acquisition Committee of the Patrons of New Art.
His interests wandered across the borders of art, politics, and military history although his focus is chiefly biographical.
His biography of the philosopher-statesman Oliver Franks (Oxford University Press, 1993) was on the Observer's 'Books of the Year' and his biography of the military writer Basil Liddell Hart (Weidenfeld & Nicolson, 1998) was listed for the Whitbread Prize for Biography and the Samuel Johnson Prize for Non-Fiction.
His unexpurgated edition of the Alanbrooke Diaries (Weidenfeld & Nicolson, 2001) was listed for the W.H. Smith Prize for Biography. In 2009 he published On Art and War and Terror, a collection of essays on the most difficult issues of our age and, in particular, the nature of humanity in times of conflict.
During his lifetime, Cezanne had already become fabled, one critic in 1894 describing him as "a man who has lived and lives a fine interior novel, haunted by the demon of art." Now, more than a century after his death, this scrupulously-produced book brings to life the man in harmony with the genius. Until their falling out in 1886 most of the letters are to Emile Zola, and this portrait of a great friendship is utterly captivating. Other addresses include Impressionists Pissarro and Monet, and many writers and artists notable in their day, as well as anonymous colour merchants and whatnot. Family letters allow us into the inner sanctum of the painter's life, and there are two letters written by Cezanne's wife, Hortense, that challenge the unflattering picture of this woman that has germinated over the years. Thames & Hudson are to be congratulated for the care that has gone into this magnificent volume; binding and paper exquisite, illustrations chosen with intelligence, and reproductions of the actual letters that go as far as possible towards placing them in our hands. This is the kind of publication that argues strongly for the continued existence of the book as artefact.
This compilation brings me closer to the artist I wish was here with me today. I would have loved to be his friend, and these letters helped me enjoy that fantasy.
These letters paint an insightful portrait of Cezanne in his life-long pursuit of self-expression. They are beautifully translated, and conveyed through wonderful nineteenth eloquence and candid and occasionally humorous phraseology. The different tones of youth, middle age and old age give dimension to the journey of the artist.
Had the undesired effect of slightly reducing my admiration for one of my favourite artists and in many ways I wish I hadn't read these letters. He was a bit of a blowhard. On the other hand, my admiration for Zola went up and up.