"La prima lettera di Cézanne che conosciamo si apre con un'immagine della pioggia e della primavera. L'ultima (se si esclude la nota di sollecitazione a un venditore di colori) inizia accennando alla pioggia e all'autunno. Tra le espressioni scherzose della prima, percorse da un'allegra, ironica compiacenza retorica, e quelle dell'ultima, secche e disadorne, dirette a una comunicazione senza convenevoli, c'è uno spazio di quasi cinquant'anni. Cézanne non cercava biografie ("credevo che si potesse fare della buona pittura senza attirare l'attenzione sulla propria vita privata... L'uomo deve rimanere nell'ombra" scrive nel 1896 a Gasquet) e probabilmente pensava per le proprie lettere a un unico, privato destinatario, circostanza questa a cui dobbiamo, negli anni della maturità, la loro straordinaria asciuttezza, la loro assoluta mancanza di letteratura. Eppure queste carte si possono leggere come un diario psicologico dell'artista, tanto più rivelatore quanto più involontario e inconsapevole: una testimonianza di quel passaggio dall'eccedenza alla contrazione che si riconosce nella sua pittura e si intuisce nella sua vita. Per questo, in molti punti, diventano quasi una didascalia indiretta dei dipinti." (Elena Pontiggia).
Paul Cézanne was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cézanne can be said to form the bridge between late 19th century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. The line attributed to both Matisse and Picasso that Cézanne "is the father of us all" cannot be easily dismissed.
Cézanne's work demonstrates a mastery of design, colour, composition and draftsmanship. His often repetitive, sensitive and exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields, at once both a direct expression of the sensations of the observing eye and an abstraction from observed nature. The paintings convey Cézanne's intense study of his subjects, a searching gaze and a dogged struggle to deal with the complexity of human visual perception.
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.