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But art history had determined that it was in the role of rebel that Manet would be cast, and so with reluctance he became the leader of a circle of dissident artists that included Claude Monet, Camille Pissarro, Pierre-Auguste Renoir,
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“He thought that all “painters must devote themselves entirely to the study of nature.” Whatever the question, Cézanne believed that Mother Nature would provide the answer. His query for her was quite specific: how could he transform “Impressionism into something more solid and enduring, like the art of the museums?”
― What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art
― What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art
“Given a farmyard to paint, one person might concentrate on the hens and another on the farmer’s wife.”
― What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art
― What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art
“It was a task to which his character—one part conservative, one part revolutionary—was peculiarly well suited. He considered the great Venetian painters like Titian to be superior to the Impressionists when it came to design, structure and form.”
― What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art
― What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art
“But the cantankerous Post-Impressionist chose to complicate matters further by also worrying about how he saw. He realized around 130 years ago that seeing is not believing: it is to question. It was a philosophical insight that links the end of the Enlightenment’s Age of Reason with the twentieth century’s Age of Modernism.”
― What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art
― What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art
“Cézanne, on the other hand, thought the Impressionists weren’t being sufficiently objective. He thought they lacked rigorousness in their pursuit of realism. His concerns were not dissimilar to those held by Degas and Seurat, who felt that the paintings of Monet, Renoir, Morisot and Pissarro were slightly flimsy; that they lacked structure and a sense of solidity. Seurat, we know, looked to science to help him resolve the issue: Cézanne turned to nature.”
― What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art
― What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern Art
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