Pictorial Space throughout Art History: Cézanne and ... - ARAS
Pictorial Space throughout Art History: Cézanne and ... - ARAS
Pictorial Space throughout Art History: Cézanne and ... - ARAS
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<strong>ARAS</strong> Connections Issue 2, 2012<br />
drawn much larger than the laws of perspective would allow. These distortions<br />
help to relate the planes within the picture to the overall picture plane.<br />
In the <strong>Cézanne</strong> the<br />
plane of the white rocks pull<br />
down, right <strong>and</strong> forward<br />
against the plane of the<br />
light-green trees which pulls<br />
in the opposite direction.<br />
The house <strong>and</strong> trees are<br />
enlarged so that they come<br />
forward towards the picture<br />
plane, as does the sky<br />
because of its intense blue<br />
color. The foreground, with<br />
its subdued coloring, is<br />
pushed down <strong>and</strong> flattened.<br />
Both these<br />
l<strong>and</strong>scapes are structured, not by the extrinsic dem<strong>and</strong>s of representation <strong>and</strong><br />
perspective, but by the intrinsic limits of the flat rectangular surface.<br />
Like the l<strong>and</strong>scape by Canaletto, <strong>Cézanne</strong>'s l<strong>and</strong>scape portrays a real<br />
scene, but <strong>Cézanne</strong>'s painting seems more alive <strong>and</strong> vigorous than Canaletto's<br />
because it is also related to its own internal structure.<br />
Plate 13-2 Paul <strong>Cézanne</strong>. French. The House<br />
with the Cracked Walls. 1892-94. Copyright<br />
2000-2009 The Metropolitan Museum of <strong>Art</strong>,<br />
New York.<br />
The images in this paper are strictly for educational use <strong>and</strong> are protected by United States copyright laws. 57<br />
Unauthorized use will result in criminal <strong>and</strong> civil penalties.
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