добавлю более поздний диалог. Картина 1881 года Сезанна хранится в музее изобразительных искусств Бостона. Первое имя в описании этой работы - Писсарро
During the 1870s, Cézanne admired and worked closely with Camille Pissarro, one of the most innovative Impressionist landscape painters. In comparison to Pissarro's more straightforward views of the countryside, this bold landscape shows Cézanne's interest in complex arrangements of shapes and spaces that challenge the viewer's perceptions. In this painting, for example, the curving roadway draws us into deep space and at the same time forms a flattened shape on the surface of the painting.
А вот работа Писсарро 1880 года (на год раньше Сезанна), картина была продана на аукционе Сотбис три года назад. Первое имя в описании - Сезанн.
Rue de village à Auvers exemplifies both the exchange between the two artists and their very independent approaches. Cézanne depicted the same view in his painting La Route tournante, although his viewpoint is further back than Pissarro’s, allowing for a more ranging panorama. The motif of the turning road was important to both artists at the time, as Joachim Pissarro writes: ‘Other sets of pictorial concerns shared by the two artists include an exploration of the tension between receding spaces and foregrounds, and the visual tension that results from the opposition between a turning road or a lopsided vantage point and the plane surface of the painted canvas. In all these works, the precepts of early Impressionism receive a new inflection. It also offers an apt metaphor for the new directions of their art’.
Stylistically the two works also illustrate the exchange of ideas between the artists. Pissarro’s inspired handling of the pastel medium in Rue de village à Auvers echoes his canvases of the period, in which he often adopted his fellow artist’s technique of using individual parallel brushstrokes. However, whilst Cézanne’s strokes are predominately downwards, Pissarro revels in brushstrokes that seem to proliferate in multiple directions; equally, where Cézanne’s palette is made up of subdued greens and browns, Pissarro uses vivid blues and yellows. The result is a completely different effect; in comparison to his companion, Pissarro retains a far more Impressionist immediacy, brilliantly conjuring the blustery liveliness of a sunny day.
Подборки Писсарро с аукционов
Переписка Писсарро с сыном