La investigación que sigue aborda el problema del modelo y su lugar en la producción artística moderna. Se localiza, particularmente, en el momento en que la pintura se hace partícipe de la crítica de la representación y su relación con el mundo visible se vuelve marcadamente problemática. Esto es, fines del siglo XIX y principios del XX. Esta tesis toma por motivo un momento crucial en ese contexto histórico como es la obra de Cézanne y la lectura interpretativa de la misma a la luz del problema del modelo. En este sentido lo que pone a operar es la noción de modelo y su rol, tanto en la producción pictórica de Cézanne, como en las interpretaciones que la toman como referente para producir a su vez un modelo de comprensión de la pintura moderna, que se habría desarrollado a partir de las fórmulas cezanneanas.

A Dissertation Submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, for the Degree of Master of Arts. / This dissertation examines Paul Cezanne's still-lifes and proposes that the interpretation of meaning in these works depends upon the analysis of their stylistic elements. In Chapter 1 it is argued that the relationship between meaning and interpretation in the discipline of Art History is a complex one. An examination of the recent theoretical literature offers valuable insights into the ways in which art historians have assessed this relationship and the ramifications not only for the discipline, but for the Interpretation of Cezanne's still-lifes. The different ways in which scholars have interpreted Cezanne's oeuvre (particularly in relation to formalist approaches) are examined in the overview of the Cezanne literature in Chapter II. It is suggested that the existing body of interpretations in the literature forms an important part of a work's meaning and that therefore, the meaning of Cezanne's still-lifes should not be considered in an historical vacuum. furthermore, it is argued that the formalist interpretation of Cezanne's still-lifes warrants reevaluation, In Chapter III selected still-lifes are analyzed. The traditional art: historical dichotomy, reflected in the Cezanne literature, between 'form' and 'content', is challenged, The genre of still-life is contextualized in relation to Cezanne's other genres to substantiate the notion of a 'drama of style' evident in the still-lifes. It is argued that a stylistic approach to the still-lifes reveals both the importance of style in the interpretation of meaning in the still-lifes and the notion of artistic process evident in these works. / Andrew Chakane 2018

During the last half of the nineteenth century, a remarkable number of European artists were influenced by Japanese art and culture, a trend which has been labelled "Japonisme." Among the major Post-Impressionist artists, Paul Cezanne (1839-1906) alone has been viewed as untouched by this influence, largely because of the strong three-dimensional quality of his art. This study provides a reassessment of the issue of Cezanne and "Japonisme" by concentrating on the flat, two-dimensional aspect of his art. The development of Cezanne's conceptualized and schematized treatment of the Mont Sainte-Victoire theme is considered both formally and iconographically in relation to the image of Mt. Fuji by the influential Japanese printmaker, Katsushika Hokusai (1760-1849). Illustrating that Cezanne's path toward Modernism in painting may have been influenced by the Japanese print, and particularly the art of Hokusai, this study leads to a more profound understanding of Cezanne's development and the ideographic language of his images of Mont Sainte-Victoire.

In what is usually referred as Merleau-Ponty´s ”early philosophy” the concept of the primordial is of major significance in relation to his ambition to ground the philosophical reflection in human embodiment. The concept plays a key role in his understanding of the paradoxical nature of perception and thus in Merleau-Ponty's endeavor to overcome both the idealist and the realist conceptions of reality. The concept is also of great importance in the essay Cézannes Doubt, which Merleau-Ponty wrote during the same period he was working on Phenomenology of Perception. According to most interpreters this essay mirrors his early philosophy, and above all the phenomenological way of doing philosophy. In the essay Merleau-Ponty suggests that the essential importance of Cézanne's paintings lies in their ability to capture the world at a primordial level. Merleau-Ponty's interpretation has also been subjected to critique from Véronique M. Fóti and Michel Haar. A common characteristic of their critique is that it questions the relationship that Merleau-Ponty seeks to establish between a primordial experience of perception and Cézanne's paintings. From both Haar's and Fóti's point of view Merleau-Ponty's analysis is inadequate because he does not sufficiently take the autonomy of the painterly expression into consideration. This critique reflects a broader critique that has been launched against Merleau-Ponty's early philosophy which considers his understanding of the impact of culture and language as naïve in his use of concepts like primordial. Consequently, the critique raises the question how the concept of the primordial really is to be understood? A point of departure for understanding this concept lies in the paradox of perception, that is: the impossibility to conceive of a thing in itself since the existence of the perceived thing always presuppose a subject that perceives. This paradox can also be understood as a paradox between nature and human beings since natures path to disclosure goes through human expression.  Accordingly, the aim of this essay is to explore how one is to conceive of Merleau-Ponty's interpretation of Cézanne's paintings as the expression of a primordial experience of perception in the essay Cézanne's Doubt. This will be done against the background of his early philosophy as expressed in The Structure of Behavior and Phenomenology of Perception and take as it departure how the concept of the primordial is related to the paradox between human beings and nature.

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Made available in DSpace on 2016-03-15T19:44:45Z (GMT). No. of bitstreams: 1 Ana Carolina Rigoni Carmo.pdf: 5350162 bytes, checksum: 3d2c0d97c44ff65ec347b46761a52e8d (MD5) Previous issue date: 2014-11-27 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / La correspondance du peintre français Paul Cézanne (1839-1906) a été publiée pour la première fois en 1937. Il s'agit d'un ensemble de 207 lettres réunies par le chercheur John Rewald. Au long des années, elle a été révisée, retranscrite et de nouvelles lettres ont été découvertes. Cette compilation respectait une organisation chronologique en trois périodes : lettres de jeunesse, écrites entre 1858 et 1870 ; lettres datant de l'époque impressionniste jusqu'à la rupture avec Émile Zola, de 1872 à 1890 ; et lettres adressées à de jeunes amis portant sur la peinture, de 1894 à 1906. La présente étude propose une nouvelle approche des écrits de Cézanne : l'analyse du contenu des lettres et leur réorganisation. Nous identifions trois axes principaux, dont le concept de liberté est le fil conducteur. Le premier concerne les lettres où les questions familiales et leur répercussion dans l'activité professionnelle du peintre sont exposées. Ces écrits tissent l'histoire personnelle de Cézanne, avec ses difficultés matérielles et de carrière ; carrière d'ailleurs qu'il cogite abandonner à plusieurs reprises. Le deuxième temps comprend les lettres révélant les changements de l'art du XIXe siècle. Dans ce groupe, plusieurs textes témoignent le refus répété de Cézanne de participer aux salons organisés par la Société des Beaux Arts, tandis que d'autres encore dévoilent le mouvement des peintres de l'époque - les dénommés impressionnistes - proposant d'organiser un contrepoint à l'art établi, dont les bases étaient néoclassiques. Le troisième axe concerne le rapport de l'artiste à la nature. La peinture en plein air, si chère à l impressionnisme, le lie au paysage d'une telle façon qu'il devient son principal point d'orientation. Les difficultés et les déceptions avec le produit de son travail sont aussi représentées dans ces écrits. L'analyse de la correspondance de Cézanne élucide des conflits dans la vie personnelle du peintre, décrit sa vision esthétique appliquée à la nature et donne plusieurs indices du contexte artistique et historique de la France à la fin du XIXe siècle. Le peintre n'arrive pas à ébaucher une théorie de l'art à proprement parler, dans la mesure où lui-même affirmait que la spécialité de l'art ne se reposait que sur le seul usage du pinceau. Ses lettres composent, cependant, un panorama subjectif et culturel intéressant qui vient enrichir l'étude de l uvre d'un des peintres les plus marquants du XXe siècle. / A correspondência do pintor francês Paul Cézanne (1839-1906) foi publicada inicialmente em 1937, com 207 cartas, coletadas pelo pesquisador John Rewald. Ao longo do tempo, ganhou revisões, alterações na transcrição, assim como novas epístolas foram descobertas. A compilação dividiu os documentos de forma cronológica, em três etapas: cartas da juventude, escritas no período de 1858 a 1870; da época impressionista à ruptura com Émile Zola, de 1872 a 1890; cartas a jovens amigos, cartas sobre a pintura, de 1894 a 1906. O presente trabalho foi construído a partir de um novo enfoque dos escritos de Cézanne: a análise dos conteúdos das cartas e sua consequente reorganização. Na pesquisa, foram identificados três eixos principais, que empregam o conceito de liberdade como fio condutor. O primeiro diz respeito às cartas que expõem questões familiares e as respectivas repercussões na atividade profissional. Tais escritos constroem a história pessoal de Cézanne, com suas dificuldades materiais e aquelas relativas à carreira, da qual inúmeras vezes pensou em desistir. O segundo tema engloba correspondências que revelam as mudanças na arte do século XIX. Muitas relatam as constantes recusas de Cézanne nos salões promovidos pela Sociedade de Belas Artes, outras abordam o movimento dos pintores da época nomeados Impressionistas - de organizar um contraponto à arte estabelecida, baseada no neoclassicismo. O terceiro eixo refere-se à relação do artista com a natureza. A pintura ao ar livre, tão cara ao impressionismo, aproximou-o da paisagem de tal forma, que passou a vê-la como norte absoluto. As dificuldades e decepções com o produto do trabalho também são expressas nos escritos. A análise da correspondência de Cézanne elucida conflitos da vida pessoal, descreve sua visão estética aplicada à natureza, além de indicar o contexto artístico e histórico da França no fim do século XIX. O pintor não chega a esboçar uma teoria da arte, pois afirmava que sua especialidade residia apenas no uso do pincel. Porém, suas cartas compõem um interessante panorama subjetivo e cultural, que enriquece o estudo da obra de um dos pintores de maior impacto no século XX.

Between the outbreak of World War I and the mid-1930s, the best-selling and most widely read book on the topic of modern art in Germany was written by the art historian Fritz Burger (1877–1916). Burger is now all but forgotten in the art historiography of the period and absent in the English literature. This thesis provides the first English interpretation of Burger's major works and seeks to locate his art historical method in relation to then-contemporary intellectual streams. Trained in the late 19th century, Burger largely rejected the cultural-historical studies and theories of stylistic development and embraced an artistic-critical model forwarded by neo-Kantians like Adolf Hildebrand and Konrad Fiedler. Beginning with Burger's texts Cézanne und Hodler (1913) and Einführung in die Moderne Kunst (1917), I examine the conceptual underpinnings of these works with particular attention to Burger's notions of color, artistic cognition and philosophical speculation. I consider Burger's written output as the compliment to his hands-on pedagogical technique at the University of Munich, his involvement with the Munich avant-garde and friendship with the artist Wassily Kandinsky. Burger's work is a rare and early attempt to write about contemporary art as an historical document but without recourse to artistic biography or cultural milieu as interpretive tools. / text

This thesis provides a critical analysis of the literature concerning the relationship, both artistic and personal, between Paul Cezanne and Paul Gauguin. It proceeds from the popular belief that Cezanne harbored an excessive amount of ill will towards Gauguin. Examination of the sources upon which this belief is based prove them to be controversial and conflicting, yet the myth of Cezanne's animosity towards Gauguin is still widely accepted, effectively obscuring the more positive, creative aspect of their interaction. In the assessment of this relationship, Camille Pissarro emerges as a pivotal figure because of his close ties to both artists. It will be shown that Gauguin found in Cezanne's art concepts which were germane to his own artistic practices and theoretical directions. The later Symbolist interpretation of Cezanne reflects the dissemination of Gauguin's teachings about the artist and reveals that, in some measure, Gauguin was responsible for the critical acclaim Cezanne was to receive in his final years.

Submitted by Marilene Donadel (marilene.donadel@unioeste.br) on 2018-09-06T21:08:20Z No. of bitstreams: 1 Bruna_Retameiro_2018.pdf: 1499096 bytes, checksum: eb6da56ebdbd87a5eb022705e664901a (MD5) / Made available in DSpace on 2018-09-06T21:08:20Z (GMT). No. of bitstreams: 1 Bruna_Retameiro_2018.pdf: 1499096 bytes, checksum: eb6da56ebdbd87a5eb022705e664901a (MD5) Previous issue date: 2018-06-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation in question intends to present Merleay-Ponty and Cézanne’s piece of work, from selected texts and paintings, that show the philosopher’s and the artist’s advances, about the perceived world and its pre-reflective feature. As theoretical foundation we will be using Phenomenology of Perception, which is Merleau-Ponty’s piece of work regarding this thematic, as well as his essay about the painting and its contribution as a phenomenological achievement. Merleau-Ponty questions classical theories about the perception and criticizes them in many aspects, but mainly by the mind-body dichotomy, reason and sensation, subject and object. For him, the classical theories, mainly rationalism and empiricism, influenced by the scientism from that time, reduced the world to interpretations. He tries to get back to the previous world of science and reflection, from which these are formed. Studying Merleau-Ponty’s piece of work about the perceived world, we have noticed that the painting is a frequent subject, to which the philosopher always comes back. From that, the main problem of this dissertation consists in trying to understand the following question: how does Cézanne’s painting come to be an expression of this returning to a pre-reflective world? Since his thoughts about the questions of perception change in some aspects during his work, the painting has always followed him in these changes, considering Cézanne’s doubt, Indirect language and the voices of silence, Eye and mind, each one of them written in a different period of his life and thoughts. Merleau-Ponty attributes to the painting, and especially the artist Paul Cézanne’s piece of work, the ability to express what, until then, was silence and to become visible what was thought to be invisible in perception. It is to the pre-reflective world that, still in a wild state, Merleau-Ponty intends to return through phenomenology and, according to him, this is the world that Cézanne paints. / A referida dissertação pretende apresentar as obras de Merleau-Ponty e de Cézanne, a partir de textos e pinturas selecionadas, que indiquem os avanços do filósofo e do pintor, acerca do mundo percebido e seu caráter pré-reflexivo. Como fundamentação teórica, nos reportaremos à Fenomenologia da percepção como principal obra de Merleau-Ponty no que tange a temática em questão, nos munindo também, de ensaios do filósofo sobre a pintura e a contribuição desta como um empreendimento fenomenológico. Merleau-Ponty questiona as teorias clássicas sobre a percepção e as critica em diversos aspectos, mas principalmente pela dicotomia corpo e mente, razão e sensação, sujeito e objeto. Para ele, as teorias clássicas, principalmente o racionalismo e o empirismo, influenciadas pelo cientificismo da época, acabaram por reduzir o mundo a interpretações. O que o filósofo almeja é retomar o mundo anterior ao da ciência e da reflexão, a partir dos quais estes se formam. Ao percorrer as obras de Merleau-Ponty sobre a questão do mundo percebido, notamos que a pintura é um assunto recorrente, ao qual o filósofo sempre volta. A partir daí o problema principal desta dissertação consiste justamente em tentar compreender a seguinte questão: como a pintura de Cézanne pode ser uma expressão desse retorno a um mundo pré-reflexivo? Ainda que seu pensamento sobre a questão da percepção mude em alguns aspectos ao longo de suas obras, a pintura sempre o acompanhou nessas mudanças, haja vista os ensaios A dúvida de Cézanne, A linguagem indireta e as vozes do silêncio, O olho e o espírito, cada qual escrito em um período diferente da vida e do pensamento do filósofo. Merleau-Ponty atribui à pintura e, principalmente, aos trabalhos do pintor Paul Cézanne, a habilidade de expressar o que até então era silêncio e tornar visível o que se acreditava invisível na percepção. É ao mundo pré-reflexivo, ainda em estado selvagem, que Merleau-Ponty pretende retornar através da fenomenologia e, para o filósofo, é este mundo que Cézanne pinta.

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