A Guide to the Wrightsman Galleries at the Metropolitan by N. Y.) Metropolitan Museum of Art (New York

By N. Y.) Metropolitan Museum of Art (New York

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In Cezanne's painting of landscape, too, and sometimes of the human being, we recognize within the steadfast commitment to the visible that same distinctive distance from action and desire. In his contemplative view he seems to realize a philosopher's concept of aesthetic perception as a pure will-less knowing. But is not the style of ((knowing," ho\vever personal, shaped in part by the character of the objects of attention, their meaning and interest for the responding mind? True, he painted also landscapes, portraits and nudes \vhich are no less personal in conception than the still-lifes, but have quite other qualities that contradict the idea of Cezanne's mature art as always devoid of passion and concern.

It might have been influenced too by the classic images of the apple tree of the Hesperides with the serpent coiled around the trunk, as in the vase painting in 1:\ aples ( W. Roscher, Lexikon der griechischen und romischen l\1ythologie, I, 2, co1 . 2599 ) . The sexual symbolism of the apple as well as of the serpent in the Fall of :Man was asserted in the 1 7th century in the once prohibited book of Adrian Beverland, De pec­ cato originali, London 1679, pp. -a work that contains interesting anticipations of psychoanalytic ideas.

Pencil Drawing, 6'Vs" x 9". Cincinnati Art Museum, Gift of E mily Poole . Fig. 1 7 Cezanne : The Bathers 1 898-1905 . 82" high . Ph iladelph ia Museu m of Art. Fig. 18 Cezanne : Homage to Woman or L'Eternel Feminin, 1875-77. 17" high . Col lection Haro ld Hecht, New York. Fig. 19 Cezanne: Apotheosis of Delacroix, 1873-77. 10Y2" high. Co llection R. Leco mte, Paris. CEZANNE 31 ject typical relations of human beings as well as qualities of the larger visible world-solitude, contact, accord, conflict, serenity, abundance and luxury-C\:nd ev� n states of elation and enjoyment.

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