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?5 Answer in Detail
?5. #1 is correct- 1. Cézanne who thought
little of Van Gogh's painting.
" Honestly, your paintings is that of a madman."
 Cézanne painting sells for $50 million
 Van Gogh painting sells for $57 million
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INTRODUCTION
"Cézanne painting
sells for $50 million", reads the headline January 21, 1997 of issue
124 , Year 1 of ARTDAILY, THE FIRST
NEWSPAPER ON THE NET. The article goes on to compare what Ronald Lauder,
New York cosmetics tycoon, paid for the Cézanne's 'Still Life with
Flowered Curtain and Fruit', verses the price fetched from Walter Annenberg
to pay for the Van Gogh's 'Wheatfield
with Cypresses'. Out of the ordinary high prices. Out of the ordinary
art. Yet strangely, these almost equal prices are by two artists who did
not share equal respect for each other. It is interesting that such high
prices have been set into history for the artwork of two men that were both
painters; one of which held the other in highest esteem, that was Van Gogh's
feeling for Cézanne, while the other man, that is Cézanne,
thought that Van Gogh's art was that produced by a "madman". What
follows is a little exploration of this issue. |
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Van Gogh and Cézanne -
Have More in Common Than Selling For Millions-
" Honestly, your paintings is that of a madman."
- The time frame is around 1886, the place is Paris,
Pére Tanguy (Julien Francois
Tanguy (1825-1894) ran a little black shop, at 14 rue Clauzel, in Paris
where he sold tubes of colored paint, provided a worktable for artists,
displayed and dealt artist's work. Paint tubes being a newly invented way
to hold paint. (Paint tubes of tin were invented
in 1841. Before that pig bladders in the form of sacks used
to hold oil paint.) The invention of collapsible tin
tubes of paint made it possible for the Impressionists to
paint outdoors all day. ). In this way Tanguy as a dealer provided
more than just a place to buy supplies. Tanguy opened his shop in 1873
and had art work by Vignon, E. Bernard, Cézanne, and from
late 1886, Van Gogh's works were added. A competitor in the art supply
trade at that time was Gustave Sennelier. Sennelier would open a
year later in 1887, at 3 Quai Voltaire, Paris and begin selling "couleurs
a l'huile", along with high quality pastels, which Sennelier himself
made for Degas and also sold other art supplies. It is likely that Van
Gogh never purchased from Sennelier, although the time overlaps
by one year, that of 1887, aside from the fact that Van Gogh was loyal
to Tanguy; and left Paris for Arles in February of 1888. "It is not
hard to guess why Vincent finally took leave of Paris to go to the South.
His artist friends - in particular, Toulouse-Lautrec - must certainly have
sung the praises of the Midi, and cities such as Marseilles and Aix-en-Provence
were closely linked with the names of predecessors such as Monticelli and
Cézanne whom he admired.' from page 302 (Paris/Winter 1887-1888)
of 'The Complete Van Gogh - Paintings- Drawings- Sketches' by
Jan Hulsker. Van Gogh squeezed paint directly from his tubes onto the
canvas at times, and therefore quickly used up the tubes of paint.
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- CONTINUES . . . . . . . . . . . .
- " Honestly, your paintings is
that of a madman."
- "One afternoon when Cézanne
was over at Tanguy's , Vincent , who was there for lunch, met him. They
spoke together and, after talking about art in general, got around to discussing
their particular views. Van Gogh thought he could not do better to explain
his ideas than by showing his canvases to Cézanne and asking for
his opinion. He showed him several kinds: portraits, still lifes, and landscapes.
After inspecting everything,
Cézanne, who was a timid but violent person,
told him, " Honestly, your paintings is that of a madman."
It is true that Cézanne was a technician, concerned solely with
the abstract qualities of painting in the pursuit of a harmonious system
of color, and a stylist, striving simply for a few elegant formulas. Vincent, on the other hand, saw painting as a spiritual
means of expression, a literature of sorts, written in color
and lines. I think it is useless to argue at length how they were both
wrong. To be a master, a complete artist, all one has to do is unite the
two things that they were seeking separately."
from Emile Bernard, MERCURE DE FRANCE, "Julien Tanguy, Called Le
Pére Tanguy", November-December 1908.
"When the winter came he was
painting portraits, and portraits always broke down his determination.
He just let his brushes rip. One day, when he was with Emile Bernard,
he painted at one sitting the Pére Tanguy, who sold him his
colours. His brushwork was as clear-cut as sword-thrusts: he surrounded
old Tanguy's rough face with an even rougher kind of of Japanese wall-paper,
covered with masks, because Pére Tanguy also sold him Japanese prints.
Tanguy was no fool, and kept the picture, so Vincent painted him again
at home, even lighter, even more Japanese- what Vincent thought Japanese--even
flatter and bolder, though he wanted to be particularly careful the second
time.
From page 93, Vincent Van Gogh by Julius Meier-Graefe.
Cézanne also dismiss the
talent of other artists, for example here read what he has said about Gauguin:
" Though Cézanne dismissed Gauguin as a maker of "Chinese
images,", Gauguin himself was at certain moments able to assimilate
aspects of Cézanne's modeling to his more decorative style. by the
same token, the Fauve painters, open to the influence of both Post-Impressionists,
tended especially during the transitional period of the decline of Fauvism
to fuse elements of the two styles.", From footnote #57. , page 197
of an essay by William Rubin,"Cézannisme and the Beginnings
of Cubism", published with the catalogue 'Cézanne -
The Late Work', The Museum of Modern Art, New York, 1977.
Van Gogh and Cézanne Share Many
Things In Their Art
Van Gogh and Cézanne shared many things in their art. Their use
and choice of color often was similar, they both used broken contours in
their outlines of forms and shapes, and they both work from the same motifs.
The paint thickness was often heavy and opaque. Both artists loaded their
brushes, so that the "brush was wide and heavy with paint". Both
artists made several short strokes building up a weave to construct the
motif.
John Rewald writes; "Though Cézanne had previously often set
side by side several short strokes of the same tint, he now seemed to pick
up a different hue from his palette whenever he reloaded his brush, a brush
that was wide and heavy with paint, so that it could deposit large patches
on the canvas. These combine into an opaque surface on which they are so
densely assembled that they lose their individuality and become blotches
of indistinct shape. While they are put down with remarkable authority,
these blotches are interlocked so freely that the surface seems to be alive."
From footnote #51. , page 402 , note on Chateau Noir, from book
note by John Rewald, from "Cézanne catalogue raisonné",
published within the catalogue, Cézanne - The Late Work,
The Museum of Modern Art, New York, 1977.
- Worked from the same motifs:
- Vincent about the use of Cézanne motifs --
From a letter to Emile Bernard : Van Gogh writes: "Today
I have sent you nine more sketches based on painted studies. In this way
you will get to see motifs for the countryside that inspires Cézanne,
for the Crau in the vicinity of Aix is the same as around Tarascon and
the Crau here" (Letter B11)
From page 340 (Arles/July 1888) of 'The Complete Van Gogh - Paintings-
Drawings- Sketches' by Jan Hulsker,
- Worked with similar colors:
- Cézanne often used greens, violets, ochers, and blues, but van
Gogh used many similar greens, violets and ochers. Van Gogh is more often
noted for his use of blue and yellow. He loved blue and yellow together
and separately. Yellow held a special fascination for van Gogh. Van Gogh
writes: "A sun, all light that for want of a better word I can only
call yellow, pale sulfur yellow, pale gold lemon.How beautiful yellow is!"
from page 106, 'Van Gogh', by Jean Leymarie, 1986. Just remember
van Gogh lived in The Yellow House. Greens were from nature, but they were
also found in the drink absinthe. Van Gogh painted in 1886, an absinthe
bottle and a glass; which has in the upper top right, one lonely figure
walking away; perhaps a portrait of himself. Neither artist were heavy
on reds, although more occur in van Gogh's work.
- Broken contours:
- Both Cézanne and van Gogh used broken contours in their outlines
of objects; which wove them tighter to their surrounding space.
But more than these formal and habitual
things they shared deeper bonds, other points of focus and the ability
to hone in on the fascination of what ever it was that held their gaze.
Gombrich mentions both Cézanne and van Gogh and how photographs
juxtaposed with the actual paintings can differ in their artistic
intent and delivery.
This is a long quote, both worth the read;
"Historians of art have explored
the regions where Cézanne and van Gogh set up their
easels and have photographed their motifs. Such comparisons will always
retain their fascination . . . But however instructive such confrontations
may be when handled with care, we must clearly beware of the fallacy of
'stylization.' Should we believe the photography represents the 'objective
truth' while the painting records the artist's subjective vision - the
way he transformed 'what he saw'? Can we here compare 'the image of the
retina' with the 'image in the mind'? Such speculations easily lead into
a morass of unprovables. Take the image on the artist's retina. It sounds
scientific enough, but actually there never was one such image which
we could single out for comparison with either photograph or painting.
What there was was an endless secession of innumerable images as the painter
scanned the landscape in front of him, and these images sent a complex
pattern of impulses through the optic nerves to his brain. Even the artist
knew nothing of these events, and we know even less. How far the picture
formed in his mind corresponded to or deviated from the photograph it is
even less profitable to ask. What we do know is that these artists went
out into nature to look for material for a picture and their artistic wisdom
led them to organize the elements of the landscape into works or art of
marvelous complexity that bear as much relationship to a surveyor's record
as a poem bears to a police report." 'from page 404 within the catalogue,
Cézanne - The Late Work, The Museum of Modern Art, New York,
1977.
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- BIRTH & DEATH DATES: Cézanne born 1839 and died in 1906 / van Gogh born 1853 and
died in 1890
- END
Some related 
or internet
sites on Cézanne-
Paul Cezanne
at http://www.ndirect.co.uk/~nas/masters/cez/cez.htm
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- A beautiful site on Cezanne studio in Aix-en-Provence,
of the last five years of his life, in French:
- Atelier
Cezanne - Aix en Provence - France - visite de l'atelier- [Translate
this page ]
- ... Suite de la visite - Animation Flash - Parcours pictural
- Aix en Provence et Cézanne
- - Jeux - Plan du site - LIvre d'or - Aide - Tableaux de Cézanne
- Liens,
- http://www.atelier-cezanne.com/france/visites.htm - 10k - Cached
- [ More results from www.atelier-cezanne.com ]
- and some related or
internet sites on Van Gogh-
- BOOKS:
A related book 
- The Complete Van Gogh - Paintings- Drawings- Sketches by
Jan Hulsker,
Harrison House/Harry N. Abrams, Inc. , New York, Publishers
ISBN 0 -517-44867X
A related book -VAN GOGH- A retrospective, edited by Susan Alyson Stein
,
Park Lane, Publishers , 1986,
ISBN 0 -517-66122-5
A related book - Vincent Van Gogh by Julius Meier-Graefe
Blue Ribbon Books, Inc., New York City , 1933
before ISBN numbers
A related book -Cézanne - The Late Work, a catalogue with essay,
"Cézannisme and the Beginnings of Cubism" by William
Rubin
The Museum of Modern Art, New York, 1977,
ISBN 0-87070-278-5
A related book - Van Gogh, by Jean Leymarie,
Portland House, 1986
ISBN 0-517-62644-6
A related book - History of Color in Painting by Faber Birren
A Van Nostrand Reinhold Book, 1965
ISBN 0-442- 11118-5
A related book -Absinthe - History In A Bottle by Barnaby Conrad III,
Chronicle Books, San Francisco,1988
ISBN 0-87701-486-8 (pbk.)
concept, idea, and writing by Carol L. Sutton, January 21
to 28, 1997
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January 28, 1997 = date up on web
Update of www.vangogh-nuenen.com - 
June 13, 2005, August
21, 2005
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