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Cezanne as a "decorative" painter

University of British Columbia

The thesis focuses on a significant, but neglected aspect of Cezanne's oeuvre: the relationship between Cezanne's paintings and the decorative aesthetic of the 1890s. Since the meaning of the term "decorative" underwent significant changes during the last quarter of the 19th century and the first decade of the 20th century, particular attention is paid to problems of definition in Chapter I, Part 1. This section shows that the definition of what was "true" decoration, and the increasing emphasis on decoration, were related to the process of revitalization of the industrial and decorative arts in France. Chapter I, Part 2 establishes that the general tendency of the avant-garde painting in the decade 1890-1900 was to be "decorative." The most innovative manifestation of this trend was the introduction of the aesthetics of "decoration" into easel painting. The transformation of painting from tableau into "decoration" was a reflection of an anti-Naturalist, anti-positivist trend. The second chapter of the thesis is devoted to Cezanne's position vis-a-vis the "decorative trend." Chapter II, Part 1 analyses the criticism of Cezanne's contemporaries. Special attention is given to the writer's particular positions on aesthetics, philosophy, religion, politics (whenever possible), as well as to changes in these positions. Chapter II, Part 2 analyses Cezanne's letters (considered as the only authentic source of true quotations from the artist) and paintings. The conclusion is that Cezanne not only belongs to the general tendency toward the "decorative," but that he can be considered among its initiators. Moreover, the present author proposes that C§zanne was part of the movement that introduced the aesthetic of "decoration" into easel painting. Qualities such as the interplay between two-dimensionality, and three-dimensionality, the accent on contours, the general aspect of bas-relief, or even of tapestry (often noticed by his contemporaries, as well as by later critics), can be explained by Cezanne's intention to apply to his paintings a "decoration paradigm." Special attention is placed on the method of "colour modulation" and its possible relation to similar methods used in 18th century French tapestries, or those recommended for tapestries in theoretical works by 19th century French reformers of the decorative arts.

Text

2010-03-30

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http://hdl.handle.net/2429/23087

Fine Arts

University of British Columbia

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