200601-1 memo

'풍경화를 예술로' p124-세잔느 관련/

It is easiest to learn Cezanne's principles of design , as he himself learnt from them,

from his paintings of still life. But very soon he was able to transfer them to the more

complex and evasive subject landscape. As his design becomes more intellectual ,

his compositions are built up on straight lines , rather than curves. In such a picture

as the Wooden Bridge even the foliage is reduced to straight lines. But these straight lines

, for example in the trunks of trees, are frequently interrupted. It is as if Cezanne put them

up as scaffolding , but then feared that they would arrest the movement of the picture

and lead to too great insistence on contours. He recognized that an uninterrupted line

implies a point of focus on the edge of the object and so makes impossible any movement

in space forward or backward ; and even in his first pencil notes he will always interrupt

an outline and start it again a fraction further in or out.....

For impressionism also offers a means of rendering continuous modelling by color,

which was developed by Seurat ; but underlying all impressionism is the belief

that the unity of a picture depends on the enveloping atmosphere rendered

by a continuous weft of colors; where Cezanne wished forms to retain

their identity and cohere in an architectual relationship.