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SIGNÉ Joël Meyerowitz ; Objets de Cézanne 1ère édition Neuf 2017
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- Achat immédiatSIGNÉ Joël Meyerowitz ; Objets de Cézanne 1ère édition Neuf 2017
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Remise en mains propres gratuite depuis Van Nuys, California, États-Unis.
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16,40 USD (environ 13,97 EUR) USPS Priority Mail®.
Lieu où se trouve l'objet : Van Nuys, California, États-Unis
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Estimé entre le mer. 30 juil. et le sam. 2 août à 94104
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Numéro de l'objet eBay :226793179944
Dernière mise à jour le 06 juil. 2025 09:08:27 CEST. Afficher toutes les modificationsAfficher toutes les modifications
Caractéristiques de l'objet
- ISBN
- 9788862085649
À propos de ce produit
Product Identifiers
Publisher
Damiani
ISBN-10
8862085648
ISBN-13
9788862085649
eBay Product ID (ePID)
237629208
Product Key Features
Book Title
Joel Meyerowitz: Cézanne's Objects
Number of Pages
112 Pages
Language
English
Publication Year
2017
Topic
Individual Artists / General, Individual Photographers / General, Europe / France, General, Subjects & Themes / General
Illustrator
Yes
Genre
Art, Travel, Photography
Format
Hardcover
Dimensions
Item Height
0.8 in
Item Weight
39.9 Oz
Item Length
12.8 in
Item Width
10.3 in
Additional Product Features
Intended Audience
Trade
LCCN
2019-422553
Dewey Edition
23
Dewey Decimal
759.4
Synopsis
Meyerowitz brilliantly demonstrates how C zanne's studio and its contents enhanced the flatness of his paintings Some years ago, while working on a book commission about Provence, Joel Meyerowitz visited C zanne's studio in Aix-en-Provence. While there, he experienced a flash of understanding about C zanne's art. C zanne had painted the studio walls a dark gray, mixing the color himself. Consequently, every object in the studio seemed to be absorbed into the gray of the background. There were no telltale reflections around the edges of the objects, so there was nothing that could separate them from the background itself. Meyerowitz suddenly saw how C zanne, making his small, patch-like brush marks, moved from the object to the background, and back again to the objects, without the illusion of perspective. After all, C zanne was the original voice of "flatness." Meyerowitz decided to take each of the objects in C zanne's studio and view them against the gray wall (managing to obtain permission from the Director of the Atelier--no-one had touched these objects in ages). His impulse was to place each one in the exact same spot on his marble-topped table and just make a "dumb" record of it. He then decided to arrange them in rows, almost as if they were back on his shelf above the table, and made a grid of five rows with five objects on each row, with C zanne's hat as the centerpiece. This beautifully designed volume presents these photographs, which are at once marvelous photographic still lifes and an incredible revelation of C zanne's methods., Cézanne painted his studio walls a dark grey. He mixed the color and painted it himself. Every object in the studio, which was illuminated by a vast north window, seemed to be absorbed into the grey of the background. There were no telltale reflections around the edges of the objects. So there was nothing that could separate them from the background itself. And Meyerowitz suddenly saw how Cézanne, making his small, patch-like brush marks, moved from the object to the background, and back again to the objects, without the familiar intervention of a renaissance- like illusion of perspective. After all, Cézanne's was the first voice of 'flatness,' the first statement of the modern idea that a painting was simply paint on a flat canvas, nothing more. And here was an environment that he had made to serve his idea, in which the play of light on this particular tone of grey - which was not like the darkness of Dutch interiors - but was a more precisely keyed background hum that allowed an exchange between say, the red of an apple and the equal value of the grey background. It was a proposal of tonal nearness that welcomed the idea of flatness. Meyerowitz tooke each of Cézanne's objects in hand and look at them against the grey wall, and the photographer managed to convince the Director of the Atelier to let him do this - no one had touched these objects in ages - and for some reason she agreed to let him do as he wished. His impulse was to place each one in the exact same spot on his marble topped table and just make a 'dumb' record of it. Meyerowitz had the impulse to see them in rows, almost as if they were back on his shelf above the table, so he decided to make a grid of 5 rows with 5 objects on each row - with Cézanne's hat as the centerpiece - and see what they felt like when seen together at approximately life size. He was immediatly drawn to them at this scale., Meyerowitz brilliantly demonstrates how Cézanne s studio and its contents enhanced the flatness of his paintings Some years ago, while working on a book commission about Provence, Joel Meyerowitz visited Cézanne s studio in Aix-en-Provence. While there, he experienced a flash of understanding about Cézanne s art. Cézanne had painted the studio walls a dark gray, mixing the color himself. Consequently, every object in the studio seemed to be absorbed into the gray of the background. There were no telltale reflections around the edges of the objects, so there was nothing that could separate them from the background itself. Meyerowitz suddenly saw how Cézanne, making his small, patch-like brush marks, moved from the object to the background, and back again to the objects, without the illusion of perspective. After all, Cézanne was the original voice of flatness. Meyerowitz decided to take each of the objects in Cézanne s studio and view them against the gray wall (managing to obtain permission from the Director of the Atelier no-one had touched these objects in ages). His impulse was to place each one in the exact same spot on his marble-topped table and just make a dumb record of it. He then decided to arrange them in rows, almost as if they were back on his shelf above the table, and made a grid of five rows with five objects on each row, with Cézanne s hat as the centerpiece. This beautifully designed volume presents these photographs, which are at once marvelous photographic still lifes and an incredible revelation of Cézanne s methods., Meyerowitz brilliantly demonstrates how Cézanne's studio and its contents enhanced the flatness of his paintings Some years ago, while working on a book commission about Provence, Joel Meyerowitz visited Cézanne's studio in Aix-en-Provence. While there, he experienced a flash of understanding about Cézanne's art. Cézanne had painted the studio walls a dark gray, mixing the color himself. Consequently, every object in the studio seemed to be absorbed into the gray of the background. There were no telltale reflections around the edges of the objects, so there was nothing that could separate them from the background itself. Meyerowitz suddenly saw how Cézanne, making his small, patch-like brush marks, moved from the object to the background, and back again to the objects, without the illusion of perspective. After all, Cézanne was the original voice of "flatness." Meyerowitz decided to take each of the objects in Cézanne's studio and view them against the gray wall (managing to obtain permission from the Director of the Atelier--no-one had touched these objects in ages). His impulse was to place each one in the exact same spot on his marble-topped table and just make a "dumb" record of it. He then decided to arrange them in rows, almost as if they were back on his shelf above the table, and made a grid of five rows with five objects on each row, with Cézanne's hat as the centerpiece. This beautifully designed volume presents these photographs, which are at once marvelous photographic still lifes and an incredible revelation of Cézanne's methods.
LC Classification Number
ND553.C33
Text by
Barrett, Maggie, Meyerowitz, Joel
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