Cézanne’s Bathers: Built to Disturb

Image coming soon.

Jack Flam discusses the implications of Cézanne's "de-eroticized" approach to the figure in The Large Bathers (1906), part of the upcoming exhibition Gauguin, Cézanne, Matisse: Visions of Arcadia at the Philadelphia Museum of Art, on view from June 20, 2012 – September 3, 2012.

Flam writes that "…Cézanne’s lack of finish created an extraordinarily suggestive spatial openness, one that redefined the esthetics and structure of painting, as well as what was permissible in the representation of the human figure. We can also perceive the discontinuities in Cézanne’s paintings as being important factors in their spiritual implications. If the solid forms in his paintings seem to be on the verge of dissolution and the empty spaces on the verge of becoming solidified, they reflect Cézanne’s intuitive understanding of the interchangeability of matter and energy and his intense awareness of the metaphysical void that underlies what we can know of the natural world."