#cezannedrawings

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Congratulations MoMA and editors Jodi Hauptman and Samantha Friedman! 'Cézanne: Drawing' has won the 2021 @americanpublish #ProseAward for the Humanities / Art Exhibitions category, honoring scholarly works published in 2021!⁠ ⁠ “This year’s PROSE Award entries overwhelmingly raised the bar in quality, content, and diversity, reflecting the profound expertise that goes into creating scholarly publications in every conceivable area of study,” commented Syreeta Swann, Chief Operating Officer, AAP. “We are pleased to announce that our panel of 24 judges has reviewed more than 560 entries, in the process singling out 106 titles to be honored as finalists. From this list, our judges then identified 39 outstanding titles to be honored as Category Winners.”⁠ ⁠ Dr. Nigel Fletcher-Jones, Chief Judge of the PROSE Awards, added, “Despite all the trials and tribulations of the last year the standard of entries has been universally high. This led to very close competition in almost all subject areas and will lead no doubt to stiff competition among the Awards for Excellence nominees.”⁠ ⁠ The 39 Category Winners will now be eligible for the next level of PROSE honors – the Awards for Excellence winners, which will be announced in the coming weeks.⁠ ⁠ Read more about the book via linkinbio.⁠ ⁠ @themuseumofmodernart @themodernistandthepost @kikkomon_ #cezannedrawings #cezanne #paulcezanne⁠ https://www.instagram.com/p/CZNEE9ypSFs/?utm_medium=tumblr

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Today we're also thinking about Paul Cézanne, born OTD in 1839.⁠ ⁠ Images here are from 'Cézanne: Drawing' published by @themuseumofmodernart ⁠ ⁠ Edited with text by Jodi Hauptman, Samantha Friedman. Text by Kiko Aebi, Annemarie Iker, Laura Neufeld.⁠ ⁠ Read more about the book via linkinbio.⁠ ⁠ @themodernistandthepost @kikkomon_ #cezannedrawings #cezanne #paulcezanne⁠ https://www.instagram.com/p/CY7Bbvjlos7/?utm_medium=tumblr

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Wow. We love @nytimes critic Jason Farago's passion for the 10 Works of Art That Evaded the Algorithm This Year linked in bio. Below are his thoughts on 'Cézanne: Drawing' @themuseumofmodernart ⁠ ⁠ @jasonfarago writes: "The apple of my eye. The Museum of Modern Art’s meticulous, almost overwhelming summer exhibition distilled modernism’s father figure to his essence, revealing the day-by-day, stroke-by-stroke scrutiny needed to make a piece of fruit as weighty as the Holy Family. Those bottom-heavy pears, those clumpy bathers. Those short daubs of green and blue in his views of Mont-Sainte-Victoire. Those Provençal rock formations — rocks of air and watercolor, Cézanne as geologist! What these hundreds of sheets reconfirmed, right on time, was that your art will never change another person’s life if it merely shows what you think. You need the distinction, the seriousness, that can only come from form."⁠ ⁠ Please order the exhibition catalog from your favorite independent bookstore!⁠ ⁠ @themodernistandthepost @kikkomon_ #cezannedrawings #cezanne #paulcezanne⁠ https://www.instagram.com/p/CXhOS_0JpjG/?utm_medium=tumblr

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Today on @cbssundaymorning — Correspondent Rita Braver visits New York's @themuseumofmodernart where more than 250 of Cézanne's watercolors and sketches on paper are featured in the landmark exhibition, "Cézanne Drawing." We highly recommend the exhibition catalog, reproductions from which are pictured here! ⁠⁠ ⁠⁠ See the episode via linkinbio.⁠⁠ ⁠⁠ @themodernistandthepost @kikkomon_ #cezannedrawings #cezanne #paulcezanne⁠⁠ https://www.instagram.com/p/CTuu8odFz48/?utm_medium=tumblr

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Hot Peter Schjeldahl review of 'Cézanne: Drawing' @themuseumofmodernart @newyorkermag ⁠⁠ ⁠⁠ "This show, at MoMA, of some 280 works on paper by the inarguably great artist Paul Cézanne, has a cumulative impact that is practically theological—akin to a creation story, a Genesis, of modernism. It's a return to roots for MoMA, which initiated its narrative of Modern painting in 1929 with an exhibition that included van Gogh, Seurat, Gauguin and Cézanne, whose broken forms made the others look comparatively conservative as composers of pictures. He stood out then, as he does now, for an asperity of expression that is analytical in form and indifferent to style. Cézanne revolutionized visual art, changing a practice of rendering illusions to one of aggregating marks that cohere in the mind rather than in the eye of a viewer. You don't look at a Cézanne, some ravishing late works (scenes of bathers in Arcadian settings, still-lifes of fruit and domestic objects) excepted. You study it, registering how it's done—in the drawings, with tangles of line and, often, patches of watercolor. Cézanne drew nearly every day, rehearsing the timeless purpose—and the impossibility—of pictorial art: to reduce three dimensions to two."⁠⁠ ⁠⁠ We highly recommend the catalog, if you can find it. Please check with your local independent bookstore!⁠⁠ ⁠⁠ Edited with text by Jodi Hauptman, Samantha Friedman. Text by Kiko Aebi, Annemarie Iker, Laura Neufeld.⁠⁠ ⁠⁠ Read more about the book via linkinbio.⁠⁠ ⁠⁠ @themodernistandthepost @kikkomon_ #cezannedrawings #cezanne #paulcezanne @avante.art⁠⁠ https://www.instagram.com/p/CSwxO1bMADU/?utm_medium=tumblr

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More amazing works on paper from 'Cézanne: Drawing,' published to accompany the career-spanning appraisal on view now @themuseumofmodernart ⁠⁠ ⁠⁠ Although he is most often celebrated as a painter, Cézanne’s extraordinary vision was fueled by his experiments on paper. In pencil and watercolor, on individual sheets and across the pages of sketchbooks, the artist described form through multiple probing lines; realized compositions through repetitions and transformations; and conjured kaleidoscopic color through layering of watercolor. It is in these material realities of drawing where we see Cézanne at his most modern: embracing the unfinished, making process visible and actively inviting the viewer to participate in the act of perception.⁠⁠ ⁠⁠ Pictured here:⁠⁠ ⁠⁠ "Coat on a Chair," 1890-92. Pencil and watercolor on laid paper. 18 1/4 × 11 3/4″ (46.4 × 29.8 cm). Private collection⁠⁠ ⁠⁠ "Study of a Skull," 1902-04. Pencil and watercolor on paper. 9 × 12 3/16″ (22.9 × 31 cm). Henry and Rose Pearlman Foundation (on extended loan to the Princeton University Art Museum)⁠ The Henry and Rose Pearlman Collection / Art Resource, NY, photo: Bruce M. White⁠⁠ ⁠⁠ "Rocks Near the Château Noir," 1895-1900. Watercolor on paper. 18 3/16 × 11 15/16″ (46.2 × 30.3 cm). Private collection⁠⁠ ⁠⁠ "Studies and Portraits of the Artist’s Son," 1877–78. Pencil on paper, 9 3/4 × 12 1/8″ (24.8 × 30.8 cm). The Albertina, Vienna⁠⁠ ⁠⁠ Edited with text by Jodi Hauptman, Samantha Friedman. Text by Kiko Aebi, Annemarie Iker, Laura Neufeld.⁠⁠ ⁠⁠ Read more about the book via linkinbio.⁠⁠ ⁠⁠ @themodernistandthepost @kikkomon_ #cezannedrawings #cezanne #paulcezanne⁠⁠ https://www.instagram.com/p/CQyjENPMrCA/?utm_medium=tumblr

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We knew we were going to love 'Cézanne: Drawing' from @themuseumofmodernart But we were still blown away when we saw the finished book and the gorgeous, super-experimental drawings. Pictured here:⁠⁠ ⁠⁠ "Self-Portrait and Apple," 1880–84. Pencil on paper, 6 13/16 × 9 1/16″ (17.3 × 23 cm). Cincinnati Art Museum. Gift of Miss Emily Poole. Bridgeman Images⁠⁠ ⁠⁠ "The Bend in the Road," 1902-06. Pencil and watercolor on paper. Esther Grether Family Collection. Photo Robert Bayer, Bildpunkt⁠⁠ ⁠⁠ "Still Life with Blue Pot," 1900-06. Pencil and watercolor on paper, 18 15/16 × 24 7/8″ (48.1 × 63.2 cm). The J. Paul Getty Museum, Los Angeles⁠⁠ ⁠⁠ "Forest Landscape," 1904–06. Pencil and watercolor on paper, 18 5/8 × 23 5/8″ (47.3 × 60 cm). Private collection⁠⁠ ⁠⁠ "Time and contemplation gradually modify our vision," Cézanne is quoted in the book, from a 1905 letter to Émile Bernard⁠⁠ ⁠⁠ Edited with text by Jodi Hauptman, Samantha Friedman. Text by Kiko Aebi, Annemarie Iker, Laura Neufeld.⁠⁠ ⁠⁠ Read more about the book via linkinbio.⁠⁠ ⁠⁠ @themodernistandthepost @kikkomon_ #cezannedrawings #cezanne #paulcezanne⁠⁠ https://www.instagram.com/p/CQyS3u2MaJh/?utm_medium=tumblr