What Cézanne saw - Chicago Reader

was probably created in 1875. It’s on loan to the Art Institute of Chicago from the Musée d’Orsay in Paris for this exhibition.“Cézanne, he’s the greatest of us all.”—Claude Monet to Georges Clemenceau in conversation, cited in translation inThere are some entities and influences on our work that we take for granted, as though they were always there and it’s impossible to conceive of a world without them.

It’s a vision that centers subjectivity, motion, and change, rather than stability, hierarchy, or order. Probably no coincidence that he worked out his methods at the same time when Nietzsche was killing God. Nobody who believes in a benevolent creator fashioning and guiding the universe could see their surroundings in the slippery and undependable way Cézanne saw his environment.

Like many of the innovators of his time, Cézanne came up in the French academic system and utterly failed its dogmatic, leaden course of study. Had he excelled, he’d likely be forgotten now. It was his inability to make bacchanales, formal portraits, or history paintings that forced him into finding another way. Yet the remnants of that staid education reverberate throughout his career.Through 9/5: Thu 11 AM-8 PM, Fri-Mon 11 AM-5 PM, closed Tue-Wed; Art Institute of Chicago, 111 S.

The first time I visited the show, in the members-only preview days, the galleries were packed. I went back and forth through the rooms a few times, noting the four or five pictures I knew I’d return to on future visits. The only major series I missed is his card players. He painted at least four—, which lives at the Barnes Foundation in Philadelphia, is probably my favorite—but only one sketch of a single card player is included in this exhibition.

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