{"id":7858,"date":"2017-11-27T17:37:39","date_gmt":"2017-11-27T17:37:39","guid":{"rendered":"https:\/\/thedorseypost.com\/?p=7858"},"modified":"2017-11-18T17:49:09","modified_gmt":"2017-11-18T17:49:09","slug":"cezannes-gray","status":"publish","type":"post","link":"https:\/\/thedorseypost.com\/?p=7858","title":{"rendered":"Cezanne’s gray"},"content":{"rendered":"
\"\"<\/a>

Cezanne’s studio, courtesy Paris Review\/Joel Meyerowitz<\/p><\/div>\n

Joel Meyerowitz makes some excellent observations about what he noticed when he saw color of the walls in Cezanne’s studio and how that color’s fluid properties, as the background for whatever Cezanne observed in his still life paintings, helped give birth to modernism. Delightful. It’s also wonderful to recognize the little sculpted Cupid still there, so familiar from Cezanne’s painting of it. Here’s an except<\/a> from the fine little essay, which is actually itself an excerpt from Meyerowitz’s new book, Cezanne’s Objects<\/a>:\u00a0<\/em><\/p>\n

C\u00e9zanne painted his studio walls a dark gray with a hint of green. Every object in the studio, illuminated by a vast north window, seemed to be absorbed into the gray of this background. There were no telltale reflections around the edges of the objects to separate them from the background itself, as there would have been had the wall been painted white. Therefore, I could see how C\u00e9zanne, making his small, patch-like brush marks, might have moved his gaze from object to background, and back again to the objects, without the familiar intervention of the illusion of space. C\u00e9zanne\u2019s was the first voice of \u201cflatness,\u201d the first statement of the modern idea that a painting was simply paint on a flat canvas, nothing more, and the environment he made served this idea. The play of light on this particular tone of gray was a precisely keyed background hum that allowed a new exchange between, say, the red of an apple and the equal value of the gray background. It was a proposal of tonal nearness that welcomed the idea of flatness.<\/p>\n","protected":false},"excerpt":{"rendered":"

Joel Meyerowitz makes some excellent observations about what he noticed when he saw color of the walls in Cezanne’s studio and how that color’s fluid properties, as the background for whatever Cezanne observed in his still life paintings, helped give birth to modernism. Delightful. It’s also wonderful to recognize the little sculpted Cupid still there, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-7858","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nCezanne's gray - represent<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thedorseypost.com\/?p=7858\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cezanne's gray - represent\" \/>\n<meta property=\"og:description\" content=\"Joel Meyerowitz makes some excellent observations about what he noticed when he saw color of the walls in Cezanne’s studio and how that color’s fluid properties, as the background for whatever Cezanne observed in his still life paintings, helped give birth to modernism. Delightful. It’s also wonderful to recognize the little sculpted Cupid still there, […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/thedorseypost.com\/?p=7858\" \/>\n<meta property=\"og:site_name\" content=\"represent\" \/>\n<meta property=\"article:published_time\" content=\"2017-11-27T17:37:39+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/thedorseypost.com\/wp-content\/uploads\/2017\/11\/cezannes-studio.jpg\" \/>\n<meta name=\"author\" content=\"dave dorsey\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"dave dorsey\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"1 minute\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7858#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7858\"},\"author\":{\"name\":\"dave dorsey\",\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/#\\\/schema\\\/person\\\/5f1b414f169df69053f04f66b929fd57\"},\"headline\":\"Cezanne’s gray\",\"datePublished\":\"2017-11-27T17:37:39+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7858\"},\"wordCount\":284,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7858#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/thedorseypost.com\\\/wp-content\\\/uploads\\\/2017\\\/11\\\/cezannes-studio.jpg\",\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/thedorseypost.com\\\/?p=7858#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7858\",\"url\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7858\",\"name\":\"Cezanne's gray - represent\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7858#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7858#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/thedorseypost.com\\\/wp-content\\\/uploads\\\/2017\\\/11\\\/cezannes-studio.jpg\",\"datePublished\":\"2017-11-27T17:37:39+00:00\",\"author\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/#\\\/schema\\\/person\\\/5f1b414f169df69053f04f66b929fd57\"},\"breadcrumb\":{\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7858#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/thedorseypost.com\\\/?p=7858\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7858#primaryimage\",\"url\":\"https:\\\/\\\/thedorseypost.com\\\/wp-content\\\/uploads\\\/2017\\\/11\\\/cezannes-studio.jpg\",\"contentUrl\":\"https:\\\/\\\/thedorseypost.com\\\/wp-content\\\/uploads\\\/2017\\\/11\\\/cezannes-studio.jpg\",\"width\":477,\"height\":504,\"caption\":\"Cezanne's studio, courtesy Paris Review\\\/Joel Meyerowitz\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/?p=7858#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/thedorseypost.com\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Cezanne’s gray\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/#website\",\"url\":\"https:\\\/\\\/thedorseypost.com\\\/\",\"name\":\"represent\",\"description\":\"the painting life\",\"alternateName\":\"the dorsey post\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/thedorseypost.com\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/thedorseypost.com\\\/#\\\/schema\\\/person\\\/5f1b414f169df69053f04f66b929fd57\",\"name\":\"dave dorsey\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/1b459062818b38ed5bb3f68365bc2557f760412a5db1278493176a6a45bb1c8f?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/1b459062818b38ed5bb3f68365bc2557f760412a5db1278493176a6a45bb1c8f?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/1b459062818b38ed5bb3f68365bc2557f760412a5db1278493176a6a45bb1c8f?s=96&d=mm&r=g\",\"caption\":\"dave dorsey\"},\"description\":\"I'm a painter living in Pittsford, NY. 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