After participating in the first impressionist exhibitions from 1874 onwards, he distanced himself from this movement three years later, following a personal route and a different conception of painting. The use of colour was, in Cézanne's eyes, a means to exalt shapes as volumes instead of deconstructing them into the vibration of light, as seen in his landscapes. Moreover, the painter did not refrain from introducing a measure of unstability, and sometimes even a complete destructuration of space, as in Pommes et oranges (Apples and Oranges) and in the composition of his still-lives and portraits (which he treated like still-lives). In these latter paintings, Cézanne offered new perspectives in which objects were represented simultaneously from several viewpoints, thus opening the door to cubism, and therefore all the artistic upheavals of the 20th century.
This retrospective, which featured around two hundred works - paintings, water-colours and drawings, chosen among the most representative of his career - also celebrated the first large exhibition devoted to him in his lifetime by the tradesman Ambroise Vollard.
with the support of the LVMH group and Christian Dior
CuratorsFrançoise Cachin, director, Musée d'Orsay and Joseph R. Rishel, curator, department of European sculptures and paintings, Philadelphia Museum of Art (Philadelphia, PA)
Philadelphia Museum of Art