Paul Cezanne (1839-1906)

Prelude to the Twentieth Century
Presentation 8 of 13

Paul Cezanne (1839-1906)
Multi-Dimensional Composition in the Artist's Eye/Mind
Presented by Roger Weir
Thursday, August 23, 1984

Transcript:
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The date is August 23rd, 1984. This is the eighth lecture in a series of lectures by Roger were entitled the preload to the 20th century. Tonight's lecture is on Suzanne who lived 1834 in 1906. The multi-dimensional composition in the artist. I mine. Okay.
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As we come into the 20th century, it's more and more difficult to stick to the original program that we have the urge to cadets lyrics to introduce ideas grows stronger, but I will try to reframe what we are trying to do is to present simply and accurately the people that we are dealing with. I'm trying to leave out editorializing, trying to leave out all of the filler. The reason for this is that our time, since the second world war has specialized in the relationality of things, the ideas, and we become very glib about meaning, very sophisticated, very Metta, analog, and everything else. And in the meantime, what has gone out of focus are people Schuman beings. The human person is in danger of vanishing.
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And so we are trying to, re-establish the sense that what is of interest to us in terms of history, in terms of reality, are those beings as ourselves who are people. And if we limit ourselves to that perspective, the personal, we circumvent a great deal of the ambivalence that has come to pass as conventional wisdom in our time. And we discover again and again, as many of you who have been coming for some time now that the great figures of the past are all distorted for us in this present. Last year, we took the mountain peaks of the 19th century, Darwin and Marx and so forth. And we found that one after the other, they presented in themselves very clear pictures of reality, very clear ideas, very accurate images of what they wish to convey to us. And it was all new to us. It was all strange. We found Bogner enticing. We found even a scientist like James clerk, Maxwell, fascinating.
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And we ended that course with Tolstoy. And when we came back to the origins of the 20th century Schilling in those figures of the 19th that we hadn't gotten to, we have discovered again, the wonderful treasure that's available, the tremendous, and this genius that has gone before us and the, and our time is the waste, the throwing away of all of this accumulated wisdom and genius. And so the vacuity of our future looms more as a team, it's all created by default rather than by any evil ideational title wave sweeping our time. It's just simply now we have been mistaught our nature's been misrepresented to us and we have, yeah. Then urge to try and speculate originally and metaphysically on our own in hopes that we will spend some kind of a cocoon to keep us safe in these troublesome times. The fact is that we have a tremendous legacy.
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We have more than enough genius in our repertoire as human beings to meet any situation on any planet, any universe. And so tonight we come to yet another individual who is famous by name and unknown as a person still almost 80 years after he died. He's a house hold name. Yeah. And those who know about modern art and almost no one knows anything about him. I was asked all this week by dozens of people who don't come to these lectures and think that one can just talk off the top of your head about these things. Well, what did he do anyway was the basic question. What was he like? It's difficult to present Suzanne. There are human beings who are anomalies, who are you? As one famous science fiction writer once said to me, there are human beings who are like extra terrestrial orchids. You never saw one like it, and you never will.
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Again, it's a unique species to us. And Suzanne is very much that kind of person late in his life. About a year before he died, someone took a beautiful photo of Susanne in front of one of his Bader paintings. And you're looking at the bald head. You started balding very early in life and you look at the goatee starting to grow longer. And the Mustachio coming down, you look at the slight slant in the cheekbones, the eyes and Suzanne begins to look more and more Chinese than French Italian. And in a very curious way, if one were steeped in school in Chinese theories of art, because I was fortunate to be one CC design quite accurately. And clearly if we take Western canons of art, Suzanne is a startling pioneer who then broke with the whole tradition of Western painting. And then lo and behold, a generation or two after his death, astute credits discovered that he, after all had probably understood a lot of classical painting from the Renaissance and probably was influenced by some of the Japanese prints that his friend Paul broad Manet used to collect.
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I forget just how many hundreds of Japanese prints Monet had, but there were quite a few, two or 300, at least I'd like to start with two quotations Suzanne's letters were published and translated into English while backed by a, an art historian named John Ray wall. And there are two excerpts here. I found them in. There is a modern art published by the university of California press. I was unable to find it my copy of Susanna's letter. So I have to get these selection. The first one is just a paragraph about pinking from nature. And he wrote to Emil Zola, the great French realist writer, who was a lifelong friend of his. They grew up in the same town. They were friends throughout their lives. He writes, but you know, all pictures painted inside in the studio will never be as good as the things done outside. When out of door scenes are represented. The contrast between the figures and the ground are astounding and the landscape is magnificent. I see some suburb thing and I shall have to make up my mind only to do things out of doors.
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I have already spoken to you about a picture I want to attempt. I feel sure that all the pictures by the old masters representing things out of doors have only been done. Hesitatingly for, they do not seem to meet, to have the true and above all the original aspect lent by nature. And so is concerned with nature, but profoundly. So in fact, as we had an excursion with Susanne's eye, more and more, we become aware of our naivete in our general habitual perspective. And we realized that the quality of our perception is very poor. Nevermind about the interior as a nation of meaning, nevermind about symbolizing, our basic method. Our style of perception is faulty. We do not see nature. And so Suzanne would like to read, present to us on a canvas nature. And in fact, discovers that he cannot re present nature. And so he will learn to stop trying to do the impossible and start to learn how to pre Zemp nature.
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As a two dimensional surface called a painting. That is, he will make an all original creation, which is natural. And so nature will become a composition partner. The other end of that bridge will be the artist. And so does the artists then on the artists role, two lines from a letter to the son of one of his friends, walking guests get 1896, could you, but see inside me, the man within you would not be so angry with me any longer. Do you not see to want a sad state? I am reduced not master of myself. I am a man who does not exist. Suzanne's penetration discovered that there was no static self X stat in him. There was no center of personality, which would hold still so that he could tend the natural presentational canvas upon that focus. And so had to learn something very difficult.
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How do you then present nature to someone who doesn't really exist as a static point, but is only a dynamic composition themselves never holding still in a letter near the end of his life to a friend and meal there an hour 12th of May, 1904. He writes about how one must then study nature. My absorption in my work, in my advanced age, well explained sufficiently my delay in answering your letter. I am progressing very slowly for nature, reveals herself to me in very complex forms. And the progress needed is incessant. One must see one's model correctly and experience it in the right way. And furthermore express oneself forcibly and with distinction taste is the best judge. It is rare. Art only addresses itself to an excessively small number of individuals. The artist must scorn all judgment. That is not based on an intelligent observation of character. He must be aware of the litter Barry's spirit, which so often causes painting to deviate from its true path. The concrete study of nature to lose itself all too long in intangible speculation, the real and immense study that must be taken up as the manifold manifold picture of nature.
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Suzanne's eye has been seen once before in human history, in that great meeting, like the colliding of great continents of artistic capacity and appreciation between India and China and the fourth to the eighth century, a D there was produced in central Asia in the Gobi desert, an art form, which Suzanne individually discovered himself and reproduced. They almost molecular just mantling of the illusory static, habitual forms of reality through a kind of traction of meditative experience. Almost monk-like almost yoga life in its rape your capacity to go underneath the surface, to explore depth as a relational ratio, which includes the observer who is not there, but is only extract because of his dynamic symmetry. So that seeing sources, that was a long process. He was almost 50 before he had any idea in terms of control of what he was doing. He was born in 1839.
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His father was a very domineering person and all through design life until his father died. Suzanne was 45. When his father died, Millie just dominated everything. He was a true businessman. He became a banker and then the Southern French town high in Provence, he became the most wealthy individual, bought the largest oldest state of 37 acres and doled out an allowance to his son, tried to get his son to enter into the bank. But Suzanne had been prepared for something else. There is such a thing as destiny. There is such a thing as karma needing to be tended. So Zen is a youngster was in fact more politically inclined and not at all visually inclined. And it was only young. His later education, he spent six years at a school. We would call them an advanced high school today. It was called at that time they collage or bomb.
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And I am profile there. One of his classmates said he met with Emil Zola. Zola was small and odd introspective, poor, ugly that the other children hated him. Suzanne was uncomfortable, rich, and like having adventures that were unusual. And so he, Angela used to walk in the French countryside, discussing everything under the sun, writing poetry together. And Suzanne was a whiz at Latin. In fact, he brought back into being in himself, the kind of qualities which Virgil has in his writing, the immense patience to craft out a perspective which once mastered will yield an epic scope of a vision of life. Suzanne's early poetry is all filled with sex and violence. Almost all of his images are tantalizing and super dramatic. His friends LA who would become quite famous about his voluptuous realistic style of writing. A novel, probably learned a lot of that technique from the correspondence and the poems of Suzanne.
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But first Suzanne, when Zola moved away, moved to Paris to start a writing career, he suddenly found himself alone and became depressed at this prospect and became susceptible to the machinations of the father. And in order to balance out the power domineering personality as a father, he threw over this is using a little existential phenomenological lingo. He threw over his sense of persona to his mother who was then his defender with the father. And she's the one who got him art lessons. She's the one. Finally, after two years of studying law, allowed him to go to Paris to see if he could enter into an art school. The parents went with him. He was 22 years of age and the father rented the rooms and the father made the purchases of the material. And when he had his son all set up in a web of his own making, he left him suddenly knowing that he would sink metric five months and he was back home at this time, Zola was seen by the father as the devil.
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He was the little urchin who was trying to lead his son away from a sensible life, a life of making well, the bottom line is money. We've got it and where to keep it. You've got to work in the bank, Zola writing to another classmate of theirs, a man named Ben writing on June 10th, 1861. Suzanne has been in Paris now for about a month. And he's shying away from his friend as a lot writes. I rarely see Suzanne Alaska. There's no longer as it was at when we were 18, when we were free and had no worries about the future. How the conditions of life of work separate us, alienated us in the morning. Paul goes to the Suisse, the academy Suisse. I stay in my room to write at 11. We lunch each by himself. Sometimes at noon, I go to his room. Then he works at my portrait.
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Then he goes to Vila VA to work for the rest of the day. He has suffered, goes to bed early, and I see no more of him. Is this what I've hoped for? He begins to see she has friends, what he calls unforeseen and irrational varyings of conduct because Susanne discovering that he has nowhere to place his confidence in friendships outside. He is shy. He is unable to talk with girls with women. And his only liaison is a young person has now been somewhat discredited in his eyes. Suzanne, when he fails in Paris, he failed the entrance exam. His drawing, his sketching was just clumsy and not sufficient to admit him. So he went back home, back to the large house, back to the domineering father, back to the bank. And he imploded upon himself. He became more and more depressed, more and more a wreck clues to himself.
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And it was this tremendous pressuring upon him that began to work the change in Suzanne's personality. She has perspective later on in life had a diamond, light quality. There was a great Mahayana Sutra called the [inaudible] the diamond cutter Sutra in which the technique of, uh, tuition there is of cutting facet after facet in one's sense of reality until one gains, a radiant multi-dimensional sense of penetrating insight. Suzanne began in 1862 to enter upon this process, naively, they had no teacher. He had no idea that this was a developmental process. She experienced it as severe anxiety, and whenever he attempted to expel it from himself, he used the clumsy methods of habitual living, which is to try and displace it, try and get interested in something else. And it all creates a metaphysical sense that one is floating above one's own life. And one becomes then increasingly we'll use the term.
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Now that's become current killing it. And so this is Ana after several years of harrowing in this way, embarked upon the kind of life that eventually he would lead all the way through. He went back to Paris because it had become a magnet for him. Terrace was part of a trio part of a triumvirate. When one is working with these kinds of energies, primal geometric conditions begin to occur. It's not as if a triangle comes into being in one's mind it's that the conditions of life seem to, um, affect it kind of a triadic nature to itself in Paris as a city painting has an arc and what women as voluptuous human beings formed a triad of lure for Suzanne. And he couldn't stay in Paris. He couldn't master his art and he couldn't talk to women. And so Suzanne set up a condition for himself where he was on the hot burner day and night, year after year.
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It's a kind of a self torture. If one looks at it in terms of psychotherapy, the jargon encouraging a neurosis, but of course is then he had the task before him to discover whether or not he couldn't coordinate this for himself. And so having an inner spark of her medic capacity, Suzanne used the old primitive method of circum ambulating, a sacred center, which one can not approach. And he literally strapped his easels on his back, walked out of Paris into the countryside and we'll walk around the city, out in the countryside, try by that old primitive ritual comportment to establish a sense of identity. He became a character. Everyone in the art world in Paris was talking about the mysterious, brutal surly, clumsy ineffectual, mystical Suzanne, no one wanted to really be friends him except his friends allow someone as sophisticated as Manet just simply dismissed him as a strange pumpkin.
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Then he would go back to I am programs and do the same thing. Walk out of town, walk around the countryside. And he began sitting and looking staring. We would have called it, but for [inaudible] he was looking to understand, there must be, he felt a key. There must be a language to nature that one can read. If only he could see it. This was the time the middle 1860s. When the impressionists were just beginning to be vocal and talked about the young Monet who will have in two weeks was just beginning to do some of his canvases. He has famous canvas impression. Sunrise was done in 1862, but it wouldn't be shown until 1869, but it was just at this time that the arch perceptual theory or practice both of recording and impression. And you can see that it's just a very short jump from there that if the landscape that one is presenting on a canvas is an impression of that landscape. Is it not also in the eyes of someone likes a zap and impression of me too?
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Can, can one not make a surface then, which is complex enough and ambidextrous enough to convey the impression of the artist at the same time as the impression of nature together in the scene, is that not possible for Suzanne? It was a bright Laurent and it was 30 years before he could begin to even cope with mastering that task that he set for himself. In the meantime, he became more withdrawn. If it's possible that I have a slide of him, balding early, drew a large beard, became rough, started using a lot of profanity, very difficult to be around trumping mom, calling everybody naive, wanting the probation of artists and finding that almost no one really cared for him. It wasn't until 1874, that he finally found a friend, somebody who had seen quality in Cezanne early on, and finally, Camille Pizarro invited Suzanne to come to his place in the south of France.
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And they began painting together. The conditions in fact were quite unusual. Suzanne had finally been seduced by one of his models in 1869. And she became Madam Suzanne in 1886 design did not dare tell his father that he had a mistress. He kept her secret for 15 years until he died. And then Suzanne married her. They had a son young Paul, but his lady was always in the background within a year of that. The event of getting together, living together, the French army was defeated by the Prussian army. Does mark has learned Napoleon the third into all times of precarious preemptive actions. He'd given the impression that the French and Napoleon the third could just run over the German trips and all this time, this mark had set up a very powerful invading for us. Well-trained for French officers where the seats who really were not interested, most of the French troops had only parade uniforms.
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And, uh, a lot of them had wooden rifles for just shell. Most of the groups were not, uh, effectively bound together. There was no staff liaison at all. And so within days, the oppression for us March through the French lines, Paris was occupied. And with the follow-up terrace in 1870, almost everybody fled from Paris. They went to England, they went to the south of France, but in reply to this, the French nation then looked for young men to conscript, to go and form a new army and throw them out. And they looked for says that his name was very high in the list of draft evaders.
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He didn't want to go. He not only didn't like people, he didn't like the France, but they expected to conscript him for in fact it wasn't anything he liked. So he went to the south of France and while they were looking for him, Camille Pizarro decided to send an invitation, counting pink for him. And it was a revelation for Suzanne bizarro born in the west Indies. He was born in the Virgin islands. I think St. Thomas bear. It is heavily boated, heavily coated with all kinds of things in the pocket. Patient kindly exquisitely balanced Pizarro is on a sustained tastic artists. Uh, unfortunately photography is not conveyed Pizarros line and his motion. If you see bizarro originally, you feel the vibrancy. Everything about that, that painting is just waving.
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The secret tip is Aros technique was to, for shorten the stroke. So that with little strokes, slightly tilted, every brush stroke in the canvas was dynamic. Nothing was static. Everything was slightly off at a angle, a radical to the picture. And so a Pizarro canvas just literally rise before your eyes. The more your eye travels on the canvas, the more it jumps, not because of color like a Monet will do that because of color and not because of, of a psychological affective, uh, feeling tone like Renoir will have, but bizarro is a structural us and it was what Suzanne needed. It was the key for him and starting to paint in little rectangles and starting to realize that if you tilt every little snowflake in the air altogether, light will shimmer across that curtain in a way that will give you at once a two dimensional and a three-dimensional amphitheater, which ambivalently is present all the time. And in fact, that allows you in your sense of composition to work with a massive accrual of tension that normally one would have to establish only through large volumes. That is to say, if we have a
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Volume like this, there is a nexus, and there is
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A sense then of a revolution around that taxes for one here or coming in at an angle. If one multiplies this effect thousands of times in the canvas and trains the composition to encourage the eye to move in this way to perceive in this way, the entire surface of the canvas is scintillating. What for Cezanne, unlike the Zara, his sense of structure was to try and find where all the arrows come to. Is there an op some massive unity, some sense of presence that a painting as a unity makes. And so in Suzanne, after she has impressionistic period comes a constructive as a period where taking off on what he learned with Pizarro, Suzanne begins to paint in a way which was exceedingly difficult for anyone to understand that at that time, um, the year after he died in 1906, they had a massive exhibit of Suzanne's work.
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And George Brock was completely penetrated by the quality of construction that could be had within a painting. And Brock immediately gave up his impressionistic style. And I have on slide, I'll show you an early Brock, right? Good and quite excellent in the impressionist mode. And then in 1907, he gives it all up. We schmear it by calling it cubism, but it wasn't cubism at all. It was Brock understanding how CISM read nature and realizing that it wasn't alphabet and it was a vocabulary and it was a grammar. It was a grammar of vision that yields finally, the understanding that there is nothing static, nothing simple in nature is all a complex interrelating web. And as our sense of composition alone, that allows us to create the illusion of unity. And that that can be applied again and again, to elements, volumes spaces, color, all the elements of a composition and to itself as a whole in citizen.
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There is in fact, the attempt again and again, to create a multi perspective so that one could come to that canvas, not in the aerial perspective, that many of the impressionists safer, but one could come to that canvas from many different angles. And that that canvas presented it's picture plane. They complete multi-dimensional perspectives all at once. So that one experience oneself as a multiple viewers and this of course was very, very difficult to affect the, um, I have all sorts of quotations that I, and I wish to give you in here, but I think maybe what we should do is stop early for a break and then come in and put some of these pictures of the quotations. Don't do anything. It's the, it's the paintings of Suzanne.
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Basically Suzanne fought a lonely battle with himself on the battlefield of perception and probably not until the late 1890s till he was in his fifties. Was there any kind of recognition that Suzanne was an important pager? And it wasn't probably until after he died, that it was realized that he was a great painter because the technique that he had pioneered had just simply never been consciously recognized in the Western tradition, you find it somewhat naive, lovely present in certain religious paintings, Byzantine icon sometimes we'll have that kind of equality, especially in the late iconographic, uh, techniques of the 10th century, but there was never anyone in the Western tradition who understood that language, that way of seeing and could render the world in that way. So Suzanne became a very great artist. He sequestered his wife and son when he came into his estate in Paris and the apartment, and occasionally visited them.
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He was almost never close to anyone. He was continually by himself and almost out of necessity because the conditions under which this diamond quality vision occurred to one almost preclude the sense of normal reality, the normal relationality is the normal personalities that we know and love so well value. So well are seen as ruses, as pitfalls, leading one away from the truth. And so Suzanne, when he died was very much, almost like a religious Saint in himself. In fact, he's the patron Saint of 20th century art in a very real sense because it's from him that almost all of the development of abstract art in our time comes well, let's take a break and then we'll get to these slides, which is not this catching instructor or the Bowser because this toasted
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[inaudible], this is a self portrait by bizarro. When you have an idea that this is how people look, this is how you can authentically give or take the technique or two. However, when this is how the forces of reality, when you paint this portrait of Euclid. So when we're talking about what natural, and we suddenly open up all the possibilities are style changing. Cause we'll say struggled and struggled until finally one of the old artists said to him, look, style is everything. Don't worry about trying to reproduce what you say, learn to do it in your own neck.
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Pretty ordinary. Andrew, why is called distance. Yeah, but in that ordinary environment, extraordinary details. Hello. And there are times when the whole thing is extraordinary. Form begins to dissolve into the negative space when put it this way. It's easy to say that we haven't heard of plastic. The notion of what's real. Yeah. This is how it was George rock painted before he stopped. And after that, he started to paint this, okay, he was paying this kind of a treatment then something that he's doing, there's no question of a decline. There's no question. There's a whole different perspective here is that statement that becomes sort of a victim of that one was see in terms of the spear and be able to realize when you can realize that you realize that in terms of color form, you can hyphenate that if you want, the realization is what it's all because of the glow of humanity is women are delaying the glow off the book in her face.
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We'd like to read Renoir's sense of patterning light shadow. This is that it wasn't a question of why men, why would paint a landscape like this? I would paint the landscape like that. Okay. It was a question of realizing almost microscopic way, the dynamic movement, not from light to dark, but any way in which color, darker colors, lighter colors seem to move forward. And this motion dynamic repeated thousands and tens of thousands of times over. Do you have my sustenance of dementia? Which because not just a pictorial space of representation, what becomes a presentational picture plane? When did we, they injured in jail. In fact, if we read it right, we entering into it becomes the difficulty is not so much getting rid of the ego, but getting rid of the ego function, getting rid of the exclusivity. And if we can enter into this portrait of Victor shell cat in the right way, we will have learned a method of traveling from a Monday study, perceptional reality to all the expense of relationality portrait Marie. She says that she was a large phone woman, chatterbox interested in going to Switzerland having this and having that. But patients, she stayed with him throughout his life. Here's a fellow portrait.
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I may have gotten these eyes will come up again in March. These are the eyes of someone who see clear through what we thought was real, just done lane. As he looks the old tired illusionary forms and restructuring and the glance as he makes sense of relational spatiality which includes the dynamic relational self, no, no longer. He only needed in the world meeting defending. You need to be kept separate for something which interests that complexity and the realization in a sophisticated vision, almost subconsciously the mobile part of the hand, that crap is taken through the pallet. The pallet becomes fingers. And so some of pallet design, perhaps that mission and vision that he has in his mind, but the vision as it is presented on the canvas, the canvas itself has become the mind is a danger.
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He's not trapped, posing a picture from his mind to the canvas that can canvas is the mind of a manger. If the place is the mini map, where that radiant multiple dimensionality of this sophisticated costs misconduct into big design live, I never even made to the campus. He has, we can meet him there if we could see so that they'll not have a mysterious quality we're now after a hundred years, is this after two generations of advertising art, that is just a psychologically taking advantage of all of these discoveries, like crazy visual, no good way to in fact, gain a perspective on what's happening sometimes just close your eyes, work for a half hour in darkness. And you see to what extent the illusions, which says that this was new, this was the discovery.
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It's not the outlining that presented the form. Although every time he did the canvas, he started off with a kind of pale gray, blue water down ultra Marine. And he went charcoal, a couple of lines here and there just to get the composition started. And then he would begin all over the camp and he put a few dads in here and the two dads there, he developed the entire canvas at the same time because he was not working in static. We can still because of a score because of a perceptual carry off. We could still see this as being done in a steady way, but when we educate our eye and this is the whole purpose of civilizing is that we crack the Monday world wide open and we've realized that they're all good, that we're in jobs and need to be brought into play.
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The temptation of Saint Anthony. Very earliest. Is he still working with a sense of dramatic colors that he got from clock? We did a lecture on 19th century series, all these incidentally around here, we got working and we can know since, as a glare on the photograph, we know that the [inaudible] and already it's trying to isolate out the elements, that kind of theme motif is it work. And in fact it wasn't until the 19, the twenties, the late twenties, early thirties, that an art credit by the name of the painter named you arrived, or Lauren actually walked around versus actually walked and took a camera with himself. And he photographed a number of the landscape painting sites as he compared and did a beautiful volume has been reprinted several times, but the university of California, press Suzanne composition in your art, just does a photograph of the site that says painting and discussion and sophisticated aesthetic terms of why disaster pain is even better than photographs of the site.
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Because exams painting goes down to what made that, not what made that visually alive. And then he abstracted out and he has to see the crucial elements, suspended them in a dynamic inner sense of composition and presented them through the canvas in a way so that the canvas literally re cuts nature, recuts nature, because the individual friends from dental Schumann, yes, all this is added to the suspended molecular elements of composition. That nature has offered to us so that the human and the natural work together and frees that a composition, which is now later, it became something more real than natural present. He would upset. This is Kim. This is the history island nature. He's just always there. This is a photo of him about 18 74, 18 75. When the first paint K real bay near Marsay, it takes a while for the eyes to get used to transit composition. We keep wanting to reduce it back to a static representational mode. Even today, even in the 1980s, we're still unschool because we've been largely perceptually ignorant by persons who are somewhat jeopardized in here offered Taryn rose. Others learn to think in many ways, it creates a sense of freedom. When you said lady comes liberated from what is given one to understand is able to see the true nature of what is that actually that composition again at the glare.
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Okay. The portrait, especially with the, um, the faith developed, the news is still alive and getting off the landscape and towards the end of his life, working on bringing all of them together, all these primal motifs as it were into single composition. And if you working towards some ultimate painting, some final presentation, which could act as a challenging symbolic or magical four minutes towards the end of his life, his work begins to almost disappear from a capacity that would invite the rejected backslide of ignorant perception here. The collection of nude either almost floats free with the color swatches, vibrantly, jiving together, all not forming the landscape, almost just defending themselves in some strange world again and again and again, Southern French landscape moms say Victor became dominated for the imagination.
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The imagination of Susan this fall, mom said Victor [inaudible] for the Japanese. It became more and more central mysterious point around which the world axis of this new version could rotate. And so the landscape of sand became a fruit, the tree almost take on human, bald ritual worship and attempt divine guardian landscape. The mysteriousness of design landscapes approaches almost G spiritual density of Chinese landscape. In the dynasty. We find all of those naively, probably not to the level of the grid, seven, seven landscape painters, the ability to present this mysterious interpenetration of self and nature so that the work itself become a vocabulary scurry learning, not only to see, but to spiritually trial, molecularly restructured sense of reality, which you will not only seeing nature in a new way, but experiencing oneself in that new way, man is informed that nature colors, some of his landscapes toward the end of his life began to take on an all said, Jerry, we can see the side of the lake heavily forested mountain terrain.
(00:58:45):
I get the dynamic structuring quality of the building, the landscape. And it's very into the water, not reflected off some from say water, but penetrate into the very structure of a volume, which we took for water. Or we can see they have a, of letting dynamic lines of structure in the blue volumes welling up like the tree in the left foreground penetrating into the landscape, carries with it. A sense of unfolding for him. Is this the buildings for blossoming of this motion coming up from the water, just like the tree leakage walked me out, trusting of that dynamic verdict, the left hand painting. I mean, you're the very end of his life. The last year of his life design paintings. He did, I think nine together. You know, he used to go over his paintings again and again, the art dealer, a full 715 times for a single portrait. He would go over it over it. And when he would change one element, you would have to change many.
(01:00:08):
And so did that learn the old Renaissance techniques of how to put a light wash, all the black and white, where the forums are going to be, and then you put your color very lightly. So it has your destiny and your account and this final painting. And again, this is due to the slot. This is not in the, not in the photograph, this lightness on the left hand side, a good slide because it tracks, we almost experience some switches fans emerging from the landscape sharing wind itself, then volumes down below where a case is if it were some magnificent, big sledding in the distant future, carrying a whole sense of reality as an embroidery motif upon its peak is I think the proper way in relationship in the 20th century. Well, next week we have the madman of architecture, Tonio, bounty, leave it to the Spanish in the morning. I said, bang produces Madden more than any other.

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