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Modernism and extremism: The early w...

Dombrowski, Andre.

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Modernism and extremism: The early work of Paul Cezanne (1865--1875).

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Modernism and extremism: The early work of Paul Cezanne (1865--1875)./
作者:	Dombrowski, Andre.
面頁冊數:	447 p.
附註:	Source: Dissertation Abstracts International, Volume: 67-08, Section: A, page: 2786.
Contained By:	Dissertation Abstracts International67-08A.
標題:	Literature, Modern. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3228309
ISBN:	9780542824029

Modernism and extremism: The early work of Paul Cezanne (1865--1875).
Dombrowski, Andre.

Modernism and extremism: The early work of Paul Cezanne (1865--1875). - 447 p.

Source: Dissertation Abstracts International, Volume: 67-08, Section: A, page: 2786.

Thesis (Ph.D.)--University of California, Berkeley, 2006.

My dissertation excavates an alternative, short-lived French Modernism in the early work of Paul Cezanne, a Modernism characterized not by the celebration of the eye's impression, but an unprecedented psychological intensity. The painting of modern life, it is said, was born through the complex interplay of formal innovation, new social practices, and a cultivated nonchalance on the part of the inhabitants of the modern metropolis. In contrast, I offer a competing vision of modern painting rooted in the evocation of psychological "expression" and "extremism," emblematized by the murder and orgy scenes that distinguish Paul Cezanne's early oeuvre. I explain why such psychological painting was briefly and unsuccessfully raised up against the model of Manet's urbane restraint at the end of the 1860s, only to be abandoned by the mid-1870s.

ISBN: 9780542824029Subjects--Topical Terms:

624011
Literature, Modern.

Modernism and extremism: The early work of Paul Cezanne (1865--1875).
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245 1 0 $a Modernism and extremism: The early work of Paul Cezanne (1865--1875).
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500 $a Source: Dissertation Abstracts International, Volume: 67-08, Section: A, page: 2786.
500 $a Adviser: T. J. Clark.
502 $a Thesis (Ph.D.)--University of California, Berkeley, 2006.
520 $a My dissertation excavates an alternative, short-lived French Modernism in the early work of Paul Cezanne, a Modernism characterized not by the celebration of the eye's impression, but an unprecedented psychological intensity. The painting of modern life, it is said, was born through the complex interplay of formal innovation, new social practices, and a cultivated nonchalance on the part of the inhabitants of the modern metropolis. In contrast, I offer a competing vision of modern painting rooted in the evocation of psychological "expression" and "extremism," emblematized by the murder and orgy scenes that distinguish Paul Cezanne's early oeuvre. I explain why such psychological painting was briefly and unsuccessfully raised up against the model of Manet's urbane restraint at the end of the 1860s, only to be abandoned by the mid-1870s.
520 $a Central to my argument is that Cezanne's paintings are not explorations of his own psychic disposition, but rather careful orchestrations of subjectivity and interiority, exemplifying contemporary understandings of the formation and governance of the self. Within Cezanne's social circle, new scientific models for representing temperament led Cezanne to formulate modern experience differently from Manet. Mobilizing contexts rarely brought to bear on the period, I investigate the neo-romanticism of the late Second Empire, its psychophysiological theories, as well as the "culte du moi" in art and poetry, all of which Cezanne would have encountered through Zola and his understudied circle of friends, which included, among others, the natural scientist Antoine-Fortune Marion and the poet Antony Valabregue.
520 $a Chapter one discusses Cezanne's pictorial adaptations after Manet and his desire to paint himself into Manet's most infamous 1860s paintings like Olympia. Chapter two contrasts Cezanne's The Murder to his Young Girl at the Piano, and argues for their twinned refusal of Manet's urbane attitude. Here, I claim, Cezanne shows the modern self---in clear opposition to Manet---as either utterly uncontrolled, or as overly repressed. And chapter three discusses Cezanne's understudied series of fashion plates copies of around 1871 in relation to their historic and political specificity (to Franco-Prussian War and Commune), as well as to Manet's more explicitly political images of the time.
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