黑料不打烊

French painter Paul C茅zanne (1839鈥�1906) found complexity in the world around him and engaged with it through his art. His landscapes appear impossible to enter, his still lifes tilt forward at dizzying angles, and the sitters in his portraits withhold attention. Though he was a peer of the Impressionists, sometimes participating in their exhibitions and working alongside them, C茅zanne鈥檚 vision and art departs from theirs in ways both subtle and startling.

Featuring 12 paintings by C茅zanne in conversation with work by Degas, Pissarro, Renoir, and others, 鈥淐茅zanne: In and Out of Time鈥� looks at the trailblazing artist and considers what sets him apart. Similar subject matter鈥攑ortraits, landscapes, and still lifes鈥攄emonstrates a shared commitment between C茅zanne and his contemporaries to observing the material world. But C茅zanne avoided depicting the fleeting aspects of nature that absorbed the Impressionists, choosing instead to investigate space and form, observing and working in a protracted, unhurried way.

Of his process, C茅zanne once noted, 鈥淚 am progressing very slowly, for nature reveals itself to me in very complex forms.鈥� His work rewards careful looking, much like the methodical manner required to make it. With its compressed view and its subject鈥檚 blank expression, the distinctly modern Madame C茅zanne in a Red Armchair (about 1877) appears at once intimate and distant. The landscape Turn in the Road (about 1881) is a complex arrangement of shapes and spaces that challenges viewers鈥� perceptions. And Still Life with Peaches and Pears (about 1885鈥�87)鈥攚ith a bowl of fruit viewed from above and a nearby pear seen from the side, casting its shadow to the right鈥攕eems to capture two perspectives at once. C茅zanne鈥檚 work conveys a constant push鈥損ull of presence and absence, space and surface, time and timelessness.

Seeing C茅zanne鈥檚 paintings alongside those of his peers highlights what made his art distinctive when it was new鈥攁nd what makes it so fascinating now.