论塞尚式困惑（On Cezannes confusion）.docVIP

论塞尚式困惑（On Cezannes confusion） In 1945, French phenomenology Melo - (Maurice Merleau-Ponty, 1908-1961) in Cezannes confusion in a text, the Cezannes confusion was defined and analyzed: His painting is paradoxical: his pursuit of truth (reality), but not to give up sensitive surface, in addition to the first impression of nature, he has no dependence, do not follow the contour, not around the color line, no perspective arrangement or composition. This is what Bernard called Cezannes suicide: the goal of reality, while refusing to use any means. I In order to conquer the truth and conquer nature, western paintings since the Renaissance have accumulated enough experience and techniques. Why would Cezanne be willing to give up all this and paint like an inexperienced layman? Melo Ponty believes that this is not decided by the painter but character, but by his chosen task, Cezannes first word is difficult to spit out the difficulties. He felt incapable of action, this is because he is not God, but his desire to portray the world, it will turn into the whole picture of the world to contact us (touch) it becomes visible to ii. In phenomenological terms, Cezannes task is to capture the world into its image with a brush. Similarly, the task, along with its unimaginable difficulties, was also the face of Melo - Jacques May Siti, the artists friend. Jacques May Siti (Alberto Giacometti, 1901 - 1966) was born in Switzerland, a painters family, settled in Paris in 1922, had been early Cubism, after participating in the Surrealist movement, his works the murdered woman (1932) is recognized as the representative of super realism sculpture. Oddly enough, since 1935, he voluntarily severed contact with the fashionable movement, returned to the studio and trained in sketching. From dada to surrealism, the modern western painting has embarked on a path that focuses on the concept, and no longer focuses on the material and techniques of painting, but the conceptual meaning behind the pa