Felipe Fernández-Armesto
:
“...When painting a
still life, Paul Cézanne used to switch between vantage points, sometimes
overnight, sometimes during a single painting session. He was seeking momentary
sensations, fleeting perceptions to combine in a single composition. When you
see his version of a bowl of apples, for instance, the visible curves of the
rim of the bowl look as if they can never meet. Cézanne painted strangely
distended melons, because he wanted to capture the way the fruit seems to
change shape from different angles. In his assemblages of odds and ends, the
distortions of vision, as each object assumes its own perspective, are
sometimes baffling, sometimes maddening, always intriguing. He painted the same
subjects over and over again, because with every fresh look you see something
new, and every retrospect leaves you dissatisfied with the obvious
imperfections of partial vision.
The past is like a painting by Cézanne—or like a sculpture
in the round, the reality of which no single viewpoint can disclose. I do not
say so to occlude reality or subvert truth. On the contrary, I think objective
reality (by which I mean, at least, what looks the same by agreement among all
honest observers) lies somewhere out there, remote and hard of access—at the
summation, perhaps of all possible subjective perspectives. Whenever we shift
position, we get another glimpse; then, like Cézanne, we return to our canvas
and try to fit it in with all the rest...”
(‘THE LIMITS OF EVOLUTION: Why evolutionary theory fails to
match historical reality’ from ‘A FOOT IN THE RIVER: Why Our Lives Change—and
the Limits of Evolution’, 2015)
Paul Cézanne हे किती महान कलावंत होते हे आपल्याला पुन्हा एकदा समजत आणि चित्रकारात आणि चांगल्या इतिहासकारात काय साम्य असायला पाहिजे ते ही समजते.
वर उल्लेखिलेले "The Basket of Apples", १८९५ हे चित्र पहा:
विकिपीडिया त्याबद्दल सांगत :
“...The piece is often noted for its disjointed perspective.
It has been described as a balanced composition due to its unbalanced parts;
the tilted bottle, the incline of the basket, and the foreshortened lines of
the cookies mesh with the lines of the tablecloth. Additionally, the right side
of the tabletop is not in the same plane as the left side, as if the image
simultaneously reflects two viewpoints...”