Cézanne and the art of nondual nonfinito

 

Or – getting emptiness exactly right

 

Paul Cézanne La Montagne Sainte-Victoire vue des Lauves

La Montagne Sainte Victoire vue des Lauves, Paul Cézanne, 1901-1906

 

As Cézanne aged, his paintings became filled by more and more naked canvas, what he eloquently called nonfinito. No one had ever done this before. The painting was clearly incomplete. How could it be art? But Cézanne was unfazed by his critics. He knew that his paintings were only literally blank. Their incompleteness was really a metaphor for the process of sight. In these unfinished canvases, Cézanne was trying to figure out what the brain would finish for him. As a result, his ambiguities are exceedingly deliberate, his vagueness predicated on precision. If Cézanne wanted us to fill in his empty spaces, then he had to get his emptiness exactly right.

For example, look at Cézanne’s watercolors of Mont Sainte-Victoire. In his final years, Cézanne walked every morning to the crest of Les Lauves, where an expansive view of the Provençal plains opened up before him. He would paint in the shade of a linden tree. From there, Cézanne said, he could see the land’s hidden patterns, the way the river and vineyards were arranged in overlapping planes. In the background was always the mountain; that jagged isosceles of rock that seemed to connect the dry land with the infinite sky….

And yet the mountain does not disappear. It is there, an implacable and adamant presence. The mind easily invents the form that Cézanne’s paint barely insinuates. Although the mountain is almost literally invisible – Cézanne has only implied its presence – its looming gravity anchors the painting. We don’t know where the painting ends and we begin…

– Jonah Lehrer: Proust was a Neuroscientist


Source – http://www.selfdiscoveryportal.com/Conquest.htm
PS – The entire article is well worth reading.


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