Cookie Monster visited the Guggenheim, and other museums in New York, earlier this week. This makes me realize I am genuinely sick and tired of people beating me to the punch on great ideas. Just GENUINELY.
The Edsel and Eleanor Ford House had a secret sale of this Cezanne. And someone decided to do themselves the Christmas kindness of buying this beaut for ONE HUNDRED MILLION DOLLARS. But don’t worry, this didn’t go to anything worthwhile and grandiose like, uh, to support Detroit in any way — Ford House is private, and the money is being used to restore the house and grounds. Apparently, the separate endowment of $86 million isn’t enough to support everyday operations.
To celebrate the “Madame Cezanne” exhibit that opens at the Met today, I looked into their marital bliss…or lack thereof, apparently. Turns out that Paul Cezanne didn’t leave his wife anything in their will, and instead left it all to his son. Guess I need to add a new surname to my list of “Hated Pauls in Art History.” You’re in good company with that Gauguin clown, Cezanne.
I went to the Phillips Collection yesterday, and saw this beautiful work by Paul Gauguin. The Ham, from 1889, presents us with a portion size that’s absolutely acceptable, a handful of small onions, and a glass of wine that begs to be topped off.
Gaugin continues to be one of the most stunning users of color in the Post-Impressionist field. What he generated with bright, flat planes of color continues to be an inspiration to viewers and artists alike. The torture Gauguin must’ve felt on his endless quest for the Edenic primitivism cost him so much that we ought to…
…oh God, the horror. I CAN’T DO IT. This April Fool’s joke ends HERE AND NOW.
Gauguin was known to have said, “Let’s do a Cezanne.” Again with the originality, argued here, sir! I’m endlessly impressed, truly.
Not to be redundant, but Paul Cezanne’s Still Life with Fruit Dish makes its appearance in Paul Gauguin’s Woman in front of a Still Life by Cezanne. I know what you’re thinking: WOW, Gauguin, super original.
A few things I absolutely hate about this work (surprise, surprise)…
1. Knife: Why does it look like it’s floating!? Worst.
2. Signature: Gauguin does a pretty rude move where he signs the white border of the Cezanne work. Like, are you serious, Gauguin? Way to take credit for a work you didn’t actually create with that borrowed background! Lucky us, though, since we get to interpret the signature as witness (a la Jan van Eyck’s Arnolfini Wedding Portrait) or as a self-important chump (a la Duchamp’s urinal). Personally, I’m going with latter.
3. Ownership: Gauguin once said that he would never sell this Cezanne without “direst necessity.” But guess what?! He later sold it to pay for medical treatment in Tahiti…something to do with syphilis, perhaps? (I ignore ALL dental analysis theories; don’t you dare rain on my parade, science!)
4. That WAIST: Mainly since I’m damn jealous. You can keep your hate-filled glare, though, girl. I’m not about that.
Paul Cezanne’s “Modern Olympia” sparked a whole lotta drama at its Salon exhibition, which, granted, considering we’re just as voyeuristic as this gentleman in the foreground. (Critics also called his style “delirious.” Also, sir, is that a whip?!)
Personally, I think all these prostitution symbols in the work (the dude, the dog, the handmaid) are today’s equivalent of over-the-knee boots at work. Something about them is just a little too Pretty Woman, don’t you think?