ALASTAIR SMART
Cezanne
Tate Modern, London Until March 12 ★★★★★
No less a figure than Pablo Picasso described Paul Cezanne as his ‘one and only master’.
It’s interesting, in fact, to compare the two artists.
For where the Spaniard’s career had a brilliant start and middle before fizzling out towards the end, the Frenchman worked for a number of decades before achieving greatness. That’s certainly the impression given by Tate Modern’s major new
Cezanne exhibition.
Early on, we encounter works such as The Murder (1867-70), a melodramatic scene of a woman being pinned down by one figure and attacked with a knife by another.
There isn’t much to detain the visitor in the opening rooms. However, slowly but surely, the masterpieces start appearing.
These include The Sea At
L’Estaque Behind Trees (1878-79), a view of a coastal village near Marseilles in which Cubism seems to be being invented before our eyes. The houses’ walls and rooftops amount to a cluster of compressed forms rather than receding with traditional perspective to the sea beyond. You don’t need knowledge of the different arthistorical movements to enjoy this show, though. Far from it. The overriding reaction to seeing Cezanne’s better paintings is delight.
One of many reasons for this is his rich contrast of colours. Another is the shimmering energy that suggests scenes are almost in motion. In the artist’s still-lifes – probably his finest works – apples often seem to be about to fall off the tables they’re placed on.
Sadly, the curators spend a little too much time investigating Cezanne’s political beliefs – and fail to come to any decent conclusion about what they were. That’s just a minor gripe, however, about an exhibition that still comes highly recommended.
C’est formidable.