The main crux of this book is to discuss the analogy between Paul Cezanne’s late works and Henri Bergson’s early philosophy, thereby providing those who are interested in or troubled by the artist’s motivation a Bergsonian interpretation.
The writer adopts the method of contrast in analyzing both their notions of ‘intuition and intelligence’ epistemology-wise as well as ‘appearance and reality’ metaphysics-wise. This book will also compare their respective use of abstract philosophical symbols and concrete artistic symbols.
The writer rediscovers Cézanne’s paintings in detail and finds that Cézanne incorporated three Bergsonian figures (vertical and horizontal lines, cone, and shell) as the composition in two of his famous paintings. Moreover, Cézanne skillfully embedded Bergson’s initials, H.B., in his painting as homage -an exciting prospect for art historians and philosophers alike. (Please reference the book cover).
Aside from arguing the intensive relatedness between the two in the form of book for the first time, the author also points out how Bergson’s philosophical development continued to have influence on some of Cezanne’s artistic successors, such as the main proponents of Fauvism, Cubism and Futurism.
Consequently, a principal characteristic of early 20th century French painting could be interpreted as the multiple formal expressions and innovative developments of Bergsonian style, or the crystallization of Bergsonism.
About authro: Chao-liang Calvin Yu
National Taiwan Normal University, Taiwan, M.A. (Art)
Chinese Cultural University, Taiwan, Ph.D. (Philosophy)
National Taipei University of Nursing and Health Sciences, Associate Professor, 2002-19
Theses: Cézanne and Bergson–Bergsonism in Cézanne’s Late Works, Bergsonism in Modern Painting–from Matisse to Duchamp (Chinese version)
Novel: The Code of Cézanne (Chinese version)
Cuprins
Preface
Table of Contents
Introduction
Chapter One
Chapter Two
Chapter Three
Chapter Four
Chapter Five
Index
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