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NEW RESEARCH ON ART AND ITS HISTORY

JANUARY 2025

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GIUSEPPE MOLTENI (1800–1867) The Chimney Sweep, c. 1838 Recently acquired by the Galleria d’Arte Moderna, Milan

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MASTER DRAWINGS NEW YORK 2025 1–8 February 2025 masterdrawingsnewyork.com THE UNITED STATES’ premier art fair devoted to works on

The Triumph of David, from a Book of Hours, by the Berlin Master of Mary of Burgundy. Southern Netherlands, possibly Ghent, c.1480. Miniature on parchment, 15.3 by 11 cm. ENLUMINURES, CHICAGO, PARIS AND NEW YORK

paper, Master Drawings New York (MDNY) brings more than two dozen exhibitors to the Upper East Side this February. Selected for their expertise, scholarship and connoisseurship, the participating galleries and dealers will exhibit exceptional works on paper from the fifteenth to twenty-first centuries, alongside occasional paintings, photographs and sculptures of the highest quality. Among the outstanding works of art on show are a rare group of European miniatures from the fourteenth and fifteenth centuries, by such celebrated Italian artists as Maestro Daddesco (active c.1320–40), Giovanni di Paolo (1403–82) and the Berlin Master of Mary of Burgundy (active 1469–83); master drawings originating from the court cultures of Isfahan, Tabriz and the Rajput courts of India; a red chalk drawing by François Boucher (1703–70); and contemporary works on paper by George Condo (b.1957). The fair will also see the first presentation of works by the Dutch avantgarde artist Jacoba van Heemskerck (1876–1923) in the United States. The Drawing Foundation, a non-profit organisation that celebrates drawing and is a long-time partner of MDNY, will organise a diverse programme of conversations, lectures, tours and visits to leading cultural institutions, such as the Metropolitan Museum of Art. MDNY coincides with the major drawing auctions at Christie’s and Sotheby’s, and visitors can also benefit from the overlapping schedules with the final days of the Winter Show at Park Avenue Armory, which ends on 2nd February. For additional information, please visit masterdrawingsnewyork.com

Composition, by Jacoba van Heemskerck (1876–1923). 1916. Woodblock print, 20 by 28 cm. PERSPECTIVE FINE ART, AMSTERDAM

Bahram Gur facing the dragon, by School of Muhammad Zaman. Central Iran, probably Isfahan, c.1675. Brush drawing, opaque pigments and gold on card, 16.2 by 25.1 cm (painting). SAM FOGG, LONDON II

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Travellers on donkeys approaching a ruined city gate, by Bartolomé Esteban Murillo (1617–82). Pen and brown ink with brown wash, 21.4 by 13.5 cm. CHRISTIE’S, NEW YORK

THE BURLINGTON MAGAZINE | 167 | JANUARY 2025

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Global Treasury: The Life and Collection of Selim and Mary Zilkha Featured in Classic Week New York | 6 February 2025 EXHIBITION 31 January – 5 February 20 Rockefeller Plaza New York, NY 10020

CONTACT Jill Waddell jwaddell@christies.com +1 516 407 7095

THE NERO AND AUGUSTUS ALDOBRANDINI TAZZA Probably Netherlandish, 1587–99 15¾ in (40 cm) high; 14¾ in (37.3 cm) diameter Estimate: US$2,000,000–3,000,000

christies.com

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MASTER DRAWINGS NEW YORK 2025 1–8 February 2025 masterdrawingsnewyork.com

Head of a bearded man, by Giuseppe Cesari, called Arpino (1568–1640). Pen and brown ink, 15.5 by 13 cm. RATTON AND LADRIÈRE, PARIS

The Triumph of Silenus, by JeanBaptiste Greuze (1725–1805). c.1760– 70. Pen and brown and black ink and grey wash, over an underdrawing in black chalk, laid down on an 18th century French mount, 53.8 by 37.8 cm. STEPHEN ONGPIN FINE ART, LONDON

2417.Hypholoma, by Julien Alphonse Lignier (1872–1932). c.1925. Watercolour and ink on paper, 29.8 by 25.1 cm. VICTORIA MUNROE FINE ART, NEW YORK IV

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St Cecilia, by Edward Reginald Frampton (1872–1923). 1917. Watercolour and tempera on board, 73.7 by 120 cm. THE MAAS GALLERY, LONDON

A panel design with Cupid and Psyche, by Jules-Frédéric Bouchet (1799–1860). 1850. Watercolour with pen and ink and gouache, 30 by 20 cm. NONESUCH GALLERY, LONDON

Portrait of a woman seated under a tree, by John Hoppner (1758–1810). c.1780. Red and black chalks, 31.8 by 26.7 cm. ABBOTT AND HOLDER, LONDON

THE BURLINGTON MAGAZINE | 167 | JANUARY 2025

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S ᴛᴇᴘhᴇn O ngᴘin F inᴇ A rᴛ Old Master, 19th Century and Modern Drawings

Master Drawings New York 1–8 February 2025

TADDEO ZUCCARO (1529-1566)

Design for a Pendentive with Saint Luke

Pen and brown ink and brown wash, with touches of white heightening, and squared in red chalk, on blue paper. 147 x 142 mm. (5³⁄₄ x 5⁵⁄₈ in.) at greatest dimensions. A study for Taddeo Zuccaro’s most important surviving work, the fresco decoration of the Mattei Chapel in the Roman church of Santa Maria della Consolazione, painted between 1553 and 1556. An early preparatory study, this drawing depicts one of the four Evangelists painted by Zuccaro on the pendentives of the vault. 82 PARK STREET, MAYFAIR, LONDON ᴡ1ᴋ 6nh INFO@STEPHENONGPINFINEART.COM

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ᴛᴇᴌ: + 44 (0)207 930 8813

WWW.STEPHENONGPIN.COM

12/12/2024 09:19

JOURNAL ISSUE 11 LIVE NOW

contemporary.burlington.org.uk/journal

From ‘Violent emotions’, by Juno Calypso. 2024. (Commissioned for Burlington Contemporary Journal 11).

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NONESUCH GALLERY F I NE P A I NT I NGS & WOR K S ON P A P E R

c. 1 5 0 0 - 1 8 5 0

ATTRIBUTED TO GIOVANNI DA UDINE Udine, 1487 - Rome, 1560

A STUDY FOR THE FRESCO ON THE PILASTER BETWEEN THE SEVENTH & EIGHTH BAYS OF RAPHAEL'S DECORATIONS IN THE PAPAL LOGGIE AT THE VATICAN Pen & ink on laid paper 406 x 207 mm | 16 x 8 in

We will be presenting this exciting rediscovery as part of our exhibition for Master Drawings New York, taking place at L'Antiquaire & the Connoisseur, 36 E. 73rd St.

By Appointment in St James's, London Gallery@Nonesuch-Gallery.co.uk | www.Nonesuch-Gallery.co.uk Member of the Society of London Art Dealers (SLAD)

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FRANCIS HASKELL † & NICHOLAS PENNY

TASTE AND THE ANTIQUE The Lure of Classical Sculpture: 1500-1900 S ince its original publication in 1981, Taste and The Antique has

rightfully earned its status as a seminal work in art history. The book vividly traces how ancient sculpture shaped artistic tastes, inspired collectors, and le�t an indelible mark on art from the Renaissance to the present day. Now, in this newly revised and expanded edition of three volumes, readers are o�fered an even richer selection of examples and images, bringing the enduring in�luence of classical art to life more vividly than ever before.

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2025 SCHOLARSHIP for the study of French 18th-century fine and decorative art INVITATION FOR APPLICATIONS The Burlington Magazine is pleased to announce its eighth annual scholarship which has been created to provide funding over a 12-month period to those engaged in the study of French 18thcentury fine and decorative art to enable them to develop new ideas and research that will contribute to this field of art historical study. Applicants must be studying, or intending to study, for an MA, PhD, post-doctoral or independent research in this

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field within the 12-month period the funding is given. Applications are open to scholars from any country. A grant of £12,000 will be awarded to the successful applicant. Deadline for applications is 30 March 2025 and the successful applicant will be notified by 31 May 2025. For application guidelines and terms and conditions please visit www.burlington.org.uk

the burlington magazine | 167 | january 2025

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ABBOTT and HOLDER

Nathaniel Dance-Holland (1735-1811) Pencil. c.1767. 12.5 inches (Diam).

- TO M EDWARDS -

EXHIBITION OF BRITISH WORKS ON PAPER 31 st JANUARY - 8 th FEBRUARY 31 East 72 nd Street, New York for MASTER DRAWINGS NEW YORK 20 th FEBRUARY - 8 th MARCH 30 Museum Street - opposite the British Museum - London ABBOTT, ADAM, ANDERSON, BEAUMONT, BELL, BOYS, CIPRIANI, COOPER, COTMAN, COX, COZENS, CRISTALL, DANCE-HOLLAND, DANIELL, DE WINT, DIXON, FIELDING, GANTZ, GIRTIN, GLOVER, HAMILTON, HEARNE, HOGARTH, HOPPNER, JEKYLL, JOHNSON, LEAR, LINNELL, MITFORD, MORTIMER, NICHOLSON, PALMER, ROMNEY, ROWLANDSON, SANDBY, SURTEES, VACHER, VARLEY and more ... 30 Museum Street, London WC1A 1LH | www.abbottandholder.co.uk | +44 (0)20 7637 3981 | galler y@abbottandholder.co.uk

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26 January–2 February 2025 Brussels Expo brafa.art CELEBRATING SEVENTY YEARS of the fair, BRAFA 2025 brings together approximately 130 galleries to showcase a wide and eclectic range of unique works of art and antiques of the highest quality. To mark this milestone, BRAFA has invited the contemporary artist Joana Vasconcelos (b.1971) as their guest of honour. Hailing from Portugal, Vasconcelos is known for her monumental sculptures and immersive installations. Her work explores such themes as the female condition, consumerism and collective identity, and two large installations by the artist will feature at EXPO for the duration of the fair.

2025 marks the centenary of Art Deco, 100 years since the International Exhibition of Modern Decorative and Industrial Arts, held in Paris. BRAFA honours the movement’s influence on Belgian design and the visual arts, with a number of exhibitors bringing important works from the period.

Two Capucin monkeys, by Christophe Huet (1700–59). 1737. Oil on canvas, 45.4 by 56.4 cm. COSTERMANS, BRUSSELS

Fox and hare on floral ground. Sothern Netherlands, possibly Saint-Trond. 2nd quarter 16th century. Wool and silk, 103 by 236 cm. DE WIT FINE TAPESTRIES, MECHELEN

This is the first edition of BRAFA under the chairmanship of Klaas Muller, who has expressed interest that the fair ‘place a little more emphasis on ancient and classical art, Asian and ethnic art, [and] archaeology’. While the offering at BRAFA has been increasingly diverse in this respect for several years, there will still be many exquisite examples of oldmaster painting, Modern art, sculpture and the decorative arts at the 2025 event. This year BRAFA also inaugurates a partnership with the Royal Institute for Cultural Heritage, Brussels (KIK-IRPA). KIK-IRPA will present their recent conservation and restoration work and holds interactive workshops at their dedicated stand in the fair. The BRAFA Art Talks, a series of lectures by curators, experts and other key figures, as well as public tours in English, French and Dutch, will take place daily.

Monumental bed in Egyptomania style. by Louis Malard. 19th century. Walnut with polychromy, 271 by 232 by 260 cm. GALERIE MARC MAISON, PARIS Girl, by André Lhote (1885–1962). 1909–10. Oil on paper laid down on board, 48.8 by 31.8 cm. DR NÖTH KUNSTHANDEL + GALERIE, ANSBACH x

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DESMET FINE ART

José Álvarez Cubero (1768 – Priego de Cordoba – 1827) The composer Gioachino Rossini (1792–1868) Rome, c.1819–1827. 68 cm high PROVENANCE: Commissioned by the 14th Duke of Alba, Carlos Miguel Fitz-James Stuart Delivered to the Palacio de Liria on the 28th August 1828 Likely to have been given to Rossini on his visit to Madrid in 1831

26 JAN – 2 FEB 2025

www.gallerydesmet.com

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17 Rue de la Régence – 1000 Brussels

info@gallerydesmet.com

12/12/2024 09:18

26 January–2 February 2025 Brussels Expo brafa.art

Denial of St Peter, by Bartolomeo Manfredi (1582–1622). c.1618–20. Oil on canvas, 125 by 183 cm. GIAMMARCO CAPPUZZO FINE ART, LONDON Salver. Portugal, late 16th century. Silver, diameter 33 cm. J. BAPTISTA, LISBON

A woman and her son as Venus and Cupid, by Jacob van Loo (1614–70). c.1670. Oil on canvas, 87.5 by 77.5 cm. GALERIE LOWET DE WOTRENGE, ANTWERP

Pair of staggering and pacing horses, attributed to Francesco Fanelli (1577–1653). 1625– 50. Bronze, black lacquer patina, height 15 cm. and 16.5 cm. GALERIE DESMET, BRUSSELS xii

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‘Cluny’ and ‘Senlis’ vases, by René Lalique (1860–1945). c.1925. Moulded glass with bronze handles, height each 26 cm. GALERIE BG ARTS, SAINT-OUEN SUR SEINE

Dancer in the café, by Jean Metzinger (1883– 1956). 1912. Ink and watercolour on paper, 45 by 37 cm. GALERIE MARC JEAN-FRANÇOIS CAZEAU, PARIS

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Exhibitions

DECEMBER 2024

FEBRUARY 2024

NEW RESEARCH ON ART AND ITS HISTORY

is especially true for the many artists of colour who have been severely underrepresented both within feminist and mainstream art histories, such as Nina Edge (b.1962), Lesley Sanderson (b.1962), Gurminder Sikand (1960– 2021), Mowbray Odonkor (b.1962) and Bhajan Hunjan (b.1956; Fig.12). In fact, there are probably two or three exhibitions held within this one survey, and therein lies the source of the difficulties in the curatorial narrative. Nonetheless, the influence of this exhibition will be widely felt, not least because it will tour to the National Galleries of Scotland: Modern, Edinburgh, and the Whitworth, Manchester, after its iteration at Tate Britain. The exhibition catalogue includes a range of new writing on feminism and art in the British context, and in many ways allows for the slow looking that the exhibition struggles to sustain. A six-part podcast released by Tate is also an important resource, NEW RESEARCH ON ART AND ITS HISTORY DECEMBER 2024 with artist interviews that bring to life the historical moments described in the exhibition.4 Although Women in Revolt! is large, there is still more work to be done in delving further into the art and activism of 1970s Britain. The present reviewer suggests, for example, a sourcebook of writing from across the two decades; and an annotated bibliography of scholarly writing, curatorial experiments and archival projects since 1990. Collecting in Britain

FEBRUARY 2024

Sweden in London: the 1924 Royal Academy exhibition Artemisia Gentileschi, poet | A Dutch perspective box painting | Early copies of Van Dyck’s ‘Iconography’ Botticelli drawings in San Francisco | Camille Claudel in Chicago | Picasso in Fontainebleau

12. The affair, by Bhajan Hunjan. 1987–88. Acrylic on canvas, 122 by 91.5 cm. (© Bhajan Hunjan; Tate; exh. Tate Britain, London).

Perhaps such projects would coax out the conversations prompted by this exhibition further, aiding the consideration of the knotty questions that arise when ‘art’ is combined with ‘feminism’, and allowing new audiences to join in the long tradition of wanting to ‘seize the imagination in another way’. 1 C. Butler and L.G. Mark, eds: exh. cat. WACK! Art and the Feminist Revolution, Los Angeles (Museum of Contemporary Art), Washington DC (National Museum of Women in the Arts), Vancouver (Vancouver Art Gallery) 2007–09.

2 Catalogue: Women in Revolt! Art and Activism in the UK 1970–90. Edited by Lindsey Young. 304 pp. incl. numerous col. + b. & w. ills. (Tate Publishing, London, 2023), £35. ISBN 978–1–84976–862–7. 3 See, for example, S. Wilson: Art Labor, Sex Politics: Feminist Effects in 1970s British Art, Minneapolis 2015; and N. Klorman-Eraqi: Feminist Photography and Countercultural Activity in 1970s Britain, New Brunswick 2019. For exhibitions, see 56 Artillery Lane, Raven Row, London (2017); Hot Moment, Auto Italia, London (2020); The Place is Here, Nottingham Contemporary (2017); and Of Other Spaces, Cooper Gallery, Dundee (2016). 4 See ‘Women in Revolt! Podcast’, Tate (2023), available at www.tate.org.uk/art/ art-terms/f/feminist-art/women-in-revoltpodcast, accessed 11th February 2024.

THE BURLINGTON MAGAZINE

JUNE 2024

THE BURLINGTON MAGAZINE

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NEW RESEARCH ON ART AND ITS HISTORY

JULY 2024

NO. 1456 VOL. 166 18/06/2024 09:11

19/04/2023 19:35

Exhibitions Recently conserved, Watteau’s Looking slowly withenigmatic Cezanne

the burlington magazine ‘Pierrot’ is at the centre| 166 of |aoctober display2024 that

The exhibition was organised by Guillaume Faroult, chief curator of the Louvre’s paintings department, who also wrote the exemplary catalogue, which includes an essay on

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The recent retrospective at the Art Institute of Chicago and Tate Modern, the London, raised materiality of Pierrot by Delmas The sixty-five andthe Trémolières. fundamental questions about the ways that Paul Cezanne expressed in paint sensations works assembled are divided into aroused in him by his subjects, or ‘motifs’. This personal response to a selection of themes: works‘The shown two main invention of Pierrot’ and ‘The times of Gilles’. in the exhibition endeavours to suggest some answers.

examines its roots in the world of theatre

The first sets out the context around the making of the painting in the 1710s, when Watteau, drawn to the popular theatre culture at the Foires Saint-Germain and Saint Laurent, made the maladroit, unlucky-in-love clown from the Comédie17/09/2024 Italienne (the French version of the commedia dell’arte) a focus of his art. The second assesses its long afterlife as the character of Pierrot morphed into his ‘alter ego’ Gilles, a moody intriguer made iconic in the early nineteenth century through the pantomimes of ezanne looked long and hard at his own paintings on each. This was a bold and laudable strategy, particularly as the visitor Jean-Gaspard Deburau in what he described in a letter of 25th January 1904 to was offered over one hundred works to look (‘Baptiste’) at (several of which have 3 at theKingdom Théatre des Funambules. Louis Aurenche as a ‘painfully’ difficult attempt to achieve never been exhibited in the United before). It is, of course, Jean-Louis the ‘realisation’, or satisfactory expression in paint, of his no more possible to take in all ofMany thesevisitors in one will visitrecall than it is to read (let turn as Deburaupoet, ‘sensation’.1 Émile Bernard recalled a conversation with alone digest) a similar numberBarrault’s of verses brilliant by Cezanne’s favourite in Marcel 1945 film Les Enfants Cezanne on this topic, which took place in 1904 in front Baudelaire. So, what follows will take itsCarné’s cue from the hang, and will du paradis (Children of paradise; no.60; of the still life that was the last painting in the London iteration of the dwell instead on a few typical works, or on paintings that demonstrate Fig.1), which to thethe exhibition recent Cezanne exhibition, the heavily reworked Three skulls on a patterned something important about seeing or to painting artist. allows considerable space for screening carpet (cat. no.140; Fig.25). His valuable account is worth quoting at length: The exhibition was organised along broadly chronological linesthe (with 4 More room still given to the exception of the first room),key butscenes. it focused attention onisparticular the impact of Watteau’s He was at work on a canvas representing three skulls on an oriental genres – landscape, still life, portrait, figure subjects masterwork and bathers – its bequest to thetoLouvre in rug. He had been working on it for a month, every morning, from for the most part by assigning following separate rooms, or walls, each. This Revoir comédien 1. Jean-Louis photographs of Deburau’s restored glows six Watteau: o’clock untilUn ten-thirty [. . .] ‘What eludes me’,painting he told me [. . .]in the Salle clever strategy made it possible1869 bothwith to follow Cezanne’s development Barrault in sans ‘is réplique. Pierrot, dit him le agonise, fordethe Charles as byand Adrien la Chapelle in theI was Sully wing of(inasmuch as this is possible withson realisation’ [. . .] I saw entire month something so Pierrot sporadic) to pick out the role of ‘Gilles’ Tournachon (1854–55; museum, pride of place in Aix, over this painting of skulls, whichthe I consider his holding testament. the similarities that gave each genre some measure of Bibliothèque cohesion. Jean-Gaspard Musée ducolours Louvre, national de France, Paris; no.50), opposite entrance. We can now Room(‘Baptiste’) The andParis shapes in this picture changed onthe an almost daily 1 (‘Introduction’) featured Basket of apples (no.56; Fig.1), one Deburau, still 16th basis, October February of Sarah Bernhardt in that role by better but2024–3rd when I arrived in the studio it couldappreciate have beenWatteau’s taken technique, of a relatively small number of paintings that Cezanne signed. This he from the film 2025 from the easel as a finished work all the same. BnF; no.51) andorofexhibited Greta whichInisall more complex in Les only Enfants du he soldNadar truth, his wayhere than normally did when them (1883; or gave them away, dir.atM.Ambroise 2 Garbo’s Pierrot by Cecil Beaton his quickly painted cabinet pictures, of working was a meditation with the brush in hand. them – inparadis, this case Vollard’s gallery in Paris in (1946; 1895. A Carné. 1945. by richard rand National London; as well as his cooler palette and the signature is(Pathé therefore a good indicator thatPortrait CezanneGallery, considered a painting Films; as well as painted by spatial relationship of the central had reached exh. Musée du it gaveno.52), Given the attention Cezanne bestowed on his paintings, it is appropriate a stage where reasonably good shape totributes his ‘sensation’, Louvre, Paris). The Antoinein Watteau’s Pablo Picasso, Andrésense. Derain both his companions the thatrestoration they were of displayed this exhibitionfigure in a to manner calculated to andwithout implying that it was finished in the normal It and is noJuan great Pierrot alsowhat referred to asMorris, Gilles (cat. Pierrot, Gris and into recent landscape. Theinpainted facilitate Frances director ofbackground Tate Modern, described surprise, then, that this painting is (nos.56–58), relatively thinly painted intimes many no.1; Fig.2), provided the occasion large-scale by Jeanis larger, thelooking’. restorers3 having her speech at the opening of the exhibitionsurface in London as ‘slow places, and notably around the with signature itself. drawings It nevertheless exhibits towork wasturned for Musée dudevoted Louvre, to Paris, Michelstill-life Alberola (nos.62–64). out themore tacking margins toseveral features that typify Cezanne’s Thethe wall space each accordingly generous practice. Most obviously, organise theand second ofconsiderable. its ‘revoir’ Sometimes Presiding all of of this, reveal original paint that had beenit contains a discontinuous horizontal than usual, often only one pair of paintings edge in over the form the tabletop, exhibitions, on celebrated Pierrot Watteau’s life-size since the picture was cropped occupied anwhich entire focus wall, and in the first roominvisible there was only one painting which is lower at the left than where it emerges at the rightstares from behind pictures in its collection.1 The mute, lost in his thoughts. His four and restretched in the late eighteenth also É. Bernard: Cézanne’, L’OcciindebtedIndeed, to the Leverhulme I am grateful to treatment, Gloria Groom,executed Caitlin conservation in greatlycentury. shown‘Paul at half-length technical analysisand delightful writings by contemporarycompanions, dent 32 (1904), pp.17–30, at p.23; and A. poets, and a number of helpful charts Trust for awarding me a Major Research Haskell, Kimberley Muir and Richard 2023–24 at thetheir Centre de recherche et Fellowship a hill Paul or berm, payParis him1914, no p.87. determined that‘Unfolding still more canvasand tables. In this article all translationsbehindVollard: Cézanne, for my project Shiff for sharing observations on 2 ‘Ilthe était à l’ouvrage toile are the author’s own. In line with recentheed: on vision:has Cezanne’s “wayat of the seeing”’, therestauration works in the Chicago exhibition, and de des musées de France left, astrided’une a donkey, been lost left,some suggesting représentant trois têtes de mort sur un scholarship on the artist, the acute of the research for which appears in this to Anna Gruetzner Robins, Paul Hills, by Clarisse and Reissner Bénédicte valet Crispin has that tapis d’Orient. Il y avait un mois qu’il y article. The Pierrot cataloguewould for theoriginally exhibition haveaccent has not been used on Cezanne’sthe grinning Jason GaigerDelmas and Elisabeth travaillait matins, six heures an embarras de richesses for their thoughts about in the Trémolières, built on those a 2007 technical contains wandered over tous fromlesthe rivaldeComédie stood in the exact centre inof the name since he wrote his name as à dix heures et demie [. . .] “Ce qui me ‘Cezanne’ rather than ‘Cézanne’. The the form of valuable contextual essays London iteration. I must also thank all at study; picture was last on me thedisait-il right are An informative video of usage is retained in references. Française; manque, [. . .] three c’est la older by thecomposition. curators, searching technical the Art the Institute of Chicago, andcleaned Natalia . .] je le vis peiner, durant 1 ‘réalisation’, ‘péniblement’, analysis the Chicago conservators, Sidlina Michael Raymond at Tate in 1952.and Now freed from discoloured figuresréalisation” less easily[.recognised: Faroult thebyrestoration is shown on the back of tout le mois que je fus à Aix, sur ce ‘sensation’, J. Rewald, ed.: Paul Cézanne: a set of provocative responses by Modern, for making it possible for me to varnish and accumulated grime, the identifies the man in a cockscombthe wall that displays the painting. tableau des têtes de mort, que je Correspondance, Paris 1978, p.298. See contemporary artists, a series of subtle examine the paintings at my leisure. I am

by paul smith

21:23

shaped hat as Momus, Roman god of mockery, and the woman and the man in red as generic lovers, ubiquitous in the company’s repertoire. These stock characters greet visitors to the exhibition, much as actors at the foires would entice customers with parades, farcical improvisations staged on raised platforms in front of the theatre, as depicted in Bernard Picart’s engraving Le Théâtre de la foire (Theatre of the fair; 1730; BnF; no.11). Familiar with these performances through personal experience as well as his relationship to the artist Claude Gillot, Watteau focused his art on the parade rather than scenes from actual plays. While a picture

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the white cloth. The large black bottle also slopes alarmingly towards the left, as objects routinely do in Cezanne’s paintings. Looking attentively at the surface of the paintings sometimes reveals the marks that embody the decisions motivating so-called distortions of this kind. And here, it is clear that the leftward slant became increasingly pronounced as Cezanne built up the paint.4 (The underdrawing of the tabletop is still visible in the area of the tablecloth, but this is too patchy to allow conclusions about its relationship to the final painted object.) Although such idiosyncratic features are pronounced in Cezanne’s work, they have attracted little serious attention – if, that is, formalist arguments about the decorative ambitions they embody cannot be taken considère comme son testament. Ce tableau a changé de couleur et de forme presque chaque jour, et quand j’arrivai dans son atelier on eût pu cependant le retirer du chevalet comme un ouvrage suffisant. Véritablement son mode d’étude était une meditation le pinceau à la main’, É. Bernard: ‘Souvenirs sur Paul Cézanne et lettres inédites’, Mercure de France (1st October 1907), pp.386–404, at p.394, and (16th October 1907), pp.606–27.

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protagonist in his paintings. Usually presented standing rigid, hands to his side, he serves as a visual foil to his frequent partner-in-farce Harlequin, invariably depicted in constant motion. Other artists soon adopted this focus on Pierrot, as can be seen in works by Nicolas Lancret (c.1725; Louvre; no.38), Jean Baptiste Pater (c.1725–30, Royal Collection; no.37) and even Jean Honoré Fragonard, whose L’Enfant en Pierrot ((A A boy as Pierrot Pierrot;; c.1780–85; Wallace Collection, London; no.39) takes the character’s signature ill-fitting white suit to humorous absurdity. The display provides the first public opportunity to compare the Louvre’s Pierrot with the Getty Museum’s Les Comédiens italiens (no.35; Fig.3), the authorship of which has long been subject to debate.6 Faroult proposes the participation of several artists, including Watteau for the central figure of Pierrot; the comparison with the closely related drawing of Pierrot by Watteau from the Teylers Museum, Haarlem (c.1717; no.30) supports the attribution. He suggests Pater for the fluidly painted landscape and Cupid sculpture and a third, still unidentified, artist for the other figures, who are painted ‘in a stiff, hard-edged manner’ (p.108). Moving between the two works in the exhibition (and with other, undisputed paintings by Watteau near to hand), this reviewer agrees with Faroult that it is difficult to see the Gettyc.1893. pictureOilason entirely 1. Basket of apples, by Paul Cezanne. canvas,by 60Watteau; by 85 cm. (Art Institute of Chicago). it seems reasonable to suggest that may be faced withof a composition at face value. Perhaps the mostwefertile explanation them is the one begunessay by Watteau but is Anton Ehrenzweig offered in andesigned unjustlyand ignored of 1953, which left unfinished completed by things that they express an almost ‘gestalt-free’ form of and perception, or how or artists.perceptual wholes look before we group their partsanother togetherartist into seamless 5 Pierrot emerged AndLouvre’s indeed, Cezanne told the artists corresponding to continuous objects.The publicly only in 1826, at the‘Isale of make R.P. Rivière and Jacques Schnerb, who visited him in 1905: do not the collection of Dominique an ensemble’, by which he meant a well-proportioned unity.6 Vivantformer director of the the Ehrenzweig surmised that Denon, Cezannethe succeeded in disassembling Louvre, thefixedly Muséeat Napoléon, ready-made character of perception by then staring things. And it where, in the catalogue of the sale, cat. Cezanne Malevich: 4 On this phenomenon, see R. it was described astothe artist’sArcadia ‘most to Abstraction, Budapest (Museum Ratcliffe: Cézanne’s Working Methods and original’ work (p.121). of Fine Arts) 2021–22, pp.44–55. and their Theoretical Background, important ‘je ne fais the pas l’ensemble’, R.P. unpublished PhD thesis (University Faroult6rehearses tradition that Rivière and J. Schnerb: ‘L’atelier de of London, 1960), pp.129–59. Watteau made the picturerevue as a (25th theatre Cézanne’, La Grande 5 A. Ehrenzweig: ‘Cézanne’s distortions December 1907), pp.811–17, p.813. and peripheral vision’, in idem: The signboard or backdrop, like theatone The theory of the ‘ensemble’ was Psycho-Analysis of Artistic Vision and on the stage of Karel elaborated in C.H. Watelet: Art de Hearing, London 1953, pp.193–215. Forseen hanging peindre: Poëme. Avec des reflections an analysis of Ehrenzweigs’s ideas on Dujardin’s Les Charlatans painting sur les différentes parties de la Cezanne, see P. Smith: ‘Cezanne’s unitaliens (1657; Louvre; no.3). This peinture, Paris 1760, pp.74–83.would constructive line’, in J. Geskó, ed.: exh.

such as Les Comédiens italiens (Italian comedians; 1720; National Gallery of Art, Washington; no.28) may show the company on stage, taking a curtain call, others, such as Pierrot content (1712–13; Museo Nacional ThyssenBornemisza, Madrid; no.23) and La Partie quarrée (The foursome; 1713; Fine Arts Museums of San Francisco; no.24) depict the characters (or people dressed as them) removed to aristocratic pleasure parks, their subversive performances now appropriated by elite society for its own cultural expression.5 Faroult credits Watteau with singling out the minor character Pierrot, often making him the

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40% OFF making the point that a vestige of the personal, the human, endures. The standardised yet ever-varying nature of Los Angeles, down to its pools and modular buildings, is again the subject of the photographic series Every building on the sunset strip (1966), an accordion-fold artist’s book that records both sides of the famous stretch of Sunset Boulevard, shot from the back of a flatbed truck. The repetition and variety of the boulevard unfold as a microcosm of Los Angeles’ ceaseless permutations, confirming the idea – expressed by the novelist Christopher Isherwood

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22. Los Angeles County Museum of Art on fire, by Ed Ruscha. 1965–68. Oil on canvas, 135.9 by 339.1 cm. (© Ed Ruscha; Hirshhorn Museum and Sculpture Garden, Washington; exh. Los Angeles County Museum of Art).

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21. Large trademark with eight spotlights, by Ed Ruscha. 1962. Oil, house paint, ink and pencil on canvas, 169.5 by 338.5 cm. (© Ed Ruscha; Whitney Museum of American Art, New York; exh. Los Angeles County Museum ERs_MAR24.indd 305 of Art).

representing only themselves – and as objects in the world, indexes of a life. That same tension is apparent in the photographic artist’s book Nine swimming pools and a broken glass (1968), in which the particulars of each pool draw the eye as much as their conformation to a formulaic design. The shattered drinking glass with which the series concludes is like the broken-off detail of a story, signifying the mishaps and messiness that a pristine pool might belie. Writing in 1964, the critic Nancy Marmer described Ruscha’s paintings as ‘almost depersonalised’ (p.154) – the ‘almost’ MAY 2023

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In Back of Hollywood (1977; Musée d’art contemporain de Lyon), for example, the Hollywood sign is imagined from behind and silhouetted against a fiery sky. Pills tumble against a gradating plane of black and red in Painkillers, tranquilizers, olive (1969; private collection); a finch swoops towards a glass of what seems to be spilt milk in Angry because it’s plaster, not milk (1965; Broad Art Foundation, Los Angeles), executed with a Magritte-style skewering of illusionism. In all of this, Ruscha’s art seems to waver between regarding images or texts as standalone items – hard, autonomous and lapidary,

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3 The exhibition was at Tate Modern, London, 5th October 2022–12th March 2023. It was previously shown at the Art Institute of Chicago, 15th May–5th September 2022. Catalogue: Cezanne. Edited by Achim Borchardt-Hume, Gloria Groom, Caitlin Haskell and Natalia Sidlina. 244 pp. incl. 219 col. ills. (Art Institute of Chicago and Tate, distributed by Yale University Press, New Haven and London, 2022), £32. ISBN 978–18–497–6805–4.

2. Pierrot (formerly called Gilles), by Antoine Watteau. c.1719. Oil on canvas, 184 by 155 cm. (Musée du Louvre, Paris)

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