拍品专文
Between 1886 and 1893, Bernard executed three different types of still-life compositions:
...synthetic exercises used to test the degree to which one of the most quintessentially naturalistic of subjects could be distorted to create a non-naturalist composition; fully worked-through compositions which built upon his appreciation for and understanding of the still lifes of Paul Cézanne, and strictly decorative accumulations of objects in which line and pattern of colour predominate. (exh. cat., Emile Bernard 1868-1941, A Pioneer of Modern Art, Städtische Kunsthalle, Mannheim, 1990, p. 176)
The present painting is a fine example the second category: it clearly indicates Bernard's interest in the still-lifes of Cézanne, of whom he declared: "Everyone surely recognizes a master and tries to adapt himself as much as possible--for me, that is Cézanne." Bernard initially discovered Cézanne's work in 1886 in Père Tanguy's shop in the rue Clauzel, Paris. At exhibitions held by Tanguy and by Emile Schuffenecker, Bernard saw many of Cézanne's works soon after they were completed. He was particularly taken by Cézanne's still-lifes, which he recalled in an article about Cézanne written for Vanier's Les Hommes d'Aujourd'hui in 1890, two years after the present work was painted:
At Tanguy's...still-lifes: apples round as if done with compasses, triangular pears, crooked bowls, abundantly folded napkins;...at Schuffencker's, a white bowl against a blue-green background streaked with wallpaper flowers; next to it a urn-like glass, an unfolded napkin, apples supporting a lemon. (E. Bernard, "Paul Cézanne," Les Hommes d'Aujourd'hui, 1890)
The present work was formerly in the collection of M.-A. Bernard-Fort of Paris, who owned several other paintings by Bernard also of 1888: Les marguerites (Luthi, no. 149; Private Collection), Le soleil (Luthi, no. 150; Private Collection), and Les roses (Luthi, no. 151; Private Collection).
...synthetic exercises used to test the degree to which one of the most quintessentially naturalistic of subjects could be distorted to create a non-naturalist composition; fully worked-through compositions which built upon his appreciation for and understanding of the still lifes of Paul Cézanne, and strictly decorative accumulations of objects in which line and pattern of colour predominate. (exh. cat., Emile Bernard 1868-1941, A Pioneer of Modern Art, Städtische Kunsthalle, Mannheim, 1990, p. 176)
The present painting is a fine example the second category: it clearly indicates Bernard's interest in the still-lifes of Cézanne, of whom he declared: "Everyone surely recognizes a master and tries to adapt himself as much as possible--for me, that is Cézanne." Bernard initially discovered Cézanne's work in 1886 in Père Tanguy's shop in the rue Clauzel, Paris. At exhibitions held by Tanguy and by Emile Schuffenecker, Bernard saw many of Cézanne's works soon after they were completed. He was particularly taken by Cézanne's still-lifes, which he recalled in an article about Cézanne written for Vanier's Les Hommes d'Aujourd'hui in 1890, two years after the present work was painted:
At Tanguy's...still-lifes: apples round as if done with compasses, triangular pears, crooked bowls, abundantly folded napkins;...at Schuffencker's, a white bowl against a blue-green background streaked with wallpaper flowers; next to it a urn-like glass, an unfolded napkin, apples supporting a lemon. (E. Bernard, "Paul Cézanne," Les Hommes d'Aujourd'hui, 1890)
The present work was formerly in the collection of M.-A. Bernard-Fort of Paris, who owned several other paintings by Bernard also of 1888: Les marguerites (Luthi, no. 149; Private Collection), Le soleil (Luthi, no. 150; Private Collection), and Les roses (Luthi, no. 151; Private Collection).