.jpg?w=1)
拍品專文
The recto of this sheet was page LII from the sketchbook CP IV; the verso page LI.
Whilst Rewald (op. cit.) dates this watercolour to 1885-1890, Venturi, in his notes for the unpublished revised edition of his 1936 catalogue, proposed a later date of circa 1900.
Rewald (op. cit) records that 'Chappuis saw something paradoxical in an unmade bed offering the subject for a firmly established composition'. Cézanne executed these unusual subjects in his carnet watercolours on only a small number of occasions (cf. RWC 184-186, 188 and 190; see lot 318), and these motifs rarely reappear in other works. The artist seems to be drawn momentarily to an everyday, familiar object or corner of his environment in the carnet watercolours, and he emphasizes their informal and private character by dispensing with the more elaborate and deliberately composed approach seen in the studio watercolours. The carnet studies often provide glimpses into the real, intimate world in which the painter lived. The bed is not merely a thing observed; here the artist slept, and we sense his presence more strongly, more poignantly, than in the studio works.
The carnet studies were spontaneously conceived and quickly executed, but nonetheless reveal the same preoccupation with pictorial space and volume that the artist displays in the larger works. In lot 318 and the present watercolour Cézanne contrasts the soft folds of the linen cloth (here seen as a coverlet) with the hard, flat surface of the wooden board behind it (here, the headboard). Cézanne uses the bare surface of the paper to depict the coverlet, as well as the portion of the pillow seen at upper right, reinforcing the pencilled contours with the addition of dark blue watercolour. The headboard, on the other hand, is mostly colored in. The diagonal border of the coverlet serves to define a convincingly deep space, even if the component elements are largely flat in themselves. The use of a diagonal element, and contrasting soft and hard shapes, is also seen in pencil drawing of a throw pillow propped on a chair, circa 1887 (C 960; sold Christie's, New York, 10 May 1994, lot 1).
The landscape study on the verso, which was drawn several years or more later, displays a composition very similar to that seen in the watercolour of the bed. The intersecting diagonals of the tree trunks reprise the arching shape of the coverlet, and in both studies the artist uses horizontal elements as a contrasting backdrop for the pyramidal form in the foreground. One may wonder if the verso landscape was an actual location the artist stood in front of and sketched, or if this scene is an imaginary reworking of the coverlet form in a landscape context. In either case, Cézanne implies that his understanding of worldly visual phenomena is predicated on the existence of basic, underlying, universal and unifying forms, which will reveal themselves to one who is careful to detect and analyze them.
Whilst Rewald (op. cit.) dates this watercolour to 1885-1890, Venturi, in his notes for the unpublished revised edition of his 1936 catalogue, proposed a later date of circa 1900.
Rewald (op. cit) records that 'Chappuis saw something paradoxical in an unmade bed offering the subject for a firmly established composition'. Cézanne executed these unusual subjects in his carnet watercolours on only a small number of occasions (cf. RWC 184-186, 188 and 190; see lot 318), and these motifs rarely reappear in other works. The artist seems to be drawn momentarily to an everyday, familiar object or corner of his environment in the carnet watercolours, and he emphasizes their informal and private character by dispensing with the more elaborate and deliberately composed approach seen in the studio watercolours. The carnet studies often provide glimpses into the real, intimate world in which the painter lived. The bed is not merely a thing observed; here the artist slept, and we sense his presence more strongly, more poignantly, than in the studio works.
The carnet studies were spontaneously conceived and quickly executed, but nonetheless reveal the same preoccupation with pictorial space and volume that the artist displays in the larger works. In lot 318 and the present watercolour Cézanne contrasts the soft folds of the linen cloth (here seen as a coverlet) with the hard, flat surface of the wooden board behind it (here, the headboard). Cézanne uses the bare surface of the paper to depict the coverlet, as well as the portion of the pillow seen at upper right, reinforcing the pencilled contours with the addition of dark blue watercolour. The headboard, on the other hand, is mostly colored in. The diagonal border of the coverlet serves to define a convincingly deep space, even if the component elements are largely flat in themselves. The use of a diagonal element, and contrasting soft and hard shapes, is also seen in pencil drawing of a throw pillow propped on a chair, circa 1887 (C 960; sold Christie's, New York, 10 May 1994, lot 1).
The landscape study on the verso, which was drawn several years or more later, displays a composition very similar to that seen in the watercolour of the bed. The intersecting diagonals of the tree trunks reprise the arching shape of the coverlet, and in both studies the artist uses horizontal elements as a contrasting backdrop for the pyramidal form in the foreground. One may wonder if the verso landscape was an actual location the artist stood in front of and sketched, or if this scene is an imaginary reworking of the coverlet form in a landscape context. In either case, Cézanne implies that his understanding of worldly visual phenomena is predicated on the existence of basic, underlying, universal and unifying forms, which will reveal themselves to one who is careful to detect and analyze them.