CEZANNE:father of all modern art
 
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  1. #1
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    CEZANNE:father of all modern art

    Part 1:

    More than 6 years ago, on Sunday 16 March 2008,(1) I watched a television program about the French artist Paul Cezanne(1839-1906). From Cezanne’s early forties until his death at age 66 what some call “this father of all modern art” worked more and more in isolation and in privacy, a virtual recluse. This was the central aspect, among many, of Cezanne’s life that interested me since that tendency toward increasing artistic isolation, drawing on the familiar in my work, doggedly struggling to deal with complexity, the need for a place to be by myself came to characterize my life as my fifties advanced and turned, year by year, into my sixties. After more than forty years(1954-1994) of a high sociability quotient, working alone became more and more paramount in my daily life.–Ron Price with thanks to (1) ABC TV, 16/3/’08: 4:00-5:00 p.m.

    Part 2:

    I, too, needed, that attention,
    that concentration, exploration,
    to capture the truth of perception,
    understanding, imagination’s design,
    belief, desire, the familiar, complexity.

    I, too, was a recluse of sorts with my own
    isolation and aloneness, although a social
    religion kept me in touch with an immense
    artificial world of sociability, of a necessary
    and essential reservedness, stylization, talk,
    democracy, for the sake of talking with its
    own laws, a changing of subjects, some play
    of relations, joining and loosening, winning
    and succumbing, giving and taking, means
    to liveliness, a solemn consciousness and
    harmony where everyone can play the game
    and the giver becomes invisible behind some
    kind of play-form, some collective, some airy
    realm where life emerges in the flux of the
    facile and happy, producers lose themselves.

    They get lost in their products, where a certain
    tragic vision encompasses the weak & the strong
    & feeds on a deep, loyal relation to aesthetic charms
    which embody the finest and subtlest dynamics
    of broad and rich social existence, not negative
    conventionalism merely, but a type of liberation
    and relief where the latent forces of reality
    reverberate dimly and their gravity evaporates,
    or so one would hope, into a mere attractiveness.

    Ron Price
    22/3/'08 to 25/8/'14.
    ----------------------------
    Part 3:

    In its essence being cultured and attaining the first element of perfection lies in “learning and the cultural attainments of the mind.” One’s purely personal dispositions and one’s mental life attain their full idiom and personality as one’s circle increases, at least in some sense. The possibility of fully developing one’s inner life and personality lies in this social direction. However, isolation is not a strictly individual condition. It in no way implies the absence of society. Isolation and aloneness attain a very real and positive significance as an effect of society at a distance. Isolation is, indeed, a form of interaction. It is characterized by distance between the individual and society, an imagined society, an abstract one or a real one.

    The first condition of having to deal with somebody at all is to know with whom one has to deal. Knowledge of another person is reciprocal, but generally not equal on both sides. One can, however, never know another person absolutely since this would amount to an infinite, an endless sharing, a duplication and repetition, of experiences. We form a sense of unity with others, any other person, from those fragments through which another is accessible to us. The unity that may develop, depends among other things, upon what that other person permits us to see about their inner and outer life. Psychological knowledge of a person is not some stereotype of that person but depends, like knowledge of all external nature, upon the forms, the details, the information, which the person gives and which they receive in turn.

    Part 4:

    The giving of a gift, say in these email posts at this site, must not be considered isolation. It is not a one way act, but it possesses a relation to the total personalities of the two parties. Gratitude consists not only in the return of the gift, but in the consciousness that this gift in some ways cannot be returned. There is something, Simmel states, which places the receiver in a permanent position with respect to the giver. The first gift, given in spontaneity, has a voluntary character which no return gift can have. That first gift has a freedom without any duty attached to it. A gift once accepted, engenders an inner, a mysterious, relation which can never be eliminated completely. This is because gratitude is a feeling which results and is rendered by the recipient.

    Last edited by RonPrice; August 24th, 2014 at 11:19 PM. Reason: To update the wording
    married for 47 years, a teacher for 32, a student for 18, a writer and editor for 15, and a Baha'i for 55(in 2014).
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  3. #2
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    Can I call you grandpa? GP-Rice read ok?

    [Tis probably not the best time for me to be reading these types of things, and I sure hope you're not a troll. bahahahah ]

    Thank you for sharing this ball of energy.
    However, I've kinda really simplified it in my head to this.
    It's the loud noise that would drive me to solitude when I'm touching 60.
    Not because of all the wonderful experience life would have given me, but it's just too damn loud.

    I've loved this quote from Isamu Noguchi
    "Imperfection makes perfection"
    As long as the heart still gives to the life around them, that would be beautiful, or Awesome, same diff.

    [Googles Baha'i]

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  4. #3
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    Belated thanks, vardoburrito

    Belated thanks, vardoburrito---after more than 5 years. I am a grandpa and have no problems being referred to as such by non-family members. Just to add a note on Cezanne......there is a madness in the creative side. It is something commented upon by writers and poets down the ages. There are so many quotations in the literature on this theme. I’ll drop one here from the writer, Maurice Blanchot, his comment on the artist Paul Cezanne: Cezanne was tortured and stimulated in immeasurable bliss.(The Siren’s Song, Harvester Press, 1972)

    In 1866–67, inspired by the example of Courbet, Cézanne painted a series of paintings with apalette knife. He later called these works, mostly portraits, une couillarde ("a coarse word for ostentatious virility").[28] Lawrence Gowing has written that Cézanne's palette knife phase "was not only the invention of modern expressionism, although it was incidentally that; the idea of art as emotional ejaculation made its first appearance at this moment". I find writing is somewhat of "an emotional ejaculation."-Ron

    married for 47 years, a teacher for 32, a student for 18, a writer and editor for 15, and a Baha'i for 55(in 2014).
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