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Index
Carol Armstrong
Description: Cézanne’s Gravity
Cézanne’s Gravity
Index
Author
Carol Armstrong
PublisherYale University Press
Copyright© 2018 by Carol Armstrong
Stable URL: https://aaeportal.com/?id=-22237
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Index
Abbott, Edwin, Flatland, 83
abstract art and abstraction: Cézanne’s relationship to, 72, 164, 190, 208, 212–14
Frankenthaler and, 228
Greenberg on, 212–13
schizophrenia and, 208–9
theoretical/scientific, 54, 58, 75, 84–85
Abstract Expressionism, 26, 211
academies (nude studies), 199
affection and love, 151, 170–71, 173, 175, 184
The Afternoon in Naples, 2, 33
Agamben, Giorgio, 144
Aix-en-Provence, 1, 54, 57, 164
Altamira caves, 226, 227, 228
Andreas-Salomé, Lou, 122, 138
Angelico, Fra, 28
anti-psychiatry, 203–5
Apollinaire, Guillaume, 243n2
Apples, 34, 35, 36, 62, 66–67, 160–61, 174
apples, associated with gravity, 63, 64, 65–67
Apples and Oranges, 52 (detail), 69, 80–81, 80, 163, 216
art history, conceptions of time in, 23, 30–34
Art Institute of Chicago, 211
The Artist’s Father Reading “L’Événement,” 2, 3, 14
Artist unknown, Standing Model, 199, 199
“at least two,” 20, 233–35
Austin, Jane, 48
autism, 204, 206
avant-garde, 25–26, 30–31
Bacon, Francis, 207, 264n51
Balzac, Honoré de, 97, 110
Banfield, Ann, 242n36
Barnes Foundation, 85
Baroque art, 28, 32–33
Barthes, Roland, 45
Bathers (Orsay), 196–97, 197
Bathers at Rest, 7, 8, 10, 196, 197
Bathers series, 10, 13, 33, 192, 195–97, 199–201
Bather with Outstretched Arms, 200
Baudelaire, Charles, 23, 118–19, 126, 137, 138
“Invitation to the Voyage,” 128
“Loa de Valence,” 118
The Painter of Modern Life, 118
The Bay of Marseilles, seen from L’Estaque, 226, 226
Bazille, Frédéric, 10
Bell, Clive, 242n32
Bell, Vanessa, 19, 33, 36–37, 39–40, 42, 45, 242n32, 242n43
Apples: 46
Gordon Square, 36, 37, 39–40
dust jacket for Woolf’s A Room of One’s Own, 48, 48
View of the Pond at Charleston, E. Sussex, 40, 40
Window Still Life, 36, 37, 37, 39–40
Berenson, Bernard, 25
Bergson, Henri, 54, 75, 99
Matter and Memory, 83
Bernard, Emile, 13, 68–69, 89–90, 102–3, 190
Bertall (Charles Albert d’Arnoux), caricature of Olympia, 7
Bibémus Quarry, 215
Bibémus Quarry series, 73, 110, 215–16, 229
biographical criticism, 107–8, 158
The Black Clock, 15, 16, 17–18, 23–25, 44, 59, 117–19, 121, 129, 131
Blake, William, 207, 264n51
Bleuler, Eugen, 19, 158, 204, 206
Bloch, Ernst, 238n22
Bloomsbury Group, 36, 47
blue: in Cézanne’s paintings, 129–37, 155
in Chardin’s paintings, 152
Rilke and, 137–42
The Blue Vase, 133, 135, 135
bodies: adult vs. infantile relations to, 196
in Bathers series, 192, 196, 199–201
Cézanne’s relation to his own body, 192, 197, 201
phenomenology and, 97, 99–101, 104–5, 115
in portraits, 93–94, 186
schizoid condition and, 204
space in relation to, 61, 82–83
Still Life with Plaster Cupid and, 201–2. See also objects; touch
bottom-up perception, 169, 173, 175, 196, 199, 208
Braque, Georges, 36, 62, 72, 73, 212
Brontë, Emily, 48
Burlington Magazine, 30
Cameron, Julia Margaret, 24, 45–48, 242n43
Mrs. Duckworth at Saxonbury, 46–47, 47
Mrs. Leslie Stephen (Mrs. Herbert Duckworth), 45, 45
The Cardplayers, 33, 186, 188, 189–90
Carriera, Rosalba, Portrait of a Young Woman Holding a Monkey, 136, 136
Cartesianism, 61, 114, 115. See also Descartes, René
Cézanne, Anne-Elisabeth Honorine Aubert (mother), 1, 2, 170
Cézanne, Hortense (wife). See Fiquet, Hortense
Cézanne, Louis-Auguste (father), 1, 2, 170
Cézanne, Marie (sister), 2, 170
Cézanne, Paul: birth of, 1
and Hortense Fiquet, 1, 15, 170–71, 173–75, 237n1, 260n8, 260n13
life of, 1, 14–15, 157–58
as an originator of modern art, 1, 18, 20–21, 25, 26, 32, 54, 115, 155, 157, 164, 190, 208, 211–13, 234–35, 239n27
as an originator of Post-Impressionism, 24, 30–31
temperament of, 33–34, 107, 157, 170–71, 184
Cézanne, Paul, Jr. (son), 170–71, 193, 199, 260n10
Chardin, Jean-Baptiste Simeon, 14, 28, 119, 133, 137
Portrait of Madame Chardin, 152, 152
Self-Portrait with Spectacles, 152, 152
Château Noir series, 215–16
Chevreul, Michel Eugène, 118, 119
Chocquet, Victor, 90, 93
Clark, Kenneth, 34
Clark, T. J., 262n29
Clot, Auguste, after Cézanne, Picnic (Luncheon on the Grass), 10, 14
cognitive splitting, 158–59, 173–74, 184, 199, 201, 208–9
color: Cézanne and, 100–103, 111, 114, 117–19, 129–55, 169
complementary, 118, 125, 126, 137, 150, 185
gendering of, 152
geometry in relation to, 68
landscape and, 121
line vs., 169, 259n7
opticality of, 118
phenomenology and, 96–97, 100–101, 111
in portraits, 96, 106, 112
relationality of, 118–19, 141, 149–50
Rilke and, 117–19, 121, 126–27, 129–31, 135–42, 146–55, 256n32
substantial character of, 99, 102
thingness of, 118–19, 129, 149
constructive brushstroke, 18
contours, of painted objects, 28–30, 101, 133
coordinate system (Cs), 80, 83
correspondences, 138
couillarde (ballsy), 1, 7, 59, 157
Courbet, Gustave, 1, 2, 33, 186
Cubism: art historical place of, 25–26, 212
Bell and, 36
Cézanne’s work in relation to, 26, 39, 62
as “little cubes,” 62, 245n23
and modern physics, 53, 82, 85, 243n2
naming of, 245n23
culminating points, 68, 72, 160
The Curtain, 218, 219, 220
Curtains, 216, 218, 218
curvature: of objects and space in Cézanne’s paintings, 28–30, 60, 62–63, 78
of space, 60–61
of space-time, 30, 67
Daumier, Honoré, 33
David, Jacques-Louis, Lictors Returning to Brutus the Bodies of His Sons, 17, 18, 18 (detail)
defamiliarization. See strangeness and estrangement
Degas, Edgar: from An Album of Pencil Sketches, 7, 9
Portrait of Edmond Duranty, 89
Delacroix, Eugène, 7, 32, 118
Women of Algiers, 2, 7
Deleuze, Gilles, Anti-Oedipus, 206–7, 233
dementia praecox, 19, 158, 204, 206
Denis, Maurice, 90, 190
Homage to Cézanne, 30, 31
depersonalization, 203–4
Descartes, René, 89. See also Cartesianism
Diderot, Denis, 119
Diebenkorn, Richard, 164
Dinggedicht (object poem), 125, 137, 151
dinghaftigkeit (thingness), 118–19, 121, 126, 129, 133, 141, 149, 151
divided self. See schizoidia/schizophrenia
dogs: Cézanne associated with, 137, 146, 148, 150–51, 154–55, 173–74
Rilke and, 127, 144–45, 149
doubt, 32, 89–92, 96, 108, 111–12, 171
drawing, 98, 101, 259n7
d’Souza, Aruna, 262n29
Duckworth, Herbert, 242n43
Einstein, Albert: connections of, to Cézanne’s work, 19, 20, 51, 53–54, 239n27
“Geometry and Experience,” 60, 68
and gravity, 20, 65–66
The History of Physics, 19, 54, 55
on objects, 55, 61–62
Picasso in relation to, 239n27
on simultaneity, 243n5
space as conceived by, 60, 65–66
and space-time, 60, 243n5, 246n32
and theories and history of physics, 19, 53–55, 85
ekphrasis, 118, 119, 123, 148, 155, 253n2
Eliot, George, 48, 158
embodiment. See bodies
emergence: concept of, 241n24
perceptual, 91, 99
stylistic, 33
empathy, 83
empiricism, 114
eroticism/sexuality: Cézanne and, 2, 17, 33, 107, 118–19, 129–30, 157, 192, 195–97
color and, 118–19
Frankenthaler and, 223, 232–33
Irigaray and, 232–33
Rilke and, 127–30, 141
Escoffier, Auguste, 159
estrangement. See strangeness and estrangement
Euclidean and non-Euclidean geometry/space, 29, 60–61, 65–66, 243n2
existentialism: Cézanne’s approach to painting and, 21, 184, 192
freedom and, 108
phenomenology and, 100, 107, 158, 192, 203
schizophrenia and, 206
Expressionism, 212
fabric: as analogy for geological formations, 215
of canvas ground of paintings, 59, 214, 216, 223–26, 228–31, 267n13
depiction of, 81, 216, 218, 220, 223
Frankenthaler’s use of, 223, 225–26, 228–32
metaphorical application of, to concepts of space, 59, 60, 73, 81–82, 82
faces: in Cézanne’s paintings, 93, 96, 104–6, 109, 170–71, 173–76, 178, 181, 184–85, 192, 201
cognitive and affective disorder concerning, 261n20
meaning of, 159
Fantin-Latour, Henri, 133
Faulkner, William, 24
Fauvism, 39, 40, 212
feminism, 136, 203, 233–34
field, scientific concept of, 61, 82
the finished. See the unfinished
Fiquet, Hortense, 1, 15, 142–43, 148, 170–71, 173–78, 181, 184, 192, 237n1, 260n8, 260n13
Fischer, F., 157
flatness: contradiction of, 63, 77–78, 181, 214–16, 218, 220, 223, 226, 230
Greenberg on, 63, 212–14, 226, 266n6
of picture plane, 62–63, 77–78, 91, 164, 166, 212–14, 226, 266n6
of space, 66
The Flowered Vase, 222, 223
Flowers in a Vase, 133, 134
fort/da, 195
Foucault, Michel, 264n46
fourth dimension, 53, 72, 83
Fowler, Luke, All Divided Selves, 158, 208, 265n57
Frankenthaler, Helen: art historical place of, 211
Basque Beach, 228–29, 228
The Bay, 225–26, 225
Bay Side, 229–30, 229
Before the Caves, 226, 227, 228–29
connections of, to Cézanne’s work, 19, 20, 211, 223, 226, 228–29, 231–32
Europa, 231–32, 231
Flood, 229
Greenberg’s relationship with, 211
Mattress II, 232
Mountains and Sea, 19, 211, 223–25, 224, 229
Moveable Blue, 229
Nature Abhors a Vacuum, 229, 230, 230
Painted on 21st Street, 224
photographs of, 225, 267n12
working methods of, 224, 225
freedom, 108
French Revolution, 17
Freud, Sigmund, 107–8, 122, 195, 204, 241n20
Fruit and Jug on a Table, 75–77, 77, 133
Fry, Roger, 36, 69
art historical time conception of, 23, 30–34
and Bell, 242n32
Cézanne, 17, 19, 25, 34, 43, 46, 48, 240n8
on Cézanne’s place in art history, 25–26, 240n11
connections of, to Cézanne’s work, 19, 50
on gravity of Cézanne’s work, 21, 29
and Post-Impressionism, 19, 24
“The Post-Impressionists,” 30–33, 239n7
and relativity, 51
on still life, 17
on Still Life with Compotier, 25–26, 28–30, 132
Victorian Photographs of Famous Men and Fair Women, 45–48
Woolf’s biography of, 34–35
Galileo, Galilei, 61
Garb, Tamar, 262n29
Garden at Les Lauves, 168, 169–70, 223
The Gardener Vallier, 113, 114, 115
Gasquet, Henri, 112
Gasquet, Joachim, 53, 68, 90, 101, 103, 112
Gauguin, Paul, 30, 124, 153, 212, 214
Gauss, Carl Friedrich, 60
Geffroy, Gustave, 87, 89, 93, 249n7
gender, Woolf’s Orlando and, 48–50
geodesics, 65–66
geology, 54, 112, 215, 226
geometry, Cézanne on, 68. See also Euclidean and non-Euclidean geometry/space
Gestalt psychology, 97, 98, 100
Ghirlandaio, 47, 48
Ginger Pot with Pomegranate and Pears, 116 (detail), 129, 130, 131
Gleizes, Albert, 243n2
Goethe, Johann Wolfgang von, 100, 101
Gowing, Lawrence, 10
Grafton Galleries, 19, 24, 32, 37, 37–39, 239n7
Grant, Duncan, 241n27, 242n32
Vanessa Bell Painting, 41, 41
gravity: physical, 20, 29, 65–66
as seriousness/importance, 21, 29
The Great Bather, 197, 198, 199–201
El Greco, 32, 108
Greenberg, Clement: on abstraction, 209, 212–14
art criticism of, 26, 266n5
“Cézanne and the Unity of Modern Art,” 211–13
on Cézanne’s work, 211–14, 223, 266n6
“Cézanne: The Gateway to Contemporary Painting,” 211–13
connections of, to Cézanne’s work, 19, 20, 25, 26
and the flatness of the picture plane, 63, 212–14, 226, 266n6
Frankenthaler’s relationship with, 211
modernist teleology of, 1, 209
Greene, Brian, The Fabric of the Cosmos, 54, 81–82
ground: figure in relation to, 59, 97, 154, 178, 218, 220, 223, 228–29, 231
of work of art, 59, 140, 142–43, 214, 216, 223–26, 228–31, 267n13
Guardi, Francesco, 136
Guattari, Félix, Anti-Oedipus, 206–7
Haas, Ernst, Helen Frankenthaler, 225, 267n12
handwriting, artist’s unconscious, 17, 25, 48, 241n20
Head and Hand of the Artist’s Son Asleep, 193, 194
hebephrenia, 204, 206
Heffernan, James A. W., 253n2
Hegel, G. W. F., 26
Heidegger, Martin, 89, 92, 144, 145
Heinrichs, Walter, In Search of Madness, 206, 264n47
Henderson, Linda Dalrymple, 243n2
Henry, Charles, 118–19, 254n6
heterochronicity, 20, 50–51, 84, 234–35, 238n22
Hogarth Press, 25, 36, 241n20
Horace, 123
Husserl, Edmund, 89, 92–93, 97, 102, 251n31
Huxley, Aldous, The Doors of Perception, 207–8
Impressionism: art historical place of, 30, 164
Cézanne’s relationship to, 17–18, 21, 25–26, 33, 94
and depiction of modern life, 23
and perception, 208
Impressionist group exhibitions, 2, 7, 24
incommensurability, 54
Infeld, Leopold, The History of Physics, 19, 54, 55
Ingres, Jean-Auguste-Dominique, 212
innocent eye, 208
interior/exterior relationship, explored in art and literature, 37–40
Irigaray, Luce, This Sex Which Is Not One, 20, 232–33
Jacket on a Chair, 216, 218, 218
Judgment of Paris, 33
Kahnweiler, Daniel-Henry, 93
Kant, Immanuel, 68, 89, 209
Kelly, Ellsworth, 164
Lake II, 226, 226
Train Landscape, 214, 215
Keynes, John Maynard, 34, 241n27
The Kitchen Table, 69, 70, 71–72
Kraepelin, Emil, 19, 158, 204–6
Lac d’Annecy, 92, 100, 110, 110
Laing, R. D., 19, 107, 111, 158, 202–8, 263n41, 265n56
The Divided Self, 19, 158, 202–5, 207, 259n3
The Politics of Experience, 265n52
The Large Bathers (Philadelphia), 190, 191, 192–93, 195–97
Large Bathers series, 13
Lascaux caves, 114
Leary, Timothy, 208, 265n56
Lehrer, Jonah, Proust Was a Neuroscientist, 158–59, 259n4
Leibniz, Gottfried Wilhelm, 233
Leonardo da Vinci, 84, 108, 204
Les Lauves, 196
L’Estaque series, 215
letter writing, 122, 123
light, in Cézanne’s paintings, 105
linear perspective. See perspective, linear/Albertian
linear time, 20, 26, 30, 43, 84. See also teleology
Loran, Erle, Cézanne’s Composition, 70, 71–72, 73, 211
Louis, Morris, 211, 223, 224
love. See affection and love
LSD, 207–8, 265n56
Luncheon on the Grass (Déjeuner sur l’herbe) (1869–70), 10, 11
Luncheon on the Grass (Déjeuner sur l’herbe) (1876–77), 10, 13
Mach, Ernst, Contributions to the Analysis of Sensations, 82
Madame Cézanne in a Red Armchair, 146, 147, 148–51, 153–55, 173, 175
Madame Cézanne in a Red Dress, 181, 183, 184, 218
Madame Cézanne in a Yellow Armchair, 181, 182, 184
Madame Cézanne in Blue, 175, 177
Madame Cézanne in the Conservatory, 176, 178, 179
Madame Cézanne with Hortensias, 142–44, 143, 170
Madame Cézanne with the Green Hat, 178, 180
madness, and art, 111, 158, 265n52. See also schizoidia/schizophrenia
Malraux, André, Le musée imaginaire, 15, 117
Manet, Edouard, 7, 150
Cézanne’s reputation linked to, 1–2, 7, 117
and color, 118
as father of Impressionism, 31
Lola de Valence, 118
Luncheon on the Grass (Déjeuner sur l’herbe), 2, 7, 9, 10, 13, 17, 195
Olympia, 1, 2, 6, 7, 15, 17, 23, 118
as an originator of modern art, 1, 17, 25, 26, 30, 212–13
Portrait of Emile Zola, 89
Portrait of M. and Mme. Auguste Manet, Parents of the Artist, 2, 4
references to paintings of, 1–2, 7, 10, 13–15, 17, 23, 73, 117
“Manet and the Impressionists” (exhibition), 24, 25, 239n7
Marion, Antoine Fortuné, 243n4
Masaccio, 28
materiality, of Cézanne’s paintings, 29
Matisse, Henri, 25, 30, 31, 209, 211, 212
Merleau-Ponty, Maurice: on Cézanne’s doubt, 32, 92–93, 108
“Cézanne’s Doubt,” 19, 87, 90, 100, 103, 107–11, 158, 204–5
on Cézanne’s work, 87, 90–91, 96–115, 157
connections of, to Cézanne’s work, 19, 84
“Eye and Mind,” 19, 89, 111, 113–15
Laing compared to, 204–5
Phenomenology of Perception, 19, 87, 89, 96–111
and primordiality, 92–93
Metropolitan Museum, New York, 211
Metzinger, Jean, 243n2
Minkowski, Hermann, 60, 246n32
Misner, Charles, 54
Mitchell, W. J. T., 253n2
modernism and modern art: bifurcated view of, 209, 213
Bloomsbury Group and, 47
Cézanne as an originator of, 1, 18, 20–21, 25, 26, 32, 54, 115, 155, 157, 164, 190, 208, 211–13, 234–35, 239n27
and depiction of modern life, 23
Einstein and, 20–21
Manet as an originator of, 1, 17, 25, 26, 30, 212–13
traditional teleological interpretation of, 20, 30, 62, 83, 164, 208, 213
Woolf and, 23, 37, 42, 45, 242n36
A Modern Olympia, 2, 6, 7, 15, 24, 232
Modersohn-Becker, Paula, 19, 255n22, 258n50
Portrait of Clara Westhoff-Rilke, 153, 153
Portrait of Rainer Maria Rilke, 153, 153
Self-Portrait (with Amber Necklace), 153, 153
Still Life with Yellow Bowl and Earthenware Pitcher, 153, 154
Molyneux problem, 160, 259n5
Monet, Claude, 1, 10, 87, 129
Mont Sainte-Victoire from Les Lauves, 165–66, 165
Mont Sainte-Victoire Seen from Les Lauves (Basel), 165, 166, 167, 169
Mont Sainte-Victoire Seen from Les Lauves (Kansas City), 167, 169
Mont Sainte-Victoire Seen from Les Lauves (Philadelphia), 166, 166, 169
Mont Sainte-Victoire series, 33, 68, 75, 110, 159, 164–70, 196, 215, 223
Morelli, Giovanni, 25
Museum of Modern Art, 190
naming, of things, 159–64, 170, 173
natural philosophy, 55, 244n8
neuroarthistory, 19, 206, 259n4
neuroscience, 158–59, 206, 264n47
Newton, Isaac, 63, 65–66
Newtonian physics, 61
Nietzsche, Friedrich, 122
nineteenth century, 45–50
Noland, Kenneth, 223
non-Euclidean geometry/space. See Euclidean and non-Euclidean geometry/space
objects: in Cézanne’s atelier, 57
in Cézanne’s paintings, 54–60, 62–63, 66–81, 85, 102–3
contours of, in paintings, 28–30, 101, 133
Einstein’s conception of, 55, 61–62, 75
materials and making of, 57–58
naming of, 159–64
in paintings, 59–60
phenomenology and, 102–3
philosophical questions concerning, 55
in physics, 55
space in relation to, 60–61, 65–67, 98–99, 104
subjects in relation to, 103–6, 186. See also bodies
“of one’s time,” 19, 50, 53, 84
Old Masters, 136, 212–13, 231
Onians, John, 19, 259n4
ontological insecurity, 184, 195, 203
opticality, 75, 118, 209, 213–14, 223, 226, 229–31
others, 104–5, 174, 189
painting: phenomenology and, 99–111
relation of, to thought and theories in other disciplines, 20, 53–54, 84–85, 89, 99, 114, 159, 243n2
temporality of, 41–45
as thought, 20, 59–60, 62, 85, 89, 93, 115, 159–60
Panofsky, Erwin, 85, 247n39
Parks, Gordon, 267n12
passage, 98–99, 102
Pastorale (The Idyll), 10, 12, 201
perception, 93, 97–106
perspective, linear/Albertian, 30, 61, 69, 71–72, 71, 75, 80, 91, 103, 115, 247n39
petrification, 203–4
the phantasmatic, 13, 17, 23, 43, 119, 190, 266n32. See also unconscious material
phenomenology, 87, 89, 92–93, 96–111
philosophy, of objecthood, 55
photography, 45–48
physics, 20, 59–60, 62, 239n27. See also relativity
Picasso, Pablo: art historical place of, 30, 209, 212
Carafe and Candlestick, 64
on Cézanne, 211
and Cézanne’s work, 62, 72
Les Demoiselles d’Avignon, 7
Loaves of Bread and Compotier on a Table, 62, 63
and modern physics, 239n27
Portrait of Vollard, 93
Still Life with Compote and Glass, 64
Still Life with Fruit and Glass, 62, 63
variations on theme of Women of Algiers, 7
Picnic (Luncheon on the Grass), Clot’s color lithograph after, 10, 14
Pissarro, Camille, 17, 33
points of view, viewer’s, 70, 71–73, 71
Pollock, Jackson, 211, 223, 224
Portrait of Achille Emperaire, 14
Portrait of Ambroise Vollard, 90, 93, 94, 96, 112
Portrait of Antony Valabrègue (1866), 90, 93, 95
Portrait of Antony Valabrègue (1869–70), 90, 93, 95
Portrait of Gustave Geffroy, 17, 87, 88, 89–93, 96, 98, 100–104, 106
Portrait of Henri Gasquet, 112, 113
Portrait of Joachim Gasquet, 86 (detail), 92, 93, 96, 112–13
Portrait of Madame Cézanne (Berlin), 175, 176
Portrait of Madame Cézanne (Orsay), 175, 177
Portrait of Madame Cézanne (Philadelphia, McIlhenny Collection), 176, 177, 178
Portrait of Madame Cézanne (Philadelphia, White Collection), 175, 176
Portrait of Paul, the Artist’s Son, 171, 171
Portrait of the Artist’s Mother, Anne-Elisabeth Honorine Aubert Cézanne, 2, 3
Portrait of the Artist’s Sister, Marie, 2, 3
Portrait of Victor Chocquet (1876–77), 90, 94, 95, 96
Portrait of Victor Chocquet (1877), 90, 94, 95, 96
Portrait of Victor Chocquet, Seated, 90, 94, 96, 96
positivism, 26, 48
posthistory, 50
Post-Impressionism, 19, 24, 26, 30–31, 37
postmodernism, 26, 207
Poussin, Nicolas, 32, 164
The Burial of Phocion, 164
The Finding of Moses, 193, 194, 195
Pre-Raphaelites, 30, 47, 48
primitives and primitivism: Cézanne and, 26, 31–33, 39, 90, 212
Matisse and, 31
Post-Impressionism and, 30
Renaissance-era, 33, 48
primordiality, 92–93, 105–6, 109, 199
progressivist ideology, 25–26, 31–32
proprioception, 186
prosopagnosia, 261n20
Proust, Marcel, 97, 158
psychoanalysis, 107–8, 158, 195, 241n20
psychosis, 206
quantum mechanics, 53
Raphael, Judgment of Paris (Raimondi print after), 10
realization, as Cézanne’s artistic goal, 18, 102, 151, 164, 169, 232
recursivity: Cézanne’s, 29
as critical method, 20
of time, 26
in viewing art, 32, 34
in Woolf’s The Waves, 37
relativity: Cézanne’s painting and, 53, 54, 68, 82
special and general, 19, 51, 55, 63, 239n27, 246n32
Surrealism and, 53. See also space-time
Rembrandt van Rijn, 28, 47, 48
Renoir, Pierre-Auguste, 157
Riemann, Bernhard, 60
Rilke, Rainer Maria: art criticism of, 123
“Blue Hydrangea”/“Blaue Hortensie,” 140–43
Book of Images, 126–27
“The Bowl of Roses,” 141
on Cézanne’s work, 15, 117–19, 129–31, 135–38, 146–55, 173–75
and color, 117–19, 121, 126–27, 129–31, 135–42, 146–55, 256n32
connections of, to Cézanne’s work, 19
“The Dog,” 144–45
Letters on Cézanne, 19, 20, 117–41, 145–55, 174–75, 211, 254n8
New Poems/Neue Gedichte, 122, 125, 140–41, 144–45
The Notebooks of Malte Laurids Brigge, 122, 129, 144–45
Rilke, Ruth, 122, 125, 141, 145
Rocks at Bibémus, 216, 217
Rodin, Auguste, 123, 138–40, 255n22
Romanticism, 32, 59, 241n22
Rubens, Peter Paul, 32
Rubin’s vase, 205
Russian formalism, 209
Sacks, Oliver, 261n20
Salon, 1
Salon d’Automne, 19, 32, 33, 122, 124, 133, 146, 254n9
Salon des Refusés, 1, 7
Sartre, Jean-Paul, 251n32
Saturn. See madness, and art
Schapiro, Meyer, “The Apples of Cézanne,” 17
schizoidia/schizophrenia: abstraction and, 208–9
Cézanne and, 107–8, 110–11, 157–59, 169, 208
coining of term, 19
Laing on, 202–6, 259n3
Merleau-Ponty’s phenomenology and, 106
phenomenology and, 111
Western civilization and, 206–7. See also cognitive splitting; madness, and art
scientific approach, criticisms of detachment of, 84, 99, 108, 159, 175, 203–4, 206, 259n3
Self-Portrait, 119, 120, 121, 148, 153–54, 174–75
self-portraits, 174
sensation: Cézanne and, 18, 97, 163, 164, 166, 169, 196, 208, 250n18
Merleau-Ponty and, 97–98, 250n18
primordial, 109
Seurat, Georges, 137
sex, of figures in Cézanne’s paintings, 7, 10, 190, 195, 201
sex-changing, 7, 10, 190
sexuality. See eroticism/sexuality
simultaneity, 38, 40, 41, 44, 53, 72, 83, 243n5
The Smoker, 186, 187
Son of the Artist with the Red Armchair, 172, 173
space: in Cézanne’s paintings, 54, 59–60, 62–63, 66–81, 85, 91
curvature of, 60–61
Einstein’s conception of, 60, 65–66, 75
local spaces, 65–67, 78, 80–81
objects in relation to, 60–61, 65–67, 98–99, 104. See also space-time
space-time: Bergson and, 54, 75
Cézanne’s work and, 54, 67, 72–73
curvature of, 30, 67 Einstein and, 60, 243n5, 246n32
modernism and, 51
still-life painting and, 60. See also Euclidean and non-Euclidean geometry/space; relativity; space; time
stain painting, 223–32
Standing Female Nude, 200, 201
Stein, Gertrude, 159
Stephen, Julia Jackson Duckworth, 42, 45–47, 45, 242n43
Stephen, Leslie, 242n43
still life: object-space relations in, 60, 73, 75–82
signifying capacities of, 17, 21
and space-time, 60
unconscious material in, 17
Still Life with a Curtain, 220, 220
Still Life with Apples, 78, 79, 133
Still Life with Apples, Pears, and a Pot, 130, 132
Still Life with Bottles and Apple, 156 (detail), 161, 162, 163
Still Life with Bowl and Milk Jug, 55, 56, 57–59, 62, 80
Still Life with Compotier, 17, 22 (detail), 25–26, 27, 28–30, 33, 69, 132, 214
Still Life with Cut Watermelon, 130, 132
Still Life with Faience Jug and Apples, 72
Still Life with Flowered Curtain and Fruits, 210 (detail), 220, 221, 223
Still Life with Plaster Cupid, 74, 75–78, 132–33, 201–2
Still Life with Sugar Bowl, Pears, and Blue Cup, xii (detail), 2, 5, 14
Still Life with Watermelon and Pomegranates, 129–30, 131
Stoneware Pitcher, 75–77, 76, 133
Strachey, Lytton, Eminent Victorians, 46
strangeness and estrangement: abstraction and, 209
The Black Clock and, 17
Cézanne and, 206
of Cézanne’s oeuvre, 18, 51, 54, 84, 110–11, 159, 173, 175, 178, 181, 190, 192, 205–6, 208–9, 235
Déjeuner sur l’herbe paintings and, 10
physics and, 20, 55
Russian formalism and, 209
in still lifes, 69, 78, 80–81, 163
of temporal experience of Cézanne’s paintings, 23
Stravinsky, Igor, 159
Studies of a Child’s Head, a Woman’s Head, a Spoon, and a Longcase Clock, 170, 171
subject, in relation to object, 103–6, 186
support, of paintings, 211, 214, 216, 218, 225, 226, 232
Surrealism, 53
Symbolism, 90, 254n6
synesthesia, 118, 126, 137, 138
Synthetism, 90
tables, 102–4, 186
teleology, 1, 20, 25–26, 30, 33, 83, 164, 208, 213, 234–35. See also linear time
things. See Dinggedicht (object poem); dinghaftigkeit (thingness); objects
Thorne, Kip, 54
thought, painting as, 20, 59–60, 62, 85, 89, 93, 115, 159–60
Three Bathers, 13
Tiepolo, Giambattista, 136
time: art historical conceptions of, 25–26, 30–34
The Black Clock and, 23–25
Cézanne’s work in relation to, 18–20
ghostly, 45
history and, 49–50
Impressionism and, 26, 30
painting and, 41–45
perception and, 102
photography and, 45, 47, 48
Still Life with Compotier and, 30
Victorian era and, 49–50
in viewing art, 26, 28, 30
in Woolf’s writings, 23–24, 41–45, 48–49. See also heterochronicity; linear time; space-time; teleology
Tintoretto, 33
Titian, 7, 13, 136, 231
Diana and Acteon, 192–93, 193
top-down conceptualization, 169, 173, 175, 196, 199, 208
touch: as application of paint, 28–29, 69, 73, 77, 80, 103, 175, 216
object-space relationships and, 61, 66–67, 73, 75, 80
phenomenology and, 103
vision in relation to, 55, 91
Two Men Playing Cards, 33
the uncanny, 10, 13, 25, 173, 178
unconscious material, 10, 14, 17, 32, 241n20. See also phantasmatic material
the unfinished, 89, 91–93, 96, 98
ut pictura poesis, 123, 137–38, 141–43, 255n14
Valabrègue, Antony, 90, 93
Valéry, Paul, 97
Vallier, 33
Van Eyck, Jan, 47, 48
Van Gogh, Vincent, 124, 139–40, 153, 157, 212, 256n33
Night Café, 139
vantage points. See points of view, viewer’s
Vauxcelles, Louis, 245n23
Venetian School, 231
Vermeer, Johannes, 33
Verne, Jules, Voyages extraordinaires, 83
Veronese, Paolo, 32
Victorian era, 25, 47–50
Vischer, Robert, “On the Optical Sense of Form,” 83
Vollard, Ambroise, 90, 93
Vollmoeller, Mathilde, 121, 124, 150–51
watercolors, 129–30, 154–55, 164–65, 215–16, 223
Watteau, Antoine, 136
Wells, H. G., The Time Machine, 83
Wertheimer, Max, 98
Westhoff Rilke, Clara, 19, 20, 117, 121–27, 139–40, 145, 151, 255n22
Wheeler, John Archibald, Gravitation, 19, 54, 63, 64, 65–67, 67, 246n33
Whitman, Walt, 158
Winnicott, Donald, 203
Woman Nursing Her Son, 170
Woman with a Coffeepot, 184–86, 185
women, Cézanne’s relationship to, 33–34. See also Cézanne, Paul: and Hortense Fiquet
women artists/authors, 20, 48, 122, 124, 136, 153, 234
Woolf, Virginia, 34–46, 48–51, 159
birth of, 242n43
on Cézanne’s Apples, 34
connections of, to Cézanne’s work, 19, 50
Freshwater: A Comedy, 24, 46, 49
on Fry, 34–35
“A Haunted House,” 24, 45
interior/exterior relationship in work of, 37–39
“The Lady in the Looking Glass, A Reflection,” 24
To the Lighthouse, 19, 24, 25, 33, 36, 37, 42–46
and modernism, 23, 37, 42, 45, 242n36
“Monday or Tuesday,” 24
“Mr. Bennett and Mrs. Brown,” 24
Orlando, 48–50
and relativity, 51
A Room of One’s Own, 48, 48
“A Sketch of the Past,” 35
and temporality of painting, 41–45
and time, 23, 24
The Waves, 37–39, 45
on women artists, 20
wormholes, 63
Worpswede, 19, 122–23, 153
Zola, Emile, 2, 14–15, 89, 112, 118
L’Oeuvre, 1, 157