On path of Infrarealism, part II, around Paul Cézanne,
For this second part, let me start with two self-portraits by Cézanne that stand out significantly. The first one, Portrait_de_l’artiste_au_fond_rose, Paul Cézanne — 1875 magnifies all the techniques proposed by Eugène Delacroix. From a few facial features, the artist develops a profusion of colors and nuances that alone carry the portrait. Whether it is the eyes, the nose, the mouth, the ears, nothing corresponds to the tradition of portraiture. We are however only in 1875. The background itself anticipates the portrait while sublimating it by the change of scale. We can only panic at the emotion of such a work produced at that time. Cézanne uses, summons and plays with our perception, with our brain. It brilliantly illustrates the very principle of Infrarealism.
In 1898 Cézanne produced his Self-Portrait with Beret. From an approach a priori closer to the understanding of a portrait at that time, a more detailed analysis shows to what extent the work and the simplification of the colors is both soft and revolutionary in its technique. He sublimates the 1878 version by taking this stunning application of Infrarealism to a climax. It strikes a subtle balance between scale and color transitions. This undoubtedly reveals long hours of research and practice in this color work. Cézanne undoubtedly continues the path opened by Delacroix. We can also cite the painting Montagne_Sainte-Victoire_view from_Bibemus_Quarry; 1897, Paul Cézanne. This work confirms Cézanne’s infrarealist mastery. In a classical composition, he gives us a symphony of infrarealistic colors and shapes. This maintains the imagination, offering several interpretations of the landscape, especially in the center of the painting. At the time of Impressionism, Cézanne shows that he is sure of his art. He foreshadows in his vision a division of elements that cubism will greatly amplify.
But before diving into the beginning of the 20th century, let’s take a look at the end of the 19th century. We have so far identified strong roots from Infrarealism to the Impressionist movement. Let’s first go back to the progression of photography. In 1888 the Kodak camera appeared. It trivializes access to photography. It has been established that this has two effects on painters. The first is the contribution of a new look at a piece of frozen space-time. For example, Degas already made some paintings using photographs. The second effect dispossesses painters of part of their art. It is no longer enough to reproduce or imitate reality. It is necessary to return otherwise. Impressionism largely developed new approaches to painting. We could in itself regard impressionism as an Infrarealism. The boundary between the two remains tenuous. However, in the light of the aforementioned works of Cézanne, we can appreciate the step before the imaginary that Impressionism does not take. The realistic coherence of the forms is kept, although simplified in their colors. The light is sublimated, reinforcing the realism. However, we can detect in the paintings of Monet’s Water Lilies series a release from realistic milestones. This escape from the classic Impressionist framework is probably due to Monet’s physical problems which thwarted his execution. The result is a simplification of forms beyond reality. This series of works finds the infrarealist roots of the predecessors. They confirm their evocative powers by leaving the realistic framework.
Among the post-impressionists, Paul Sérusier leaves us a very interesting work, the Talisman, 1888. The organization of colors goes beyond Cézanne’s proposals. It prefigures abstract works of the 20th century. The painting imposes its subject, an alley of trees reflected in the water, while remaining confined in a space where color reigns. Our imagination takes over to walk through these enigmas and discover the intention and the emotion of the painter. Everything becomes possible. We like to image multiple realities where the freedom of the spectator reigns. Perhaps Cézanne was able to know this painting and fuel his own research. Infrarealism is taking shape more and more with the explorations of these artists.
In the next and last part, I will jump into the 20th century and its very rich art history, keep in mind the Infrarealism evolution.
