The World is an Apple: The Still Lives of Paul Cezanne
The World is an Apple: The Still Lives of Paul Cezanne
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Edited by Benedict Leca. With a foreword by Philippe Cézanne. Contributions by Benedict Leca, Denis Coutagne, Paul Smith, Richard Shiff, and Nina Athanassoglou-Kallmyer
This ground-breaking volume examines Paul Cézanne’s paintings within the context of his artistic development and professional self-fashioning, and probes the shifting scientific and critical discourses that shaped both his practice and the reception of his pictures.
Treating over 20 of Cézanne’s key still lifes borrowed from European and American museums and private collections, and featuring four essays by acclaimed Cézanne specialists in addition to a foreword by Philippe Cézanne, great-grandson of the artist, this is a major contribution to our understanding of Cézanne’s art.
Author biographies
Benedict Leca is the executive director, Redwood Library and Athenaeum, and was the director of Curatorial Affairs at the Art Gallery of Hamilton, and curator of European Painting, Sculpture, and Drawings at the Cincinnati Art Museum, 2007-2012. A specialist in the art and culture of 18th- and 19th-century France, he is the editor and co-author of Monet in Giverny (2012) and the editor and co-author of Thomas Gainsborough and the Modern Woman (2010).
Denis Coutagne is Heritage Chief Curator (ret.), former Director of the Musée Granet, Aix-en-Provence, and President of the Société Paul Cézanne.
Paul Smith is professor in History of Art at the University of Warwick.
Richard Shiff is Effie Marie Cain Regents Chair in Art at the University of Texas at Austin.
Nina Athanassoglou-Kallmyer is professor and chair, Department of Art History, University of Delaware.
A reappraisal of Paul Cézanne’s achievement in the genre of still life
“[Cézanne] should especially be apprehended in [his] still lifes… it is in this genre that he best said what he had to say.”— Émile Bernard, 1904-05
“Allows one to scrutinize the artist’s still lifes in illuminating isolation from the work of his peers.”—Mary Tompkins Lewis, The Wall Street Journal
“A beautiful tome.”—Judith Dobrzynski, Real Clear Arts
“Rigorous and thoughtful.”—Michael Pepi, The New Criterion
“Manages to explore the full gamut of Cézanne’s adventures with still life.”—Ann Landi, ARTNews
- Softcover
- 240 pages
- Published: July 11 2014
- 978-1907804281
- Dimensions: 24.8 x 2.5 x 29.2 cm
- 136 colour illustration
This ground-breaking volume examines Paul Cézanne’s paintings within the context of his artistic development and professional self-fashioning, and probes the shifting scientific and critical discourses that shaped both his practice and the reception of his pictures.
Treating over 20 of Cézanne’s key still lifes borrowed from European and American museums and private collections, and featuring four essays by acclaimed Cézanne specialists in addition to a foreword by Philippe Cézanne, great-grandson of the artist, this is a major contribution to our understanding of Cézanne’s art.
Author biographies
Benedict Leca is the executive director, Redwood Library and Athenaeum, and was the director of Curatorial Affairs at the Art Gallery of Hamilton, and curator of European Painting, Sculpture, and Drawings at the Cincinnati Art Museum, 2007-2012. A specialist in the art and culture of 18th- and 19th-century France, he is the editor and co-author of Monet in Giverny (2012) and the editor and co-author of Thomas Gainsborough and the Modern Woman (2010).
Denis Coutagne is Heritage Chief Curator (ret.), former Director of the Musée Granet, Aix-en-Provence, and President of the Société Paul Cézanne.
Paul Smith is professor in History of Art at the University of Warwick.
Richard Shiff is Effie Marie Cain Regents Chair in Art at the University of Texas at Austin.
Nina Athanassoglou-Kallmyer is professor and chair, Department of Art History, University of Delaware.
A reappraisal of Paul Cézanne’s achievement in the genre of still life
“[Cézanne] should especially be apprehended in [his] still lifes… it is in this genre that he best said what he had to say.”— Émile Bernard, 1904-05
“Allows one to scrutinize the artist’s still lifes in illuminating isolation from the work of his peers.”—Mary Tompkins Lewis, The Wall Street Journal
“A beautiful tome.”—Judith Dobrzynski, Real Clear Arts
“Rigorous and thoughtful.”—Michael Pepi, The New Criterion
“Manages to explore the full gamut of Cézanne’s adventures with still life.”—Ann Landi, ARTNews
