{"id":489,"date":"2013-02-14T12:17:02","date_gmt":"2013-02-14T11:17:02","guid":{"rendered":"http:\/\/culturedallroundman.com\/?p=489"},"modified":"2024-03-02T04:46:37","modified_gmt":"2024-03-02T03:46:37","slug":"earthy-anecdotes-zolas-house-at-medan-cezanne","status":"publish","type":"post","link":"https:\/\/culturedarm.com\/staging\/5793\/earthy-anecdotes-zolas-house-at-medan-cezanne\/","title":{"rendered":"Earthy Anecdotes: Zola’s House at M\u00e9dan by Paul C\u00e9zanne"},"content":{"rendered":"

\"le-chateau-de-medan\"<\/a><\/p>\n

In Banks of the Marne<\/em> by the French artist Paul C\u00e9zanne<\/a>, a solitary chateau peeks out from the dense foliage with its tower and spire, whitewashed walls, and wooden balcony. Several years earlier the painter had composed a similar canvas in the form of Zola\u2019s House at M\u00e9dan<\/em>, which currently resides with the Burrell Collection in Glasgow.<\/p>\n

Otherwise known as Le Ch\u00e2teau de M\u00e9dan<\/em>, the canvas was completed sometime between 1879 and 1881 after C\u00e9zanne paid a visit to the home of his childhood friend \u00c9mile Zola. In contrast to Banks of the Marne<\/em>, which dates to 1888, Zola\u2019s House at M\u00e9dan<\/em> appears busier and livelier, with freer brushstrokes in the reflections, ascending trees, and a dazzling array of yellow and ochre. Its stack of houses seem inviting rather than shaded and monolithic.<\/p>\n

The village of M\u00e9dan lies along the Seine to the northwest of Paris, whereas the Marne serves as a southeastern tributary of the river. Zola bought the house in 1878 after the success of his novel L\u2019Assommoir<\/em>, over the course of the next three years transforming his \u2018rabbit hutch\u2019 into an extensive manor. In Zola\u2019s House at M\u00e9dan<\/em>, the chateau lies to the far right of the canvas with its gray-blue roof, three chimneys, and red window shutters. One of the earliest visitors to the house in 1879, C\u00e9zanne borrowed Zola\u2019s rowing boat Nana and began the painting mid-river.<\/p>\n

In his monograph C\u00e9zanne<\/em>, first published in 1999 by Taschen, the art historian Hajo D\u00fcchting sought to contextualise and draw out the life of the famously taciturn artist. Sometimes tending towards psychological evaluation, D\u00fcchting discusses Zola\u2019s House at M\u00e9dan<\/em> at length, including a quotation on the composition of the work by C\u00e9zanne\u2019s Post-Impressionist contemporary Paul Gauguin.<\/p>\n

Gauguin is recorded as the first owner of the painting, having purchased it from the Parisian paint grinder and art dealer Julien Fran\u00e7ois Tanguy. Often accepting art works in exchange for paints and other supplies where money was tight, Tanguy gathered a fine collection of Impressionist paintings in his small shop on Montmartre.<\/p>\n

Called P\u00e8re by his artists, he sold or attempted to sell pieces by Monet, Sisley, Seurat, and Van Gogh alongside C\u00e9zanne and Gauguin. Van Gogh painted him three times, with the latter two canvases some of the most stylised works in his entire oeuvre for their flat patterns and decorative wallpapers as the artist experimented with the nascent trend for Japonisme.<\/p>\n

The quote by Gauguin provides us with his own sense of the interplay between forms and colours in C\u00e9zanne\u2019s painting. It continues to provide an account of an incident which took place while C\u00e9zanne was mid-paint. Humorous for its depiction of the professorial passerby, it also provides us with a sense of Cez\u00e1nne\u2019s character while suggesting something of the contemporary response to the artist\u2019s work. Here is Gauguin:<\/p>\n

C\u00e9zanne is painting a shimmering landscape against an ultramarine background, with intense shades of green and ochre gleaming like silk. The trees are stood in a row like tin soldiers, and through the tangle of branches you can make out his friend Zola\u2019s house. Thanks to the yellow reflections on the whitewashed walls, the vermilion window shutters take on an orange tone. A crisp Veronese green conveys the sumptuous leafage in the garden, and the sobre, contrasting shade of bluish nettles in the foreground renders the simple poem even more sonorous.<\/em><\/p>\n

A presumptuous passer-by takes a shocked glance at what seems, in his eyes, to be a dilettante\u2019s wretched daubing, and asks C\u00e9zanne in a professorial voice, with a smile:<\/em><\/p>\n

\u201cTrying your hand at painting?\u201d<\/em><\/p>\n

\u201cYes \u2013 but I\u2019m no expert!\u201d<\/em><\/p>\n

\u201cI can see that. Look here, I was once a pupil of Corot. If you don\u2019t mind, I\u2019ll just add a few well-placed strokes and set the whole thing right. What count are the valeurs, and the valeurs alone.\u201d<\/em><\/p>\n

And sure enough, the vandal adds a few strokes of paint to the shimmering picture, utterly unabashed. The oriental silk of this symphony of colour is smothered in dirty greys. C\u00e9zanne exclaims: \u201cMonsieur, you have an enviable talent. No doubt when you paint a portrait you put shiny highlights on the tip of the nose just as you would on the bars of a chair.\u201d<\/em><\/p>\n

C\u00e9zanne picks up his palette once more and scratches off the mess he has made. Silence reigns for a moment. Then C\u00e9zanne lets fly a tremendous fart, and, gazing evenly at the man, declares: \u201cThat\u2019s better.\u201d<\/em><\/p>\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

In Banks of the Marne by the French artist Paul C\u00e9zanne, a solitary chateau peeks out from the dense foliage with its tower and spire, whitewashed walls, and wooden balcony. Several years earlier the painter had composed a similar canvas in the form of Zola\u2019s House at M\u00e9dan, which currently resides with the Burrell Collection […]<\/p>\n","protected":false},"author":1,"featured_media":13845,"comment_status":"open","ping_status":"open","sticky":true,"template":"","format":"standard","meta":{"nf_dc_page":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[3874,4452],"tags":[3725,670,2402,2531,3266],"class_list":{"0":"post-489","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art","8":"category-earthy-anecdotes","9":"tag-anecdotes","10":"tag-cezanne","11":"tag-paul-gauguin","12":"tag-post-impressionism","13":"tag-toilet"},"jetpack_publicize_connections":[],"yoast_head":"\nEarthy 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