// Workers AI · dad joke modeWhat did Pont de Maincy bridge say? "I'm connected.
| Pont de Maincy | |
|---|---|
 | |
| Artist | Paul Cézanne |
Completion date | 1879-1880 |
| Medium | Oil on canvas |
| Dimensions | 58.5 cm × 72.5 cm (23.0 in × 28.5 in) |
| Location | |
The Pont de Maincy is a painting by a French painter Paul Cézanne who resided during this period in Melun, a neighboring commune of Maincy, France.
The work, measuring from 58.5 cm south 72.5 cm, is preserved at the Musée d'Orsay in Paris.[1]
Main exhibitions: London (1914, 1996), Paris (1926, 1936, 1995, 2011), Beijing (1989), New York (2005).[2]
History, subject, and conservation
[edit]Created between 1879 and 1880[3] — the identification and dating of the work were not simple[3] — it depicts a bridge that spanned the Almont in the commune of Maincy in France.[4]
Legacy
[edit]In 1993, the Peruvian painter Herman Braun-Vega referenced Pont de Maincy in Papaye à la guitare (Cézanne), a realistic inverted still life[5] that dialogues the post-impressionism of Cézanne with a cubist guitar. The intrinsic light of Cézanne's landscape is doubled by the natural extrinsic light to the painting through the shadow play of a sophisticated frame.[6] This painting is "a small confidential discourse between technicians" according to the artist.[7]
See also
[edit]Notes and references
[edit]
- ↑ "Pont de Maincy". Musée d'Orsay.
- ↑ "Musée d'Orsay: Notice d'Oeuvre". www.musee-orsay.fr (in French). Retrieved 2017-03-07.
- 1 2 "Pont de Maincy". Musée d'Orsay.
- ↑ 48°33′01″N 2°40′47″E / 48.550148°N 2.679741°E
- ↑ Rodolfo Hinostroza; Jorge Semprún; Eduardo Arroyo; Alfredo Bryce Echenique; Leslie Lee Crosby; Patrick Fourneret; Jean-Luc Chalumeau; Jean-Pierre Van Tieghem; Julio Ramón Ribeyro; Alain Irlandes (1995). "Fenêtres, Tables, Natures Mortes". Braun-Vega, peintures et dessins. Wamani Éditeur. p. 46. ISBN 2-909496-05-8.
[...] table, window, landscape, still life interpenetrate naturally and create a space that transitions seamlessly from the tangible and fleshy nature of the exotic fruits occupying the entire foreground to the "Cézanne-like" landscape bathed in sunlight
- ↑ Gac, Roberto; Carvallo, Fernando; Fauchille, Bernard (2006). Braun‑Vega, Mémoires - Memorias - Memories, Pinturas y Dibujos 1979-2006 [Braun‑Vega, Mémoires - Memorias - Memories, Paintings and Drawings 1979-2006] (in Spanish, French, and English). Translated by Corbett, John. Musée du Château des Ducs de Wurtemberg, Ville de Montbéliard. pp. 13–28. ISBN 2-910026-65-5.
what impresses itself on the observer [...], is the interplay between the light intrinsic to the composition and the light extrinsic to the painting, deflected, darkened or intensified by extremely sophisticated framing.
- ↑ Patrick Fourneret (1995). Braun-Vega en 24 tableaux et un entretien (livret d'accompagnement du Compact-Disc Interactif). Besançon: CRDP de Franche-Comté. pp. 52–53.
Bibliography
[edit]- Bernard Dorival, Cézanne, Paris, Tisné, 1948.
- Joachim Gasquet, Cézanne, Paris, Bernheim jeune, 1921; reissued Paris, Encre Marine, 2002.
- Michel Hoog, Cézanne, « puissant et solitaire », Paris, Gallimard, coll. « Découvertes Gallimard / Arts » (No. 55), 2011.
- Lionello Venturi, Cézanne, son art, son œuvre, Paris, Rosenberg, 1936.
- Ambroise Vollard, Cézanne, Paris, Vollard, 1914.
- Ambroise Vollard, En écoutant Cézanne, Degas, Renoir, Paris, Grasset, 1938; reissued, Paris, Grasset, 1994.
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