2. The Body Nude: some key points … The nude = a product of art, not just a naked person. The male nude: primary subject of ancient Greek sculpture (the ultimate source of the idealised nude in art) and much classical art until late 18 th century. Controlling and containing the body; ‘seductive but not obscene’. In some 19 th century paintings, both academic and avant-garde, the gaze of the (male) viewer is exposed, and voyeurism is itself scrutinised and questioned. Painterly treatment of the nude can reveal the fact that a painting is a construction, not a replication of reality, but it can also betray a more intense, emotional response. Naturalistic representations of the nude eliminate the disguise of narrative, along with classical conventions such as idealisation the body.

3. more exposure …

4. 22. Degas, Woman with a Lorgnette 27. Cassatt, Woman in Black at the Opera, 1880

5. 22. 28. Cézanne, A Modern Olympia, 1873

6. 28. Cézanne 10. Manet

7. 1. Self-Portrait with Easel, 1885-87 Form and Space: ‘Nothing to Hide’: Cézanne and Post-Impressionism

8. 2. 3. 4. 5.

9. 6. The Abduction, 1867 7. The Murder, c1867-68 9. Still Life: Skull and Candlestick, c18668. Self-Portrait, 1861-62

10. 4. The Large Bathers, 1898-1905

12. 11. Bathers, 1892-94 10. Bathers, 1890-91

13. 12. The Large Bathers, 1900-1905 4.

14. 13. Mont Sainte-Victoire, 1904-614. Mont Sainte-Victoire, 1906

15. Fleeting, transient effects Atmospheric Painted rapidly and spontaneously Objective record of optical phenomena Enduring, timeless Solid and substantial Painstaking, calculated construction Intense subjective response to the subject Impressionism Cézanne (Post-Impressionism)

16. 13. Mont Sainte-Victoire, 1904-614. Mont Sainte-Victoire, 1906

17. 15. In the Park of the Chateau Noir c1898 16. Winding Road in Provence c1868

18. 18. The Thaw, 1870-7117. Turn in the Road, 1881

19. 20. Pissarro, The Road to Ennery, 1874 19. Cézanne, The Sea at L’Estaque, 1882-85

20. 19. The Sea at L’Estaque, 1882-85

21. 19. 7. The Murder

22. 20. Pissarro, The Road to Ennery, 1874 19. Cézanne, The Sea at L’Estaque, 1882-85 21. Cézanne The House of the Hanged Man, 1872-73

23. Displacement of drama and emotion: 1860s: Figures enact violent and disturbing events in landscape settings. 1870s onwards: Figures are absent, but the landscape is invested with emotion via the formal qualities of the paintings: dramatic or ambiguous spatial effects; brooding or jarring colours; collisions of foreground and background.

24. 22. House and Farm at Jas de Bouffan, 1889-90 19.

25. 22. House and Farm at Jas de Bouffan, 1889-90 23. A Modern Olympia, 1869-70

26. 24. Madame Cezanne in Red c1880-1889

27. 25. Still Life with a basket, 1888-90

28. Spatial effects: Problem of representing 3-dimensional objects on a 2-dimensional surface. Attention to surface structure rather than coherent treatment of objects in space. Multiple viewpoints rather than single, static viewpoint. Moving around objects – succession of different perspectives. Tipped-up viewpoint – everything displayed prominently – no distant space.

29. 25. Still Life with a basket, 1888-90

30. 26. Still Life (detail), 1895

31. 27. Ginger Jar and Fruit, c189528. Still Life: Sugar Pot, Pears and Blue Cup, c1866

32. 29. Still Life with Skull, 1895-1900 30. Still Life: Skull and Candlestick, c1866

33. 32. Pyramid of Skulls, c1901 31. Three Skulls, 1900

34. 6. The Abduction, 1867

35. 7. The Murder, c1867-68

36. Two sides to Cézanne … The formal structure of Cézanne’s paintings is significant – particularly his juxtaposition of colour-patches to create a sense of space. The intensely emotive aspects of Cézanne’s paintings are also important, though often overlooked. Throughout his career he produced works that appear disturbing, dramatic and disjunctive.