Page 35 - Studio-International-January-1974

Head of a young girl 1873 3 Mont Sainte-Victoire 1885-7 5 Mont Sainte-Victoire, seen from the Lauves 1902-6
Etching, 12.5 x 10.3 cm Pencil and watercolour, 31.5 x 47.5 cm Pencil and watercolour, 36x 55 cm
Courtauld Institute of Art, London Courtauld Institute of Art, London Tate Gallery, London
2 La lutte d'amour 1875-6 4 View on to roofs and a landscape c. 1890 6 Chateau de Fontainebleau 1904-5
Pencil, watercolour and gouache, 15 x 22 cm Watercolour, 32.5 x 4o cm Pencil and watercolour, 44 x 55 cm
Courtesy W. Feilchenfeldt, Zurich Museum Boymans — van Beuningen, Rotterdam Private collection, Paris

watercolours, scarcely any other colours than
these are used.
In colour, however, another dimension was
added to the problem of transverse
relationships. For not only had the directional
functions of brush strokes to be integrated, but
also their role in rhythmically spaced colour-
groups. Once again every patch could be laid
only when all its relationships with all others in
the format were clear. This is why his structures,
even when slight, always seem 'full', and why,
as a picture developed further and further, the
integration of each new patch with every other
became such an overwhelming problem. To
appreciate his unities our eye and mind must be
constantly busy, pursuing the ramifications of
his shadow and symbolic colour-garlands, and
of his varying transverse steps, from one side
of the format to the other. Cezanne enjoyed the
relative ease of watercolour, as 'relaxation'.
And it is because long labour had not hidden the
foundations that this exhibition could reveal so
magnificently to us the intimate scaffolding of
his thought. q
PHILIP RAWSON
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