Cézanne’s Sensations

"In the years preceding the Second World War, the art historian John Rewald persisted in pruning the branches of the Aix-en-Provence countryside. He believed this would make it possible to recover, through the lens of his camera, the raw data Cézanne perceived. For him, time was a parasite whose marks he wished to erase, just like he wished to purge from the historical record a Cézanne faithful to nothing.1 Proust wrote against such illusions: 'What we call reality is a certain relationship between sensations and the memories which surround us simultaneously—a relationship which is suppressed by a simple cinematographic vision, which actually moves further away from the truth the more it professes to be confined to it.' ..."

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Still Life with Cut Watermelon (Nature morte avec pastèque entamée), ca. 1900.