At the Budapest’s Museum of Fine Arts you can rarely see such a great life’s work  held at the comprehensive exhibition with the show of Cézanne. Previously, had the pleasure to visit the breathtaking exhibition and looking forward to be present at the forthcoming International Symposium.

Just a brief reminder of  Cézanne’s past … “Although Cézanne (1839-1906) is usually associated with Provence, he cannot be confined to the south of France. He spent more than half of his time as a painter in Paris and its environs. He travelled between Aix-en-Provence and Paris over 20  occasions, of course, not for the same reasons when he was 20, nor  when he was 60 yrs. old.. When he was already an elderly man and still racked with doubts (“I am making slow progress,” he wrote at the end of his life) he painted in secluded spots on the banks of the Marne or near Fontainebleau, or made portraits of an art dealer or a critic and often his wife. He was no longer the young man eager to “conquer” Paris, wanting to be admitted to the fine art school and show his works in the Salon. In Paris, he came up against both tradition and modernity. He worked out “formulas” that he later used in Provence. He shuttled back-and forth between Provence and the Ile de France, although the rhythm of his journeys changed. After 1890, critics, art dealers, and collectors started to take an interest in his work. Cézanne longed for recognition which could only come from Paris. More than any other artist, he left his stamp on modern art: avant-garde artists from the postimpressionists to Kandinsky looked on him as a forerunner, “the father of us all” as Picasso said.”

Below the source is from the Museum of Fine Arts -Budapest

Symposium-Cézanne and the Past

Cézanne and the Past. Tradition and Creativity

International Symposium

At the Museum of Fine Arts, Budapest, Baroque Hall

Access: District XIV. 41 , Dózsa György Rd.

Monday, January 28, 2013.

Open hour 10 a.m. to 5.30 p.m.

The conference is free of charge.

This symposium, organised in the occasion of the Cézanne and the Past. Tradition and Creation exhibition will focus on different themes and issues that could not be dealt with in detail within the frame of the show and its catalogue (such as Cézanne and Antiquity, Cézanne and Courbet etc.). The invited lecturers (all internationally renowned scholars) will examine different aspects of Cézanne’s relationship to the past from a new, original point  of view.


The symposium will be chaired by Richard Shiff, professor at the University of Texas at Austin, who also participated to the exhibition catalogue with an article entitled Sensation, Cézanne. His book Cézanne and the End of Impressionism. A Study of the Theory, Technique, and Critical Evaluation of Modern Art, published in 1984, was one of the most influential studies on Cézanne of the last decades.

Faya Causey, Head of the academic programs department at the National Gallery of Art, Washington, D.C. A specialist in ancient art, Causey is the author of many articles appearing in a variety of journal and catalogues. She will examine the influence of Antiquity (especially Greek and Roman sculpture) on the art of Cézanne. Causey studied the relationship between antique and modern art in her essay Jasper Johns: Ancient Aspects.

Matthew Simms, associate professor at California State University, Long Beach, will present a lecture entitled Cézanne, Drawing and the Past. Simms has worked extensively on nineteenth century French art and criticism. His research and writing on Paul Cézanne resulted in articles or reviews. His first book, entitled Cézanne’s Watercolors: Between Drawing and Painting was published by Yale University Press in 2008.

Mary Tompkins Lewis, professor at Hartford Trinity College, Connecticut contributed to the catalogue of the Cézanne and the Past exhibition with an essay on „Cézanne and Louvre”. On the occasion of the symposium, she will examine the copies made by Cézanne after the so-called „Écorché”. The French artist copied this sculpture, traditionally attributed to Michelangelo, no less than twenty times in drawing, watercolour and oils.

André Dombrowski, Assistant Professor at the University of Pennsylvania, Philadelphia will discuss the topic Cézanne, Wagner and the Origin of Art. His dissertation, completed in 2006, focuses on Cézanne’s early works and many of his essays articles deal with the French artist. He is the author of Cézanne, Murder, and Modern Life (University of California Press, December 2012)

Jean-Claude Lebensztejn Parisian art historian and critic will present the circumstances of creation of Cézanne’s painting Female Nude (Léda II) (presently exhibited at the Museum of Fine Arts, Budapest). This lecture will provide an interesting complement to Lebensztejn’s analysis of Cézanne’s „Leda series”, published in his book Études Cézanniennes (2006), collecting his essays on the French master.

Denis Coutagne will study Cézanne and Courbet’s artistic relationship. As the former director of musée Granet in Aix-en-Provence and being the president of the Paul Cézanne Society, Coutagne participated to the preparation of several exhibitions on Cézanne. In 2006, Coutagne was cocurator of the Cézanne in Provence exhibition showed in Aix and Wahington. In 2011, he was member of the Scientific committee of the exhibition Cézanne and Paris (musée du Luxembourg, Paris).

The Symposium will end with András Rényi’s lecture focusing on the copies by Cézanne after Caravaggio’s Entombment. András Rényi, Head of the Institute for Art History at Faculty of Humanities, Eötvös University (ELTE), Budapest. He studied Caravaggio’s masterpiece in an article published in 2001: A holtpont igézete. Adalékok Caravaggio testfelfogásához és „naturalizmusának” képi szintaxisához (Enigma, 2001, 30 sz).

The conference will be held in English and French (Simultaneous interpretation from French to Hungarian will be provided).

Update by Aggie Reiter

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