Using the principles of post-impressionist art, I show how Hemingway uses visuality to craft dramatic tension and tone without relying on traditional categories of storytelling. Although this aesthetic relationship is often mentioned in Hemingway criticism, scholars rarely conduct a rigorous formal study of these two distinctive Modernist moments, and the creative process involved in carrying out such a cross-disciplinary project. This article focuses on “Big Two-Hearted River” and the influence of Cézanne on the story’s structural innovations. Le choix du mot chez Hemingway et de la couleur chez Cézanne créent la structure, la description des sensations ralentit le temps et étend l’espace, et la mise en valeur du point de vue souligne l’aspect formel et le ton distant des œuvres. Chaque élément du processus artistique créatif devient fonctionnel et novateur.
L’étude est également une lecture de certains tableaux de Cézanne, notamment la série “Mont Sainte-Victoire”. S’appuyant sur les principes artistiques du post-impressionnisme, je montre comment Hemingway utilise la visualité pour créer le ton et la tension dramatiques, sans recourir aux schémas narratifs traditionnels. Certes, la relation esthétique entre les deux artistes a été mentionnée à plusieurs reprises par les commentateurs, mais peu de critiques ont fait des analyses formelles rigoureuses de ces deux moments modernistes typiques, ou du processus créatif mis en place pour réaliser ce projet inter-disciplinaire. A visual delight, it is also an illuminating and original interaction with the artist's work.Cet essai analyse “Big Two-Hearted River” à la lumière des apports de Cézanne en ce qui concerne ses innovations structurelles. While there are other books on Cezanne's landscapes, none is as closely informed by painterly knowledge and perception or as complete in its grasp of Cezanne's period and geography as this one. Using color to define form, while retaining hues that are anchored in reality, Cezanne achieved sensuous reconstructions, rather than intellectual depictions like those of the Cubists. As he analyzes Cezanne's treatment of individual sites, their transposition into forms and colors, and the artist's responsiveness to the demands of each unique composition, we begin to see Cezanne as he saw not as an early Cubist, but as a painter who explored every aspect of his motif for its rich compositional potential and presented a parallel and faithful conception of it.
Machotka, himself an artist, moves from painting to painting, examining textures and surfaces, pictorial rhythms, and inflections of tone. Juxtaposing these color photographs with reproductions of the paintings, he offers a dazzling range of evidence to demonstrate how the great painter transformed nature into works of art. Pavel Machotka has photographed the sites of Cezanne's landscape paintings - whenever possible from the same spot and at the same time of day that Cezanne painted the scenes. This beautiful book presents a new perspective on Paul Cezanne, one of the towering and most influential figures of nineteenth-century art.
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