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Cézanne: Finished - UnfinishedThe story of Czanne's fame and influence cannot be separated from his 'unfinished' works. Immediately after his death, these works were already held in high regard both by Matisse and the Fauves and by Picasso and the Cubists. With these works, Czanne opened up the 20th century and pointed the way to the future, right up to abstract painting. Czanne had the aim of renewing painting on the basis of classicism and establishing Impressionism so that it
The story of Cézanne's fame and influence cannot be separated from his 'unfinished' works. Immediately after his death, these works were already held in high regard both by Matisse and the Fauves and by Picasso and the Cubists. With these works, Cézanne opened up the 20th century and pointed the way to the future, right up to abstract painting. Cézanne had the aim of renewing painting on the basis of classicism and establishing Impressionism so that it would be as firmly rooted and long-lasting as the art in museums. But no other artist has created so many 'unfinished' works. Examining paintings and watercolors, including the monumental still lifes and the late paintings from Montagne Saint Victoire, this book shows clearly that what is 'unfinished' in Cézanne's work is not a sketch, not a preparatory study. Comparisons of finished painted works with so-called 'unfinished' ones provide a completely new insight into the creative process of the "father of modernism". This makes it clearer than ever before what Cézanne meant by the gradual concretisation of color forms: We are witnesses of a step- by-step change of the world into painting. (German edition available ISBN 3-7757-0878-2) The artist: Paul Cézanne (Aix-en-Provence 1839-1906 Aix-en-Provence). After studying law in Aix he attended the AcadÚmie Suisse in Paris. He met the Impressionists through his boyhood friend, Emile Zola, and exhibited with them in 1874 and 1877. For a long time, Cézanne's paintings, which were invariably rejected by the Salon jury, were bought only by a few people. Because of this, from 1881 he lived mainly in seclusion in Aix-en-Provence. After his first big exhibition in Paris in 1895 he slowly gained a reputation among adherents of modern art.Shipping Notes
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4.1 ★★★★★
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Product Reviews
★★★★★ 5
Guided tour through a difficult work
Format: Paperback
For the non-expert reader of Plato, this is a very good text for working through Timaeus. Actually, it may be useful to expert readers as well, but I wouldn't know about that, being firmly situated in the non-expert camp. Though some scholars may take exception to certain parts of Cornford's translation and interpretation, for those of us trying to get through it for the first time and on our own, this is still an exceptional guide. By the way, for an alternative translation and interpretation, the reader may want to check out Kalkavage's translation (Focus Philosophical Library), it is very good (I would rate it 5 stars also) and has some extremely helpful appendices for understanding references to music, astronomy, and geometry.
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Reviewed in the United States on January 6, 2013
★★★★★ 5
Cornford's Plato Cosmology/Timaeus
Format: Paperback
This is an excellent and invaluable reference book for Plato's Timaeus. If you are reading Timaeus you MUST have this book. It contains line-by-line commentary, and also, most valuable, some very helpful illustrations (example: illustration of the human body as Timaeus explained it). I would, however, balance this book with other books that attempt to place Timaeus within the rest of Plato's works. I recommend, for example, Peter Kalkavage's Timaeus. There, he attempts to link Timaeus and Republic.
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Reviewed in the United States on February 8, 2011
★★★★★ 5
An Excellent Choice
Format: Paperback
Excellent introduction, notes and translation.
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Reviewed in the United States on June 8, 2017
★★★★★ 5
Five Stars
Format: Paperback
Professor Cornford's translation with running commentary is definitive.
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Reviewed in the United States on November 5, 2015
★★★★★ 5
Plato's dialogue about the physical world
Format: Paperback
The two biggest topics in the Timaeus are astronomy and the elements of bodies, which are constructed using triangles and the tetrahedron, octahedron, icosahedron, and cube. I would like to see a translation of the Timaeus that uses it as a way to introduce all the astronomy that appears in the dialogue. Introducing the astronomy does not mean just talking in words about spheres or the zodiac or the ecliptic, but actually explaining how these were used by astronomers. Cornford has much to say, but to someone who has not learned any Greek astronomy his commentary will be opaque and hard to use. I didn't know the astronomy well enough to readily understand Cornford's explanations. I plan to learn more classical Greek astronomy, perhaps using Evans'
, and then read Waterfield's translation of the Timaeus
.
Before reading this you should have read the Republic and know some classical Greek natural philosophy, mathematics, and astronomy. Although Cornford's commentary makes the dialogue staccato, I am glad for it because I wouldn't otherwise have understood much of what Plato says. The Timaeus and the Parmenides are the two dialogues of Plato that one needs commentary to understand; the Parmenides demands the commentary because so much of what is happening depends on the original language, and the Timaeus demands the commentary because of all the things the reader is supposed to be familiar with.
The following is a list of topics I kept while reading the dialogue: theory of Forms 27d-28a, 51a-52a; harmonics 35b-36b; time 37c-38e, 39b-e; vision 45b-46c, 67c-68d; space 52b; surfaces 53c; weight 62d-63e; sound 67a-67c; physiology 70c-79e, 80d-86a; antiperistasis 79e-80c.
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Reviewed in the United States on December 12, 2015