TWO MORE CEZANNES
Recurring to the subject of Cezanne’s methods (see July 28 below), consider two portraits of Antony Valabrègue, done about five years apart. One is so much better than the other.
The earlier piece is just plopped down. The parts are there, but flatly, just showing up for duty.
As opposed to the later piece, where the beard, for example, comes and goes, full of little spritzes and subtleties. The hair and hairline—that delightful escaping ear, and the lock of hair behind it. The shoulders skipping downward, alive with action. The bouncy eyes and brows. Every line and shape witty and on the go.
Every artist, of course, has a range of success. But it’s worth taking a minute to see what that range is, and notice the reasons.
pics from Cezanne Portraits by John Elderfield