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Current time:0:00Total duration:3:51

Video transcript

we're in the Pompidou in Paris and we're looking at a Georges Braque it's an early brach it was painted just after Susan died brach went down to the stock and almost a kind of homage began just work through says owns style and his late paintings and you can see the viaduct that you see in many Cezanne paintings in the same palette that you see in say Xan and that same kind of hatching brushwork that you see also in Suzanne but things are changed Brock has seen the demos old Avignon the space is really compressed his meeting Picasso and seeing how Picasso has it's filtering sazon not to mention other artists including Matisse at this point is having an impact here it's these paintings that brock is bringing back the picasso scenes that really push this Picasso forward you're talking about a compression that Ridge wants to be in the background but it also pushes forward and some really aggressive ways in the sky above it seems to push forward even more in some way so that the entire canvas seems to crest up and towards us and the buildings in the foreground seem to you in a way crest up and back so that the viaduct in the background and the houses you know there's no it feels like there's no middle ground right so how does he pull that off I see a lot of reduction to geometric forms they see rectangles and triangles and pyramid shapes and semicircular shapes almost as though the houses look like mountains and the mountains look like houses and that's just trees look like the sky and it's hard not to see this through the lens of the dissolution of form that's gonna happen with analytic cubism the colors are very much the colors of analytic cubism grays and brown you've got there great blues up at the top you've got the great blues and the shadows down below you've got those beiges and Browns and reds throughout this real continuity across the surface of the canvas just articulating the surface and you also have the kinds of alighting of forms that you see slightly later on in analytic cubism where there Rufe that horizontal roof there with the ogres and the golds in it kind of slips down if you follow the color into another golden side of the roof so there's no real distinction there in space and also that way that you get sort of modeling with some black outlining very much again analytic cubism so that kind of a lighting of one form to another something that's seen as a key characteristic of Cezanne and it's often referred to in his work is passage and the way in which it opens up the geometry of that structure we were talking a moment ago about the nature of surface and the presence of surface here and it's not just from the brushstroke it's not just from the overall color but it's also from the arbitrary look at the green brushstrokes on the center left yeah or look at the beige brushstroke that's in the upper right these are reminders that we're looking at a two-dimensional surface this refusal of space mm-hmm it almost feels a little bit to me like that's Brock's lesson from Fauvism those touches of paint that somehow can be separate from what he's representing - right but here color is not the vehicle right it's true there's these random strokes of paint the whole thing feels so rough and so I'm finishing sewing the way that Cezanne often feels unfinished this is an exploration in no way meant to be a finished thing so much as a step toward and are working through of Suzanne after his death