From "Construction Form" To "let It Exist.

In many important painting subjects, the Montagne Sainte-Victoire was one of painting themes that had been frequently used by Cezanne. As a motif, it took up a special place and was painted for many times, its style was not the same in Cezanne’s whole drawing life. Especially, when Cezanne was in his later years, his composition forms had been attained perfection and his techniques of expression had been unique in the world. Those things made series of the Montagne Sainte-Victoire painting immortal works, so Cezanne won his reputation as’the father of modern art in the20th century’in painting history. A good number of young artists came to his hometown and stayed down here when he died. They were devotedly worshiped the Montagne Sainte-Victoire and constantly drawn it, as through the mountain were a living presence. Seemingly, it had been integrated into the Cezanne’s life as a holy symbol. Intriguingly, what secrets are hidden in Cezanne’s painting? Why so many people want to pursue it? That is as a starting point, this paper discusses the existence of the art work.As one of entrepreneurial people in modern art history, the Cezanne’s studies of painting abroad have formed a huge bibliography. Foreign research methods:form analysis (Roger Fry), phenomenological research (Maurice Merleau Ponty), psychoanalysis (Meyer Schapiro), biography research (John Rewald) and it has been established all kinds of research methods under their influence. Strictly speaking, domestic researches are at the preliminary stage. The gains through an introduction to the translation of foreign Cezanne’s research works. We set up the domestic basic bibliography on Cezanne research yet, Taiwan scholar Zhaoliang You who published Cezanne and Bergson which is a representative of Cezanne’s monographs. In spite of there are many internal research papers, but most of the same, all they are from the aspects of form analysis. In this paper, the first chapter will be systemizing several important points, so that we would better understand the research status of Montagne Sainte-Victoire and expand the paper writing.In the second chapter, we explore mainly the form of construction in Cezanne’s painting. It includes two sections:the part one focus attention on discourse relevant concepts of painting forms, including form, art form, painting art form, some basic concepts such as painting language and so on. In order to make readers have an initial impression of the painting form, we are summarized related concepts in the form of painting. Perhaps that let you have a better understanding of the innovation for the form construction of Cezanne’s painting. In the second section, we will intensively discuss the two aspects of the construction of form. Namely, the geometrical form composition and color giving form. All both are the very important contribution for art, they spend a Cezanne’s whole lifetime and have a pervasive influence on later artistic creation. This section follows the main clue of time, according to the characteristics of Cezanne’s artistic creation in different periods, respectively, to analyze in great depth the geometrical form composition and color giving form, to explore their constructed characteristics of painting form. In addition, this section also answered a crucial question that Cezanne how to construct forms in painting.The priority and difficult point is the third chapter. It is aiming at exploring an inner relationship between Heidegger’s thought and Cezanne’s art and discovering the riddle of existence of series of painting of the Montagne Sainte-Victoire. We find that, by means of researching the mountain in the painting of his old age, the painting shows the color more dark and heavy, the part of picture is full of color areas, such as dark green, turquoise, red yellow and red brown color, some present a center of bright, lights between in the sky and upward rising peaks of the earth respond to each other. Martin Heidegger believes that the meaningful existence of the art is the desired trait of existence, that’s building the world and creating the earth.’The world’ located in the earth and it attempted to go beyond the earth. It is open and doesn’t tolerate any claustrophobic.’The earth’is just the hiding place where the emergence turn-back and it is just as such an emergence that everything is turn-backing hiding. Both are opposite which show the dispute between them. It is just this argument, the work endow its own essence. Cezanne’s series of painting of the Montagne Sainte-Victoire is reflecting the dispute that is the light and dark of the color. We talked about the dark of the earth in the front part of this chapter, just it shows the earth is as the emergence which provides the hiding place. The art produce a kind of open wide, but the truth take one of the unverborgenheit have on its own into it. The truth is appeared in a dispute between the clarity and obscuration, it gets into the art in the composition of the light and dark of the color. Finally, the work is done in the unity of the dispute between the light and dark of the color. All kinds of dark on the earth, such as green and blue, more or less it shines upon in the sky. On the one hand the earth conceal in the dark, on the other hand it open itself to the light. The heavens appear in the inhibited light, the sky and the earth produce the’clarity’and’obscuration’during the mapping of the colors each other. Cezanne raised the color an important position, thought the colors could express nature’s richness, but the richness is unavailable. It is presented thing as the same as the earth, contained thing as all-encompassing as possible. In the continuously inhibited nature, it expresses itself to the world; in the interaction with the world, the truth fall into it by oneself, the art won its own existence.’Montagne Sainte-Victoire’is an art form of’Montagne Sainte-Victoire’which is such a being as being. This is the mystery of existence about series of paintings of the Montagne Sainte-Victoire.Finally, the effect of color composition was known. Cezanne’s painting is from the previous ’tectonic form’ to the ’make its existence’, and such an existence is manifested in the light and dark of color and their relations.