 保罗·塞尚 大浴池 The Large Bathers
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This is the largest, the last, and in many ways, the most
ambitious work from Cézanne’s lifelong exploration of the
time-honored theme of nudes in a landscape. It is also, perhaps, in
its unfinished state, the purest and most serene witness to the man
whom Paul Gauguin described as spending “entire days on
mountaintops reading Virgil,” dreaming of wooded glades populated
with beautiful figures who, if not exactly participants in a
narrative as such, are full of animation and interaction. Perhaps
it is its grand nobility—its authority as something beyond time,
“like art in the museums,” as Cézanne said—that made it so
attractive to many artists.
 保罗·塞尚 大浴池 The Large Bathers
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Philadelphia Museum of Art: Handbook of the Collections
Near the end of his life Paul Cézanne painted three large
canvases of female nudes disporting in a landscape. They derive in
part from pastoral images of female bathers, such as the goddess
Diana and her maidens, long favored in French art. These works seem
to have been, for Cézanne, the culmination of a lifetime of
exploration on the nude, his final testament within the grand
tradition of French narrative painting on the nature of the human
condition. They differ greatly from one another, these three
paintings (the others are in the Barnes Foundation, Merion,
Pennsylvania, and the National Gallery, London). The Philadelphia
version, perhaps because of its unfinished state, is both the most
exalted and the most serene. The women command a great stage, very
much like goddesses in some grand opera production, with the arched
trees acting as the proscenium. They are completely at ease, and
for all the motion and activity there is a profound sense of
eternal calm and resolution, as well as a quality of monumentality
achieved through the most lucid and unlabored means. Joseph J.
Rishel, from Philadelphia Museum of Art: Handbook of the
Collections (1995), p. 211.
 保罗·塞尚 大浴池 The Large Bathers
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PublicationTwentieth-Century Painting and Sculpture in the
Philadelphia Museum of Art
This is the last and largest work among scores of paintings of
nude bathers, male and female, made by Cézanne over the course of
his lifetime. The monumental scene conveys a grand sense of
synthesis, combining figures and landscape in a stagelike setting
of towering proportion. For both the formal structure of the
landscape and the company of awkward bathers, Cézanne drew upon art
historical precedents and his own imagination rather than natural
observation. The painter exposed his artifice in technique as well
as composition: the vibrant surface exults in rich, swirling layers
of blues and greens, generously applied to make the air as palpable
an element as earth and foliage.
 保罗·塞尚 大浴池 The Large Bathers
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Despite its grandeur, the painting has the feel of an
unanswered question, a testament to the "anxiety" Picasso famously
declared to be the source of his great interest in Cézanne. The
artist left unresolved the startling contrast between the lushly
painted landscape and the stiffly drawn, ex-pressionless figures. A
haunting stillness hovers over the scene, with its two mysterious
figures in the background; an air of disquiet is signaled by a
swimmer's interruption of the pond's calm surface. The painting's
final state remains unfinished, revealed particularly in the seated
figure at the lower right whose long arms betray their previous
identity as two legs ready to depart the scene.
 保罗·塞尚 大浴池 The Large Bathers
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Painted at the very end of Cézanne s life, The Large Bathers
revisits his own creative history and invokes his countless hours
of studying and copying the masterpieces at the Louvre. The
assembly of bathers calls to mind scenes of mythical goddesses more
readily than modern French women, and the mood suggests a ritual
rather than a picnic. Notwithstanding its deep roots in the past,
the painting's pictorial daring is unparalleled, and today The
Large Bathers appears as the opening scene to the artistic drama of
the twentieth century. Twentieth Century Painting and Sculpture in
the Philadelphia Museum of Art (2000), p. 19.
鉴赏文章
《大浴池》这一主题在塞尚后期三十年的活动中不断出现，画家的每一幅草图、每幅习作、每一个新的决定，都是向开拓绘画世界迈进一步，同时也是向寻求技能，发现大自然的奥祕迈进一步。应该说，塞尚就是得了这种既诱惑他、又能毁灭他的技能，这是以大量的工作和不停的调查研究为代价的。对每一件作品，他都反复地推敲他认为确凿无疑的东西。
《大浴池》的主题是以流经普罗旺斯的阿尔克河岸为自然背景，这个「露天」的主题，透过树枝的光线和水中的倒影，好像标志着塞尚一种重返印象派的情趣。
但是，事实上，图画的结构是以大树的树干构成拱形，裸体人物杂陈的场面为基础。画家的视觉和想象所获得的真实感，在创造一个新的真实体的漫长过程中不断地得到修正、扩展和巩固。这样，塞尚就从树木和裸体者身上获得了愈来愈抽象的各式各样的结构形象。
在《大浴池》中，人体是构图的主要素，在对物体的大小和颜色进行的分析的基础上，人体配合并构成主导那些拱形遮顶的大树干之间的联系和变化。
这幅画是用平笔触把颜色涂上的，并利用了人体和树干、河边和云彩的粉红灰与棕色的暖色调以及天空和树木的绿蓝色冷色调之间的对比。每一个色调都是一种颜色接一种颜色，一层颜色叠一层颜色地涂上去的，以显出透明性或空白的留出。
 保罗·塞尚 大浴池 The Large Bathers
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画家简介
保罗·塞尚（Paul
Cézanne，1839-1906），法国著名画家，后期印象派的主将，是印象派到立体主义派之间的重要画家。从19世纪末便被推崇为“新艺术之父”，作为现代艺术的先驱，西方现代画家称他为“现代艺术之父”、“造型之父”或“现代绘画之父”。他对物体体积感的追求和表现，为“立体派”开启了思路；塞尚重视色彩视觉的真实性，其“客观地”观察自然色彩的独特性大大区别于以往的“理智地”或“主观地”观察自然色彩的画家。
保罗·塞尚一生特立独行、桀骜不驯，他的绘画风格令当时的保守批评家反感，巴黎的艺术沙龙几次拒绝展出他的作品。塞尚重视绘画的形式美，强调画面视觉要素的构成秩序。这种追求其实在西方古典艺术传统中早已出现。而塞尚始终对古典艺术抱着崇敬之情。他最崇拜法国古典主义画家普桑。他曾说：“我的目标是以自然为对象，画出普桑式的作品。”他力图使自己的画，达到普桑作品中那种绝妙的均衡和完美。他向着这方面，进行异常执着的追求，以至于对传统的再现法则不以为然。他走向极端，脱离了西方艺术的传统因而被尊为“现代绘画之父”。
作品资料
The Large Bathers
Geography:
Made in Aix-en-Provence, France, Europe
Date:1900-1906
Medium:Oil on canvas
Dimensions:6 feet 10 7/8 inches × 8 feet 2 3/4 inches (210.5 ×
250.8 cm)
Curatorial Department:European Painting
* Gallery 164, European Art 1850-1900, first floor (Women´s
Committee Gallery)
Accession Number:W1937-1-1
Credit Line:Purchased with the W. P. Wilstach Fund, 1937
Provenance
Estate of Paul Cézanne, 1906; purchased by Ambroise Vollard,
Paris from Cézanne's son, 1907; Auguste Pellerin (1852-1929),
Paris, by 1923; by descent to his son Jean-Victor Pellerin, Paris,
1929-1936 [1]; with Wildenstein & Co., New York, acting as
agent for Pellerin, 1936 [2]; purchased by the City of Philadelphia
with the W. P. Wilstach Fund, July 6, 1937 [3]. 1. Lent by M. and
Mme. Pellerin to the 1936 exhibition "Cézanne", Musée de
l'Orangerie, Paris, no. 107. 2. Provenance per John Rewald, The
Paintings of Paul Cézanne: A Catalogue Raisonné, New York, 1996,
no. 857. See also Joseph Rishel, Cézanne in Philadelphia
Collections, Philadelphia, 1983, p. xvi. 3. Copy of dated receipt
in registrar file.
阴山工作室
本文图片及英文资料均来自佳士得官方网站，局部细节图片及中文资料系阴山工作室所加。原文某些英文单词中的分割线是为了规避网站非法字符审核。
The Large Bathers 亦有译为“众多沐浴者”。
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 保罗·塞尚 大浴池 The Large Bathers
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