Cézanne, the Italian wedding

It floats like an air of Italy at the Musée Marmottan Monet. The paintings speak with a singing accent, dance the tarantella, toast with small glasses of montepulciano, a deep and powerful red grape variety… On the one hand those of Cézanne, on the other those of some great Venetians, Romans and Neapolitans of the 16th century and 17th century.

The old Italian masters are at the root of the art of Aixois. To what degree? This is the question answered, with nuances, in pairs of works installed next to warm picture rails, Alain Tapié, honorary director of the Museums of Caen and Lille, and Marianne Mathieu, scientific director of the museum.

Here, in the somber, terrible and trivial Murder of Cézanne (Museum of Liverpool), the abandoned hand of the murdered woman is represented in the same graceful abandonment as that of a Christ at the foot of the Cross painted by Tintoretto.

Lines of force

There, as the lines of force indicated in the cartels point out, the painting The Strangled Woman (Musée d'Orsay)

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