No fundo, Bresson pintava montanhas
«Cézanne's [Bresson's] still life is distinctive through its distance from every appetite but the aesthetic-contemplative. Cézanne [Bresson] preserves a characteristic meditativeness and detachment from desire.
[...]
The subject seems to have been reduced to a still life. He does not communicate with us; the features show little expression and the posture tends to be rigid. It is as if the painter has no access to the interior world of the sitter, but can only see him from outside. The rhytm of the brush stroke shifted from the great drive of impulse to the steadier flicker of sensations; the stimulus came more from outside than from within. The big forms were broken up or interrupted by little touches; composition lost its dramatic sweep. [Do exterior para o interior, o gado que fala morreu].
[...]
His vision is directed towards small things which break up or interrupt the large continuous forms, like the passive eye that delights in the distractions of the unexpected and piquant. [Um olhar e uma mão]
[...]
Cézanne's [Bresson's] perceptions and constructive operations is more compelling to us than the meanings or relation to our desires, and evokes us a deeper attention to the substance of the painting.»
Meyer Schapiro
Talvez o pintor do Quatre Nuits compreenda isso quando as duas cambalhotas que dá num prado de malmequeres não lhe garantem um amor.
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