★★★★ The National Gallery needed a blockbuster, and this show charting the influences of Cézanne, Gauguin and Van Gogh is certainly luscious. But it’s also tremendously – and surprisingly – old-fashioned 🖋️ By HettieJudah
latest exhibition tells a tale of rebirth – new life emerging from the old roots and dark soil of Europe at the end of the 19th century. It is a story of the origins of modern art, opening with rhythmic paintings by Paul Cézanne and fragmented sculptures by Auguste Rodin, and concluding withAfter Impressionism: Inventing Modern Art
The exhibition speaks of networks of influences and inspiration, and the hunger to experiment that trails individual works as they are exhibited in Paris and around the rest of Europe. One of the first galleries carries a dramatisation of this process. In Maurice Denis’s bearded men clustered around one of Cézanne’s still life paintings displayed on an easel in a small gallery.
The work of the Nabis appears in an adjacent gallery, among them some of Vuillard’s highly coloured and claustrophobic interiors. A sensuous portrait glows at the outline, all the angles of the painting driving in towards the piece of paper on the table’s edge over which the poet labours so intently. The vast is a wash of decadent patterning. It’s hard to make out the women and children in this room between by the floral abundance of the wallpaper and an outsized vase of cow parsley.
In Barcelona, enter Picasso, a prodigy, whose mask-faced drinkers are here seen in the context of expressionistic and experimental work by a slightly older generation, including Hermen Anglada Camarasa and Santiago Rusiñol.
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