National Gallery, London
Cézanne outshines Van Gogh, with Picasso his revolutionary pupil, in this absorbing hurtle toward modern art – smashing 500 years of tradition into cubist shards
‘Make it strange” is one of the slogans of modernism. The National Gallery’s show After Impressionism makes modernist art itself strange, by seeing it from the past – the Victorian salons where this revolution in the arts actually started. It is a flawed show but one I found hard to leave. European art in the 1880s and 1890s hurtles towards the “modern” before your eyes, yet also burrows away into recesses of nostalgia and pastoral – and you lose yourself, as modernism wants you to.
You can cut a line through the exhibition and follow the high road of the new, ignoring all those odd byways. Simply rush from Paul Cézanne’s Mont Sainte-Victoire with its hypnotic field of broken, tentative, obsessive dapplings held together by an iron intellect, straight to Pablo Picasso’s 1910 portrait of Wilhelm Uhde. This writer and collector is the last man, the last bourgeois individual, in Picasso’s revolutionary portrait. His cartoonish features, pinched and prissy over a stiff wing collar, are disintegrating into a crystal cavern of invisible structures made suddenly visible. This is the maze of “cubism”, that takes its start from Cézanne’s analysis of vision. This is where, by 1910, the most radical art stood – on the edge of a quantum universe.
