Having Triumphed in Philadelphia, Cezanne Moves to Montclair

1) Which American modernists drew inspiration most closely from Cezanne in their artwork? Is there one in particular on whom he had the most influence?

There are 34 artists in the show and among them Marsden Hartley, Max Weber, Morgan Russell, and Maurice Prendergast are featured with the most works.  If I had to pick any one artist, it would be perhaps Marsden Hartley.

2) How does this show relate to Cezanne and Beyond -- where do they overlap and where do they part company?

The only overlap between the two shows is the inclusion of Marsden Hartley, Charles Demuth, and Arshile Gorky. The PMA show emphasized key European artists and later Americans such as Jasper Johns and Ellsworth Kelly. The MAM show focuses on the period 1907 to 1930 and there is more of a concentration upon including actual Cezannes that American artists would have seen in exhibitions or seen reproductions of. 

This specific historical focus is best exemplified by the juxtaposition of Cezanne's Five Apples formerly in the Stein collection with Russell's Three Apples (1910, MoMA) which was inspired by it when Russell borrowed the Cezanne from Leo Stein.

3) The show's theme seems, in a way, like a natural, a no-brainer -- what was the biggest revelation to you as you worked on the show?

The biggest revelation was how American artists were able to find their original, unique voices through the emulation of Cezanne. 

4) The exhibition covers 1907-1930. What happened after 1930 to Cezanne's influence?

There is an essay in the catalogue that addresses the ongoing impact of Cezanne upon Abstract Expressionist artists. He remained a vital influence for many artists.  

5) This is a very ambitious show for Montclair. Why now, given the economic climate, and how long has it been in the making?

The show has been ten years in the making and fortunately we were thus able to garner a lot of support for it from a variety of sources, including the NEA, the Leir and Terra Foundations, as well as the Bank of America and especially the museum's board. The show also received Federal Indemnification as part of the new domestic program. We are very pleased to be able to present this show and to take such a positive step forward during these challenging times.

Here's a link to the show's press release.

Photo Credits: Cezanne, Mont Sainte-Victoire Seen From the Bibemus Quarry, c. 1897, Cone Collection, Baltimore Museum of Art, Photographer: Mitro Hood (top); Hartley, Mont Sainte-Victoire, 1927, Private Collection, Courtesy Gerald Peters Gallery (bottom)