Labels:text | black and white | screenshot | font OCR: The mood is set. Despite the overblown decor of the courtesan's boudoir, the scene offers every indication of bourgeois ridicule, a mixture of bombast and vulgarity. It was not by accident that in an earlier version of this work (A Modern Olympia or The Pasha, 1869-1870) Cézanne put a Courbet look-alike in the client's place. That first 'realistic' painting, which used heavy brushwork with violent contrasts of colours and of light and shade, was followed by this sketchy but trenchant work. This is one of the paintings that Cezanne deliberately chose - together with two landscapes of Auvers - to represent his work at the first Impressionist exhibition in 1874. By refusing to submit to a strictly naturalistic vision, the painter was clearly stating his own position within the Impressionist m ...
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