Studies of Three Figures, Including a Self-portrait c. 1883

Editor: Right, so here we have Paul Cézanne's "Studies of Three Figures, Including a Self-Portrait" from around 1883, a pencil drawing. There's something unfinished, vulnerable about the way these figures are sketched. It feels so raw, like peering into Cézanne's private sketchbook. What's your take? Curator: Ah, yes, "raw" is a delicious way to put it. For me, it’s like catching Cézanne in the act of thinking. You see, it’s more than just observation; he's wrestling with form itself. This wasn’t meant for public consumption. I love seeing the underdrawing of the nude on the left. A reminder that even the masters were in search. Don’t you get a sense that he’s trying to figure out the essence of each figure? Editor: Definitely! It feels very process-oriented. Like, he's not trying to create a perfect image, just trying to *understand* something. Is that what sets it apart from academic drawings? Curator: Precisely. Academic art prioritized polish, presentation. Cézanne is interested in honesty and immediacy. In revealing not concealing, his mark-making. Which makes it a little rebellious, don't you think? Editor: Absolutely. So, the self-portrait... the intense gaze amidst all these studies... does that amplify the feeling of vulnerability? Curator: It's like catching his inner dialogue! As though he's both subject and observer in this quiet theatre of forms. Which adds an amazing depth. Editor: This has totally changed how I see preliminary sketches. Curator: Hasn't it? Next time, close your eyes and think of yourself drawing while looking at the picture - then open your eyes to be amazed anew!