AlbertEnz Monograf final
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the universe meet." As noted by Giuseppe Di Giacomo in the editorial work<br />
"Arte e modernità" (2016), colors don't aim to faithfully imitate nature's hues,<br />
but rather generate their own materiality and structure. (2)<br />
For Cézanne, who, as mentioned, diverged from the Impressionists, his nature<br />
isn't illuminated by reflections born from chromatic modulation, but<br />
rather nature itself emits light, thus expressing solidity. (3)<br />
Di Giacomo further explains that with his representation of the Montagne<br />
Sainte-Victoire, Cézanne establishes a connection with the object, offering<br />
the spectator the same opportunity to engage in a dialogue with the depicted<br />
mountain. Cézanne portrayed Sainte-Victoire many times without<br />
ever succeeding in providing a single, definitive image of it. (4)<br />
Everything Cézanne experimented with is indeed discernible in Albert Enz's<br />
paintings, particularly in the landscape works depicting mountains and<br />
coastlines. Unlike Cézanne, who offered multiple visions of Sainte-Victoire,<br />
Enz has actually presented numerous mountains and coastlines, thus creating<br />
a collection of world fragments that appear similar, demonstrating the<br />
universality of nature and the human-nature relationship.<br />
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