Abstract This article argues that, in the early 1870s, Paul Cézanne began to make colours (including vermilion) his medium, whereas previously he had tended to treat them as inert materials, which he needed to force for effect. One factor in Cézanne’s change of heart was his receptiveness to the theme developed in the novels Manette Salomon (1867), by Edmond and Jules de Goncourt, and La Proie et l’ombre (1876), by Marius Roux, that failing to relate responsively to his medium can have catastrophic consequences for the painter. Another was Cézanne’s espousal of Camille Pissarro’s practice in the early 1870s of using ton to create ‘harmony’ for the express purpose of ‘modelling’. The relationship between Cézanne’s ideas about ton and three theoretical sources are then examined. Two are much earlier: Roger de Piles’s writings about colour harmony and its spatial effects; and the treatise Michel-François Dandré-Bardon wrote in the eighteenth century that applied de Piles’s ideas to ton. The other is the series of manuals the animal painter, Julien de la Rochenoire, published in the 1850s, which maintain that ‘relations’ between tons were crucial to ‘modelling’. How Cézanne used tons is then analysed in the painting Madame Cézanne in a Red Armchair (1877) (now in Boston). It is shown that colour relationships are more numerous and more finely integrated in this work than in its sister painting (in Stockholm), with the result that its harmony is especially tightly knit. This, it is maintained, allows it to model-shape at the same time as bestowing cohesion to the depicted scene. The article ends by considering how, unlike the de Goncourts’ Naz Coriolis or Claude Monet, who pushed painting to its limits in an attempt to capture the effects of shine and sparkle, Cézanne opted to play them down in order to give solidity to the world depicted in his paintings.

中文翻译：

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朱红色或塞尚为何脱颖而出

摘要本文认为，在1870年代初期，保罗·塞尚（PaulCézanne）开始将色彩（包括朱红色）用作他的媒介，而以前他倾向于将它们视为惰性材料，因此他需要强迫使用。塞尚心转变的一个因素是他对埃德蒙德·朱古德（Edmond and Jules de Goncourt）的小说《曼内特·所罗门（Manette Salomon）（1867）和马里乌斯·鲁（Marius Roux）（1876）所创作的小说的主题的接受性，后者未能做出回应他的媒介可能对画家造成灾难性的后果。另一个是塞尚（Cézanne）在1870年代初期对卡米尔·毕沙罗（Camille Pissarro）的实践的拥护，他用吨来制造“和谐”，以表达“建模”的明确目的。然后研究塞尚的吨概念与三个理论来源之间的关系。其中两个要早得多：罗杰·德·皮尔斯（Roger de Piles）关于色彩和谐及其空间效应的著作；迈克尔·弗朗索瓦·丹德·巴顿（Michel-FrançoisDandré-Bardon）在18世纪撰写的论文中，将德比勒斯的思想运用于吨。另一本是动物画家朱利安·德拉·罗切诺尔（Julien de la Rochenoire）于1850年代出版的一系列手册，这些手册认为吨之间的“关系”对“建模”至关重要。然后在油画《塞尚夫人在红色扶手椅上》（1877年）（现在在波士顿）中分析塞尚的使用方式。结果表明，与姐妹画（斯德哥尔摩）相比，色彩关系在本作品中的数量更多，并且融合得更好，其和谐感尤其紧密。保持这一点，可以使其与所描绘的场景具有凝聚力，同时进行造型。本文最后考虑了如何，