Writing letters to these artists in the early 20th century from different eras, different women, and people with different identities is like a reappearance of the salon where Parisian art godmother Gertrude Stein gathered literary elites from all over the world. The book begins with Paul Cezanne, the father of modern painting, and ends with the Impressionist painter Berthe Morisot. Each letter is accompanied by a brief reply from the recipient, which makes it more human. Each letter in this book is like an introduction, introducing these artists and his works, and in the letters, I have a dialogue with the artists and put forward my views on these works. For example, in a letter to Paul Cézanne, he wrote about fruit paintings, and the author's evaluation of these fruit paintings is: "You paint apples and pears, and after you paint them, they don't exist anymore. The rest , only the painting itself.” Looking at the apples and pears painted by Paul Cézanne in the book, it is very appetizing, and I really want to take a bite, but I can’t bear to eat it. His paintings clearly tell us that one A work of art is not a blind imitation of real objects, but more of an independent reality, which constitutes a world by itself and is separate from reality.
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