The following article proposes an affinity between two referents for the artistic discipline of the early 20th Century: Paul Cézanne and Gustav Mahler. This affinity is conceived from the idea of artistic activity that involved the sensible experience and the singularity of the subjective sensation as constitutive aspects of the art piece, reformulating the traditional notion of art piece as a closed unit, subject to universal rules. It is stated from this, that the cezannean and mahlerian works represent an actualization of the traditional systems of creation that do not reject but do redefine, from their own inscription in said logic; this product of an awareness of the historical condition of artistic activity, which allows a reflection around the resources of the past and did not suppose a destruction of them. In this way, we assume the work of Cézanne and Mahler as an inheritance of the artistic tradition, at the same time as the beginning of a journey towards the birth of new languages in both paint and music.
Salaberry Moya, J. (2018). La pintura de Cézanne y la música de Mahler: experiencia, singularidad, actualización. Revista De Teoría Del Arte, (31/32), pp. 28–41. Retrieved from https://rchd.uchile.cl/index.php/RTA/article/view/49283
