Art Critic Louis Choi Chul-joo Criticism [75] Paul Cézanne, Lunch on the Gr

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Art Critic Louis Choi Chul-joo Criticism [75] Paul Cézanne, Lunch on the Grass, Modern Art Critic Louis Choi Chul-joo's Criticism of Contemporary Art & Design Criticism of Contemporary Art = Contemporary Art Today contemporary artworks contemporary artist Choi Chul-joo's Art Criticism, Contemporary Abstract Art Painter Criticism: Choi Chul-joo Desire Concept Abstract pop art combines the abstract conceptual approach of the other's desire art with the design form and linguistic abstract image of pop art. His concept of desire, or conceptual abstract art, appears, and a picture that conflicts with the concept of linguistic meaning emphasized in metaphysical philosophical light creates a dramatic event image with artificial lighting. & Abstract contemporary art that designed modern art abstract painting: Contemporary artist Louis Choi Chul-joo's realistic abstract work criticism of antinomical contemporary art as a conceptual art of treachery based on the concept of desire of others and Contemporary Art Critic Louis Choi Chul-joo's Contemporary Art work criticism: Design Process of Contemporary Artist and Contemporary Concept Abstract Painter Concept Abstract Art Work Critique: As Contemporary Concept Abstract Art, the artistry of aesthetic value was examined through visual art theory, and Choi Chul-joo, a Contemporary Concept Abstract Painter and Critic, was his Through "morning glory" works, perceptions and aesthetic structures are often interpreted by reflecting abstract conceptions of desire and linguistic semantic structure, resulting in abstraction of the same real image as the linguistic meaning of abstract desire.: Paul Cézanne, Lunch on the Grass 

Paul Cézanne, Lunch on the Grass (Le Dejeuner Sur L'herbe), Oil on canvas, 35 x 21 cm, 1876-1877, Orangery Museum (Musée de l'Orangerie)     

Paul Cézanne, Lunch on the Grass 

In "Lunch on the Grass", Cézanne simplified the character with various colors, deviating from impressionistic objectivity with a dull touch on the arrangement and form of the character. This is a metaphor seen in painting and does not exceed the category of imitative painting. 

Therefore, in order to enter the symbolic world as a pictorial genre painting due to sociality, he tries to match the scenery of lunch in an indefinite time that looks like a painting width in a simple form. This is a category of imitation that puts folk paintings on canvas and removes the social constraints (restrictions) that are accepted by the religious customs of painting until modern times. In other words, the visual image of the essence of painting is explored by destroying the symbolism of invisible reality as the desire of others to escape from the religiously established subject that revealed the stage of contrast and conventional subjectivity.      

Beyond simple visual representation, he reduces the essence of the object to a geometric form, bringing "Lunch on the Grass" into line with "autonomy of realism painting," which focuses on the structure of objects and the order of space rather than the character's narrative. 

The landscape on the grass matches the sky and the color of the person in the same way and puts it in the blank space of the tree in the sky light.

This does not actually stop the form, but rather places a mind on the symbolism of the simplified form. It's like giving a direction to a floating cloud and looking at the whole sky.

As a linguistic meaning, the concept of realism objects with the creativity and autonomy of the sky structure is determined as another existence of conceptual abstract realism objects through unconsciousness suppressed by other people's desires. 

The landscape is a shading perspective with a distorted side from the geometric structure of tree and  human, making the object's meaning found in the order in the landscape. 

<Lunch on the grass> is an entertainment painting that depicts the relationship between nature and human beings, interpreted as a geometric order of scenery, and is not a simple description of scenery, but a place of thought as a background structure, which visually dismantles and reconstructs the essence of nature.

In addition, as a structure of the background, a luncheon image that connects the landscape with an allegory on the grass is sketched and formed as a virtual being, and it is connected with another reality separated from the real image, that is, an existential image that looks like a structure of a gaze according to a direction tailored to the multi-view, to visualize temporality and variability by capturing several perspectives on a single screen of conceptual abstraction. 

This is a unique modern art interpretation that has passed the Choi Chul-joo abstract design process that explores conceptual abstract realism, visualizing it as a realism image that ignores the linguistic semantic structure and abstract form specificity. 

Accordingly, he hides the figurative reality in a painting through shading perspective and is symbolized as a realism image based on the story of daily scenery. In symbolic nature as an invisible reality, the morphological signifiers of visible metaphors nature are transferred to images in symbolic meaning. 

In the imagination world, socially forbidden illusions have a symbolic meaning, but images of morphological and linguistic meanings do not differ. Therefore, he adheres fantastically as a meaning of illogical symbols as an image that is a real form. In other words, in painting, the imaginary meaning as a social constraint transforms into an image of linguistic meaning embodied by Cézanne's desire. 

Paul Cézanne, Lunch on the Grass (Le Dejeuner Sur L'herbe), Oil on canvas, 35 x 21 cm, 1876-1877, Orangery Museum (Musée de l'Orangerie)

On the lawn, a structure formed by a series of trees and figures in landscape images, lunch stops at the leisure of time.

The sky at rest at that time is a structure in which clouds and trees are on the same side, and they appear easily in terms of light and darkness, making them pay attention to the phenomenal significance of the phenomenon. 

In order to recognize the subjectivity of objects that are the same as the sky through the structure of the sky according to temporality, the phenomenal image of the sky in an open space exposed to reality in contemporary social regulations is recognized as the subject in the same linguistic sense as the object. 

This fixed the cloud's gaze, making the image of the sky look different like the moment it was transformed into temporality, but its meaning appears to be a real sky that does not change. 

The sky matches the abstract linguistic image of the realist space in which the abstract meaning revealed in the abstract realism object's gaze system is different.

Thus, abstract and invisible images are structured in the linguistic meaning of unconscious abstract realism in the visual system.      

Cézanne structures the other person's desire to find a visual order, and "structures the other person's desire into a visual form," transforming several objects into a geometric form.

Thus, Cézanne forms a combination of clumsy geometric figures and trees that are out of perspective, and realizes the object's meaning in a simplified form to realize the object's linguistic meaning. 

By expressing the flatness of painting as a realization in a new linguistic sense, the exchange revealed through his desire shows the contemporary social reality and communicates with the substance, rejecting the illusory pictorial meaning and revealing the reality of conventional reason. 

In fact, the symbolic meaning of an object is distorted by the stage of dividing the light from the outline that appears sky blue, rather than modifying the picture to form a landscape. Then, to match the width of the picture in the real landscape, the displaced shape is divided into colors, and the cross-section of the object matches the subjective color of the object at the point where light and darkness intersect. In other words, it does not explain the characteristics of objects like Romanticism, but rather conceptualizes the nature of the landscape as it approaches the lawn in a simplified form tailored to the philosophical light and color of nature, visualizing the essence beyond the phenomenon of linking abstract realism with the sky like an iron fortress. 

Cézanne reveals the symbolism of an invisible reality as a reality in a linguistic sense. Unlike the way the object is expressed to the viewer realistically, this is a form of simply drawing perspective and form with the difference in brightness of color light to find out what social taboos and forms of visual desire meant at the time. 

Therefore, he does not modify the impression of the landscape viewed through the gaze of the object, but abstracts the semantic effects of objects that are similar in size to real objects that are not depicted in a specific space.

In this way, his painting is an image of a real object identified through a grammatical interpretation of the linguistic meaning. This is the conceptual image specified in Choi Chul-joo's conceptual abstraction of desire, which is the same as conceptual abstract realism painting.

However, Cézanne's "Lunch on the Grass" ignores the three-dimensional nature of bright colors. As a result, Manet's work takes over all the issues in the "salon des refuses" and he experiences his work being buried.

Nevertheless, he reduces the distorted images seen from the gaze to the geometric form of contemporary art, visualizing existential realities divided into color and abstract structures as linguistic realities of philosophical light. 

This is a genre painting depicting the relationship between realist nature and man as a dramatic event, interpreting it as the geometric order of the landscape and sublimating the pain of reality into a conceptual abstract structure like an artistic device.

Furthermore, the color of light reflected by the shape mimics the shape in a way that makes the entire space pictorial, and focuses on the color of light that is close to a similar shape. In other words, it is an impractical form that separates the visible form of light from the real space. 

Through the "linguistic transformation of realism painting," he composes the image of linguistic meaning into traces of formative order, and as a symbolic meaning of the image, color is a device that expresses the depth of the spatial structure and dismantles the visual structure to match the harmony of space.

Therefore, it embodies "cognitive image ethics of visual realism structure" as an act of asking questions to obtain the ontological reality of painting by dismantling perspective and recombining space.

Thus, it embodies the "cognitive image ethics of the structure of visual presence" as an act of questioning to obtain the ontological realism of painting by dismantling the perspective and recombining the space.

And Cézanne matches the color of abstract realism with shades of light to the conceptual reality form of the background expressed by the non-realistic imitative form and the multi-layeredness of cubist distorted emotions rather than the specificity of the form as a visual element of the work.

In this way, he explores the order beyond the semantic interpretation of objects with the same light in the space of people and backgrounds, creates a philosophical form for the color of light as an image of the linguistic meaning of painting, and visualizes the intuitive abstract sense before recognizing the object as a whole stage in the linguistic sense of necessity, and stands at the boundary between abstract meaning and reality as a temporal trace tarnished by the structure of abstract perception and reversible light shades./ Written by Choi Chul-joo, Contemporary Art Critic (Dr. Cultural Design)

Choi Chul-joo, a art critic