Paul Cézanne, who died in 1906, cast a long shadow across 20th-century art.Pablo Picasso, who, with Georges Braque, invented cubism, called him“my one and only master”.

保罗·塞尚死于1906年，他对整个二十世纪的艺术产生了深远的影响。开创了立体派的帕伯罗·毕加索，与乔治·布拉克都称他为“我心 中独一无二的大师”。

Henri Matisse, Picasso’s rival for supreme¹ artist of the modern period, described him as“a sort of god of painting”.

同处现代艺术巅峰，与毕加索相提并论的亨利.马蒂斯也说：“塞尚于画，如幻如神。

Critics and scholars may disagree about pinpointing² the first stirrings of modern art, but few deny Cézanne’s pivotal role as midwife.

评论家和学者们也许对确定现代艺术的开创者意见不一，但是几乎没有人否认塞尚作为助产士一样的关键作用。

His fracturing of form and flattening³ of space, especially evident in his landscapes and still lifes, laid the foundation for cubism, the revolutionary movement that planted radical⁴ ideas firmly in the minds of young painters in Europe and America.

他使形状分裂，将空间压扁，在他的风景画与静物画中尤为明显，这为立体派奠定了基础。立体派是一种革命性的变化，它在欧美青年画家的心目中已深深扎根。

Cézanne’s influence was strongest during the generation after he died, but it has proved remarkably⁵ persistent⁶.

塞尚对他下一代人的影响是最强烈的，此外也被证实是极为持久的。

Only now, a century later, when electronic media such as photography and video have wrested⁷ control of the vanguard from painting, is Cézanne’s shadow beginning to fade.

只是在一个世纪后的现在，当电子媒介诸如摄影和录像从绘画中夺取了对先锋地位的控制后，塞尚的影响才开始渐渐减弱。

However, until mid-May he continues to display his authority at the Philadelphia Museum of Art, which has mounted an enchanting⁸ exhibition designed to validate⁹ the claims of Picasso, Matisse and 14 other legatees whose art has been shaped by Cézanne’s example.

然而，费城艺术博物馆正在举办一个吸引人的展览会，它的目的在于证实毕加索、马蒂斯和其他14位继承塞尚风格的艺术家们的断言，这14人的艺术都形成于塞尚画作范例的影响。到五月中旬为止，塞尚继续显示着他的影响力。

“Cézanne and Beyond”juxtaposes about 60 paintings and watercolours by the French master with roughly twice that many by the others: Europeans such as Piet Mondrian, Fernand Léger, Max Beckmann and Alberto Giacometti, and Americans—Marsden Hartley, Charles Demuth, Jasper Johns and Ellsworth Kelly.

“塞尚与穿越”将这位法国大师创作的大约60幅油画和水彩画与其他画家创造的大约120幅画同时展出：有欧洲画家诸如彼埃·蒙德里安、费尔南德·莱热、马克斯·贝克曼和阿尔伯特·贾赫梅蒂，美洲画家如马斯登·哈特利、查尔斯·德穆斯、贾斯泊·约翰斯和埃尔斯沃思·凯利。

The aim is to illuminate¹⁰ stylistic similarities and show how Cézanne expanded the way artists think.Confronted by such iconic subjects as Mont St Victoire near Cézanne’s home in Aix-en-Provence and his magisterial¹¹ still lifes of apples, they could no longer simply reproduce nature, they had to deconstruct it.

展览的目的是阐释这些艺术风格的相似点，和表现塞尚怎样拓展了艺术家们的思考方式。面对这样的绘画题材，像在普罗旺斯地区塞尚家乡附近的《圣维克托瓦尔山》和他的重要静物画《苹果》，艺术家们不可能再简单地临摹自然，他们必须拆分解析它。

The cubists provide the most vivid examples of this transformation¹² but the most contemporary of the 16, especially Mr Kelly, Brice Marden and Canadian photographer Jeff Wall, have devised more subtle ways of incorporating Cézanne’s principles into their work.

立体派艺术家提供了这种变化的最鲜明的例子，但是16位当代艺术家，特别是凯利、布莱斯·马尔顿和加拿大摄影家杰夫·沃尔创造了更精湛的将塞尚的原理融入他们的作品中去的方法。

“Cézanne and Beyond”is a beautiful and powerful collection of modern and post-modern art by some of the most talented painters of the past 100 years.

“塞尚与穿越”是出色而有影响的由过去100年间最有才华的画家们创作的现代派与后现代派艺术的作品集。

It is also the most impressive survey of Cézanne’s painting in America since a 1996 retrospective, (also in Philadelphia as well as London and Paris).

它也是自1996年的回顾展（也是在费城，还有伦敦和巴黎）以来，塞尚的绘画在美国最令人难忘的纵览。

This time it is three exhibitions in one, courtesy of the last old Master.

蒙上述这位绘画大师的恩惠，这次是三个展览会合在一起举行。