Abstract
In his 'Briefe über Cézanne' (October 1907) Rilke expresses a particular fascination with Cézanne's portraits, since the human subject represents the ultimate challenge for an aesthetic based on objectivity and the autonomy of colour. Reading the poem 'Der Balkon' (August 1907) in conjunction with the 'Briefe über Cézanne' reveals the continuity between Rilke's poetic treatment of the human subject under Manet's influence in summer 1907 and the more reflective conclusions he reaches after visiting the Cézanne exhibition. This article explores the consequences that Rilke's engagement with modern portrait-painting has for his poetic technique and his conception of reality.
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