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Paul Cézanne

April 16, 2023

"Cezanne" redirects here. For other uses, see Cezanne (disambiguation).

Paul Cézanne (/seɪˈzæn/ say-ZAN, also UK: /sɪˈzæn/ sə-ZAN, US: /seɪˈzɑːn/ say-ZAHN;[1][2] French: [pɔl sezan]; 19 January 1839 – 22 October 1906) was a French artist and Post-Impressionist painter whose work introduced new modes of representation and influenced avant garde artistic movements of the early 20th century. Cézanne is said to have formed the bridge between late 19th-century Impressionism and the early 20th century's new line of artistic enquiry, Cubism.

Paul Cézanne
Cezanne in 1899
Born(1839-01-19)19 January 1839
Aix-en-Provence, France
Died22 October 1906(1906-10-22) (aged 67)
Aix-en-Provence, France
Resting placeSaint-Pierre Cemetery
NationalityFrench
EducationAcadémie Suisse
Aix-Marseille University
Known forPainting
Notable workMont Sainte-Victoire (1885–1906)
Apothéose de Delacroix (1890–1894)
Rideau, Cruchon et Compotier (1893–94)
The Card Players (1890–1895)
The Bathers (1898–1905)
MovementImpressionism, Post-Impressionism
AwardsCézanne medal

While his early works are still influenced by Romanticism – such as the murals in the Jas de Bouffan country house – and Realism, Cézanne arrived at a new pictorial language through intensive examination of Impressionist forms of expression. He altered conventional approaches to perspective and broke established rules of academic art by emphasizing the underlying structure of objects in a composition and the formal qualities of art. Cézanne strived for a renewal of traditional design methods on the basis of the impressionistic colour space and colour modulation principles. Cézanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne's intense study of his subjects. Both Henri Matisse and Pablo Picasso are said to have remarked that Cézanne "is the father of us all".

His painting provoked incomprehension and ridicule in contemporary art criticism. Until the late 1890s it was mainly fellow artists such as Camille Pissarro and the art dealer and gallery owner Ambroise Vollard who discovered Cézanne's work and were among the first to buy his paintings. In 1895, Vollard opened the first solo exhibition in his Paris gallery, which led to a broader examination of the artist's work.[3]

Life and work

Early years and family

Paul Cézanne was born the son of the milliner and later banker Louis-Auguste Cézanne and Anne-Elisabeth-Honorine Aubert at 28 rue de l'Opera in Aix-en-Provence. His parents only married after the birth of Paul and his sister Marie (born 1841) on 29 January 1844. His youngest sister Rose was born in June 1854. The Cézannes came from the commune of Saint-Sauveur (Hautes-Alpes, Occitania). Paul Cézanne was born on 19 January 1839 in Aix-en-Provence.[4] On 22 February, he was baptized in the Église de la Madeleine, with his grandmother and uncle Louis as godparents,[4][5][6][7] and became a devout Catholic later in life.[8] His father, Louis Auguste Cézanne (1798–1886),[9] a native of Saint-Zacharie (Var),[10] was the co-founder of a banking firm (Banque Cézanne et Cabassol) that prospered throughout the artist's life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance.[11]

 
Spring, 1860, Petit Palais

His mother, Anne Elisabeth Honorine Aubert (1814–1897),[12] was "vivacious and romantic, but quick to take offence".[13] It was from her that Cézanne got his conception and vision of life.[13] He also had two younger sisters, Marie and Rose, with whom he went to a primary school every day.[4][14]

At the age of ten Cézanne entered the Saint Joseph school in Aix.[15] Classmates were the later sculptor Philippe Solari and Henri Gasquet, father of the writer Joachim Gasquet, who was to publish his book Cézanne in 1921, a testament to the life of the artist. In 1852 Cézanne entered the Collège Bourbon in Aix[16] (now Collège Mignet), where he became friends with Émile Zola, who was in a less advanced class,[11][14] as well as Baptistin Baille—three friends who came to be known as "Les Trois Inséparables" (The Three Inseparables).[17] It was probably the most carefree time of his life as the friends swam and fished on the banks of the Arc. They debated art, read Homer and Virgil and practiced writing their own poems. Cézanne often wrote his verses in Latin. Zola urged him to take poetry more seriously, but Cézanne saw it as just a pastime.[18] He stayed there for six years, though in the last two years he was a day scholar.[19] In 1857, he began attending the Free Municipal School of Drawing in Aix, where he studied drawing under Joseph Gibert, a Spanish monk.[20]

At the request of his authoritarian father, who traditionally saw in his son the heir to his bank Cézanne & Cabassol, Paul Cézanne enrolled in the law faculty of the University of Aix-en-Provence in 1859 and attended lectures for the study of jurisprudence. He spent two years with his unloved studies, but increasingly neglected them and preferred to devote himself to drawing exercises and writing poems. From 1859, Cézanne took evening courses at the École de dessin d'Aix-en-Provence, which was housed in the art museum of Aix, the Musée Granet. His teacher was the academic painter Joseph Gibert (1806–1884). In August 1859 he won second prize in the figure studies course there.[21]

His father bought the Jas de Bouffan (House of the Wind) estate that same year. This partly derelict baroque residence of the former provincial governor later became the painter's home and workplace for a long time.[22][23] The building and the old trees in the park of the property were among the artist's favorite subjects. In 1860, Cézanne obtained permission to paint the walls of the drawing room, and created the large-format murals of the four seasons: spring, summer, autumn and winter (today in the Petit Palais in Paris), which Cézanne ironically signed as Ingres, whose works he did not appreciate. The winter picture is additionally dated 1811, alluding to Ingres' painting Jupiter and Thetis, painted at that time and on display in the Musée Granet.[24]

Going against the objections of his banker father, he committed himself to pursue his artistic development and left Aix for Paris in 1861. He was strongly encouraged to make this decision by Zola, who was already living in the capital at the time and urged Cézanne to abandon his hesitancy and follow him there. Eventually, his father reconciled with Cézanne and supported his choice of career, on condition that he begin a regular course of study, having given up hope of finding Paul as his successor in the banking business. Cézanne later received an inheritance of 400,000 francs from his father, which rid him of all financial worries.[25]

Studies in Paris

Cézanne moved to Paris in April 1861. The high hopes he had set in Paris were not fulfilled, as he had applied to the École des Beaux-Arts, but was turned down there. He attended the free Académie Suisse, where he was able to devote himself to life drawing. There he met Camille Pissarro, ten years his senior, and Achille Emperaire from his hometown of Aix. He often copied at the Louvre from works by old masters such as Michelangelo, Rubens and Titian. But the city remained alien to him, and he soon thought of returning to Aix-en-Provence. Initially, the friendship formed in the mid-1860s between Pissarro and Cézanne was that of master and disciple, in which Pissarro exerted a formative influence on the younger artist. Over the course of the following decade, their landscape painting excursions together, in Louveciennes and Pontoise, led to a collaborative working relationship between equals.

 
Portrait of Achille Empéraire, 1868, Musée d'Orsay

Zola's faith in Cézanne's future was shaken, so in June he wrote to their childhood friend Baille: "Paul is still the excellent and strange fellow I knew at school. To prove that he hasn't lost any of his originality, I have only to tell you that as soon as he got here he talked about returning.[26]' Cézanne painted a portrait of Zola that Zola had asked him to paint to encourage his friend; but Cézanne was unsatisfied with the result and destroyed the picture. In September 1861, disappointed by his rejection at the École, Cézanne returned to Aix-en-Provence and worked again in his father's bank.[27]

But already in the late autumn of 1862 he moved to Paris again. His father secured his subsistence level with a monthly bill of over 150 francs. The traditional École des Beaux-Arts rejected him again. He therefore attended the Académie Suisse again, which promoted Realism. During this time he got to know many young artists, after Pissarro also Claude Monet, Pierre-Auguste Renoir and Alfred Sisley.

In contrast to the official artistic life of France, Cézanne was under the influence of Gustave Courbet and Eugène Delacroix, who strove for a renewal of art and demanded the depiction of unembellished reality. Courbet's followers called themselves "realists" and followed his principle Il faut encanailler l'art ("One must throw art into the gutter"), formulated as early as 1849, which means that art must be brought down from its ideal height and become a matter of everyday life be made. Édouard Manet made the definitive break with historical painting, who was not concerned with analytical observation, but with the reproduction of his subjective perception and the liberation of the pictorial object from symbolic burdens.

 
The Artist's Father, Reading "L'Événement", 1866, National Gallery of Art, Washington, D.C.

The exclusion of the works of Manet, Pissarro and Monet from the official salon, the Salon de Paris, in 1863 provoked such outrage among artists that Napoleon III had a “Salon des Refusés” (salon of the rejected) set up next to the official salon. Cézanne's paintings were shown in the first exhibition of the Salon des Refusés in 1863. The Salon rejected Cézanne's submissions every year from 1864 to 1869. He continued to submit works to the Salon until 1882. In that year artist Antoine Guillemet, a friend of Cézanne's, became a member of the Salon jury. Since each jury member had the privilege of showing a picture of one of his students, he passed off Cézanne as his student and secured his first participation at the Salon. He exhibited Portrait de M. L. A., probably Portrait of Louis-Auguste Cézanne, The Artist's Father, Reading "L'Événement", 1866 (National Gallery of Art, Washington, D.C.),[28] although the painting was hung in a poorly lit spot in the top row of a secluded hall and received no attention. This was to be his first and last successful submission to the Salon.[29][30]

In the summer of 1865, Cézanne returned to Aix. Zola's debut novel La Confession de Claude was published, it was dedicated to his childhood friends Cézanne and Baille. In the autumn of 1866, Cézanne executed a whole series of paintings using the palette knife technique, mainly still lifes and portraits. He spent most of 1867 in Paris and the second half of 1868 in Aix. At the beginning of 1869 he returned to Paris and met the bookbinder's assistant Marie-Hortense Fiquet, eleven years his junior, at the Académie Suisse[31]

L'Estaque – Auvers-sur-Oise – Pontoise 1870–1874

On 31 May 1870, Cézanne was best man at Zola's wedding in Paris. During the Franco-Prussian War, Cézanne and Hortense Fiquet lived in the fishing village of L'Estaque near Marseille, which Cézanne would later visit and paint frequently, as the place's Mediterranean atmosphere fascinated him. He avoided conscription for military service. Although Cézanne had been denounced as a deserter in January 1871, he managed to hide. No further details are known as documents from this period are missing.[32]

After the Paris Commune was crushed the couple returned to Paris in May 1871. Paul fils, the son of Paul Cézanne and Hortense Fiquet was born on 4 January 1872. Cézanne's mother was kept a party to family events, but his father was not informed of Hortense for fear of risking his wrath and so as not to lose the financial allowances that his father gave him to live as an artist. The artist received from his father a monthly allowance of 100 francs.[33]

When Cézanne's friend, the crippled painter Achille Emperaire, sought refuge with the family in Paris in 1872 due to financial hardship, he soon left his friend however "[...] it was necessary, otherwise I would not have escaped the fate of the others. I found him here abandoned by everyone. […] Zola, Solari and all the others are no longer mentioned. He's the strangest guy imaginable."[34]

From late 1872 to 1874, Cézanne lived with his wife and child in Auvers-sur-Oise, where he met the doctor and art lover Paul Gachet, later the painter Vincent van Gogh's doctor. Gachet was also an ambitious hobby painter and made his studio available to Cézanne.

In 1872, Cézanne accepted an invitation from his friend Pissarro to work in Pontoise in the Oise Valley. Pissarro, as a sensitive artist became a mentor to the shy, irritable Cézanne; he was able to persuade him to turn away from the darker colours on his colour palette and gave him the advice: "Always only paint with the three primary colours (red, yellow, blue) and their immediate deviations." In addition, he should refrain from linear contouring, the shape of things results from the gradation of the colour tonal values. Cézanne felt that the Impressionist technique was bringing him closer to his goal and heeded his friend's advice. Pissarro later reported: "We were always together, but still each of us kept what counts alone: our own feelings."[35]

First Impressionist group exhibitions from 1874

 
A Modern Olympia, 1873–74, Musée d'Orsay, Paris

The young painters in Paris did not see any support for their works in the Salon de Paris and therefore took up Claude Monet's plan for their own exhibition, which had been made in 1867. From 15 April to 15 May 1874, the first group exhibition of the Société anonyme des artistes, peintres, sculpteurs, engravers, later known as the Impressionists, took place. This name derives from the title of the exhibited painting Impression soleil levant by Monet. In the satirical magazine Le Charivari, the critic Louis Leroy described the group as "Impressionists" and thus created the term for this new art movement. The place of exhibition was the studio of the photographer Nadar on Boulevard des Capucines.

Pissarro pushed through Cézanne's participation despite concerns from some members who feared Cézanne's bold paintings would harm the exhibition. Cézanne was influenced by their style but his social relations with them were inept—he seemed rude, shy, angry, and given to depression. In addition to Cézanne, Renoir, Monet, Alfred Sisley, Berthe Morisot, Edgar Degas and Pissarro, among others exhibited. Manet declined participation, for him Cézanne was "a mason who paints with a trowel".[36] Cézanne in particular caused a sensation, arousing indignation and derision from the critics with his paintings such as the Landscape near Auvers and the Modern Olympia.[37] In A Modern Olympia, created as a quote from Manet's 1863 painting Olympia, which was often reviled, Cézanne sought an even more drastic depiction and in addition to the prostitute and servant, also showed the suitor, whose figure is believed to be a self-portrait.[38]

 
The Hanged Man's House, 1873, Musée d'Orsay, Paris

The exhibition proved a financial failure; the final accounts showed a deficit of over 180 francs for each of the participating artists. Cézanne's The Hanged Man's House was one of the few pictures that could be sold. The collector Count Doria bought it for 300 francs.[39]

 
Portrait of Victor Chocquet, 1876–77

In 1875, Cézanne met the customs inspector and art collector Victor Chocquet, who, mediated by Renoir, bought three of his works and became his most loyal collector and whose commissions provided some financial relief. Cézanne did not take part in the group's second exhibition, but instead presented 16 of his works in the third exhibition in 1877, which in turn drew considerable criticism. Reviewer Louis Leroy said of Cézanne's portrait of Chocquet: "This peculiar looking head, the colour of an old boot might give [a pregnant woman] a shock and cause yellow fever in the fruit of her womb before its entry into the world."[40] It was the last time he exhibited with the Impressionists.[41] Another patron was the paint merchant Julien "Père" Tanguy, who supported the young painters by supplying them with paint and canvas in exchange for paintings.

In March 1878, Cézanne's father found out about the long-hidden relationship with Hortense and their illegitimate son Paul through a thoughtless letter by Victor Chocquet. He then cut the monthly bill in half, and Cézanne entered a financially tense period in which he had to ask Zola for help.[42] But in September he relented and decided to give him 400 francs for his family. Cézanne continued to migrate between the Paris region and Provence until Louis-Auguste had a studio built for him at his home, Bastide du Jas de Bouffan, in the early 1880s. This was on the upper floor, and an enlarged window was provided, allowing in the northern light but interrupting the line of the eaves; this feature remains. Cézanne stabilized his residence in L'Estaque. He painted with Renoir there in 1882 and visited Renoir and Monet in 1883.[43]

In 1881 Cézanne worked in Pontoise with Paul Gauguin and Pissarro; Cézanne returned to Aix at the end of the year. He later accused Gauguin of having stolen his "little sensation" from him and that Gauguin, on the other hand only painted chinoiseries.[44] In the spring of 1882, Cézanne worked with Renoir in Aix and – for the first time – in L'Estaque, a small fishing village near Marseille, which he also visited in 1883 and 1888. One of the first two stays was The Bay of Marseille seen from L'Estaque.[45] During the autumn of 1885 and the months that followed, Cézanne stayed in Gardanne, a small hilltop town near Aix-en-Provence, where he produced several paintings whose faceted forms were already anticipating the cubist style.

Break with Zola and marriage

Cézanne's long friendly relationship with Émile Zola had by now become more distant. In 1878 the urbane, successful writer had set up a luxurious summer house in Médan near Auvers, where Cézanne had visited him repeatedly in the years 1879 to 1882 and in 1885; but his friend's lavish lifestyle made Cézanne, who lived an unassuming life, aware of his own inadequacy and caused him to doubt himself.[46]

Zola, who meanwhile regarded the childhood friend as a failure, published his roman à clef L'Œuvre from the novel cycle of Rougon-Macquart in March 1886, whose protagonist, the painter Claude Lantier, did not achieve the realization of his goals and committed suicide. In order to further emphasize the parallels between fiction and biography, Zola placed the successful writer Sandoz alongside the painter Lantier in his work. Monet and Edmond de Goncourt tended to see Édouard Manet in the fictional painter described, but Cézanne found himself reflected in many details. He formally thanked him for sending the work supposedly related to him. For a long time it was thought that contact between the two childhood friends then broke off forever.[47][48] Recently letters have been discovered that refute this. A letter from 1887 demonstrates that their friendship did endure for at least some time after.[49][50]

 
Madame Cézanne (Hortense Fiquet, 1850–1922) in a Red Dress (1888–1890), oil on canvas, 116.5 × 89.5 cm, Metropolitan Museum of Art, New York

On April 28, 1886, Paul Cézanne and Hortense Fiquet were married in Aix in the presence of his parents. The connection to Hortense was not legalized out of love, as their relationship had long since broken down. Cézanne was shy of women and terrified of being touched, a trauma that stemmed from his childhood when, by his own admission, a classmate had kicked him from behind on the stairs.[51] Rather, the marriage was intended to secure the rights of the now fourteen-year-old son Paul, whom Cézanne loved very much, as a legitimate son. In the early 1880s the Cézanne family stabilized their residence in Provence where they remained, except for brief sojourns abroad, from then on. The move reflects a new independence from the Paris-centered impressionists and a marked preference for the south, Cézanne's native soil. Hortense's brother had a house within view of Montagne Sainte-Victoire at L'Estaque. A run of paintings of this mountain from 1880 to 1883 and others of Gardanne from 1885 to 1888 are sometimes known as "the Constructive Period".[52]

Despite the strained relationship, Hortense was the person who was most often portrayed by Cézanne. From the early 1870s to the early 1890s, 26 paintings of Hortense are known. She endured the strenuous sessions motionless and patiently. In October 1886, after the death of his father, Cézanne, his mother and sisters inherited his estate, which included the Jas de Bouffan estate, so that Cézanne's financial situation became much easier. "My father was a brilliant man," he said in retrospect, "he left me an income of 25,000 francs."[53] By 1888 the family was in the former manor, Jas de Bouffan, a substantial house and grounds with outbuildings, which afforded a new-found comfort. As of 2001, this house, with much-reduced grounds, is now owned by the city and was open to the public on a restricted basis.[54]

Exhibition at Les XX 1890 and first solo exhibition in Paris in 1895

 
Le moulin sur la Couleuvre à Pontoise

Cézanne lived in Paris and increasingly in Aix without his family. Renoir visited him there in January 1888 and they worked together in Jas de Bouffan's studio. In 1890, Cézanne contracted diabetes; the illness made it even more difficult for him to deal with his fellow human beings. Cézanne spent a few months in Switzerland with her and his son Paul in the hope that the troubled relationship with Hortense could be stabilized. The attempt failed, so he returned to Provence, with Hortense and Paul fils going to Paris. Financial need prompted Hortense's return to Provence but in separate living quarters. Cézanne moved in with his mother and sister. In 1891 he turned to Catholicism.[55]

In the same year he exhibited three of his works at the group Les XX in Brussels. The Société des Vingt, short Les XX or Les Vingt, was an association founded around 1883 by Belgian artists or artists living in Belgium, including Fernand Khnopff, Théo van Rysselberghe, James Ensor and the siblings Anna and Eugène Boch.

In May 1895 he attended Monet's exhibition at the Durand-Ruel Gallery with Pissarro. He was enthusiastic but later, significantly, identified 1868 as Monet's strongest period, when he was even more influenced by Courbet. With his fellow student from the Académie Suisse, Achille Emperaire, Cézanne went to the area around the village of Le Tholonet, where he lived in the "Château Noir", which is located on the Montagne Sainte-Victoire. He often took the mountains as a theme in his paintings. He rented a hut at the nearby Bibémus quarry; Bibémus became another motif for his paintings.

Ambroise Vollard, an aspiring gallery owner, opened Cézanne's first one-man show in November 1895. In his gallery, he showed a selection of 50 of around 150 works that Cézanne had sent him as a package. Vollard met Degas and Renoir in 1894 when he was exhibiting a bundle of Manet in his small shop, and they exchanged Manet works for their own works with him. Vollard also established relationships with Pierre Bonnard and Édouard Vuillard, and in the same year the well-known paint dealer Père Tanguy. When Tanguy died, Vollard was able to buy works by three artists who were still unknown at the time: Cézanne, Gauguin and van Gogh. The first buyer of a Cézanne painting was Monet, followed by colleagues like Degas, Renoir, Pissarro and later art collectors. Prices for works by Cézanne rose a hundredfold and Vollard, as always, profited from his stocks.[56]

In 1897, a Cézanne painting was purchased by a museum for the first time. Hugo von Tschudi acquired Cézanne's landscape painting The Mill on the Couleuvre near Pontoise in the Durand-Ruel Gallery for the Berlin National Gallery.

Cézanne's mother died on 25 October 1897. In November 1899, at the insistence of his sister, he sold the now practically deserted property "Jas de Bouffan" and moved into a small city apartment at 23, Rue Boulegon in Aix-en-Provence; the planned purchase of the “Château Noir” property could not be realized. He hired a housekeeper, Mme Bremond, to look after him until his death.

Homage to Cézanne

 
Maurice Denis, Hommage à Cézanne

The art market, meanwhile continued to react positively to Cézanne's works; Pissarro wrote from Paris in June 1899 about the auction of the Chocquet collection from his estate: “These include thirty-two Cézannes of the first rank [...]. The Cézannes will fetch very high prices and are already estimated at four to five thousand francs.” In this auction, market prices for Cézanne paintings were achieved for the first time, but they were still “far below those for paintings by Manet, Monet or Renoir.”[57]

In 1901 Maurice Denis exhibited his 1900 large painting Hommage à Cézanne in Paris and Brussels. The subject of the picture is Ambroise Vollard's gallery, which presents a picture – Cézanne's painting Still Life with Bowl of Fruit – formerly owned by Paul Gauguin. The writer André Gide acquired Hommage à Cézanne and gave it to the Musée du Luxembourg in 1928. It is currently in the Musée d'Orsay, Paris. Among the people portrayed: Odilon Redon is in the foreground on the left, listening to Paul Sérusier opposite him. Also depicted from left to right are Édouard Vuillard, the critic André Mellerio with a top hat, Vollard behind the easel, Maurice Denis, Paul Ranson, Ker-Xavier Roussel, Pierre Bonnard with a pipe, and on the far right Marthe Denis, the painter's wife.[58]

Last years

In 1901, Cézanne acquired a piece of land north of the city of Aix-en-Provence along the Chemin des Lauves, an isolated road on some high ground, where he had his studio built on the Chemin des Lauves in 1902 according to his needs (Atelier de Cézanne, now open to the public). He moved there in 1903. For large-format paintings such as The Bathers, which he created in the Les Lauves studio, he had a long, narrow gap in the wall built through which natural light could flow. That year Zola died, leaving Cézanne in mourning despite the estrangement. His health deteriorated with age; In addition to his diabetes, he suffered from depression in old age, which manifested itself in growing distrust of his fellow human beings to the point of delusions of persecution.

 
Still Life with a Curtain (1895) illustrates Cézanne's increasing trend towards terse compression of forms and dynamic tension between geometric figures.

Despite the artist's increasing recognition, hateful press releases appeared and he received numerous threatening letters.[59] Cézanne's paintings were not well received among the petty bourgeoisie of Aix. In 1903 Henri Rochefort visited the auction of paintings that had been in Zola's possession and published on 9 March 1903 in L'Intransigeant a highly critical article entitled "Love for the Ugly".[60] Rochefort describes how spectators had supposedly experienced laughing fits, when seeing the paintings of "an ultra-impressionist named Cézanne".[60] The public in Aix was outraged, and for many days, copies of L'Intransigeant appeared on Cézanne's door-mat with messages asking him to leave the town "he was dishonouring".[61] "I don't understand the world and the world doesn't understand me, so I withdrew from the world," said old Cézanne to his coachman.[62] When Cézanne deposited his will with a notary in September 1902, he excluded his wife Hortense from the inheritance and declared his son Paul to be the sole heir. Hortense is said to have burned the mementos of his mother.[63]

 
Three Skulls on an Oriental Carpet

In 1903 he exhibited for the first time at the newly established Salon d'Automne (Paris Autumn Salon). The painter and art theorist Émile Bernard first visited him for a month in February 1904 and published an article about the painter in L'Occident magazine in July. Cézanne was then working on a vanitas still life with three skulls on an oriental carpet. Bernard reported that this painting changed colour and form every day during his stay, although it appeared complete from day one. He later regarded this work as Cézanne's legacy and summed it up: "Truly, his way of working was a reflection with a brush in his hand."[64] In the memento mori still lifes that he created several times, Cézanne's increasing depression of old age was evident, which in his letters since 1896 with comments such as "life is beginning to be deadly monotonous for me" were echoed.[65] An exchange of letters with Bernard continued until Cézanne's death; he first published his memoirs Souvenirs sur Paul Cézanne in the Mercure de France in 1907, and in 1912 they appeared in book form.

 
Portrait of the Gardiner Vallier, 1906, Private collection, Cézanne's final painting before his death

From 15 October to 15 November 1904, an entire room of the Salon d'Automne was furnished with the works of Cézanne. In 1905 an exhibition was held in London, in which his work was also shown; the Galerie Vollard exhibited his works in June, and the Salon d'Automne followed in turn from 19 October to 25 November with 10 paintings. The art historian and patron Karl Ernst Osthaus, who had founded the Museum Folkwang in 1902, visited Cézanne on 13 April 1906 in the hope of being able to purchase a painting by the artist. His wife Gertrud probably took the last photograph of Cézanne.[66] Osthaus described his visit in his work A Visit to Cézanne, published in the same year.

Despite the later successes, Cézanne was only ever able to approach his goals. On 5 September 1906, he wrote to his son Paul: "Finally, I want to tell you that as a painter I am becoming more clairvoyant to nature, but that it is always very difficult for me to realize my feelings. I cannot reach the intensity that unfolds before my senses, I do not possess that wonderful richness of colour that animates nature."[67]

Death

On 15 October 1906, Cézanne was caught in a storm while working in the field.[68] After working for two hours he decided to go home; but on the way he collapsed and lost consciousness. He was taken home by a passing driver of a laundry cart.[68] Due to hypothermia, he contracted severe pneumonia. His old housekeeper rubbed his arms and legs to restore the circulation; as a result, he regained consciousness.[68] The next day, Cézanne went out into the garden[69] to work on his last painting, Portrait of the Gardener Vallier, and wrote an impatient letter to his paint dealer, bemoaning the delay in the delivery of paint, but later on he fainted. Vallier with whom he was working called for help; he was put to bed, and he never left it.[68] His wife Hortense and son Paul received a telegram from the housekeeper, but they were too late. He died a few days later, on 22 October 1906[68] of pneumonia at the age of 67, and was buried at the Saint-Pierre Cemetery in his hometown of Aix-en-Provence.[70]

Main periods of Cézanne's work

Various periods in the work and life of Cézanne have been defined.[71]

Dark period, Paris, 1861–1870

 
The Murder, c. 1870, Walker Art Gallery, Liverpool

Cézanne's early "dark" period was influenced by the works of French Romanticism and early Realism. Models were Eugène Delacroix and Gustave Courbet. His paintings are characterized by a thick application of paint, high-contrast, dark tones with pronounced shadows, the use of pure black and other tones mixed with black, brown, gray and Prussian blue; occasionally a few white dots or green and red brushstrokes are added to brighten up, enlivening the monochrome monotony.[72] The themes of his pictures from this period are portraits of family members or demonic-erotic content, in which his own traumatic experiences are reminiscent.They differ sharply from his earlier watercolours and sketches at the École Spéciale de dessin at Aix-en-Provence in 1859, and their violence of expression is in contrast to his subsequent works.[73]

 
The Abduction, 1867

In 1866–67, inspired by the example of Courbet, Cézanne painted a series of paintings with a palette knife. He later called these works, mostly portraits, une couillarde ("a coarse word for ostentatious virility").[74] Lawrence Gowing has written that Cézanne's palette knife phase "was not only the invention of modern expressionism, although it was incidentally that; the idea of art as emotional ejaculation made its first appearance at this moment".[74]

Among the couillarde paintings are a series of portraits of his uncle Dominique in which Cézanne achieved a style that "was as unified as Impressionism was fragmentary".[75] Later works of the dark period include several erotic or violent subjects, such as Women Dressing (c. 1867), The Abduction (c. 1867), and The Murder (c. 1867–68), which depicts a man stabbing a woman who is held down by his female accomplice.[76]

Impressionist period, Provence and Paris, 1870–1878

 
The Pool at Jas de Bouffan, 1876

Camille Pissarro lived in Pontoise. There and in Auvers he and Cézanne painted landscapes together. For a long time afterwards, Cézanne described himself as Pissarro's pupil, referring to him as "God the Father", as well as saying: "We all stem from Pissarro."[77] Under Pissarro's influence Cézanne began to abandon dark colours and his canvases grew much brighter,[78] and he now used a colour palette based purely on the basic tones, yellow, red and blue. In doing so, he broke away from his technique of heavy, often overloaded-looking application of paint and adopted the loose painting technique of his role models, consisting of brushstrokes placed side by side.

Portraits and figurative compositions receded in these years. Cézanne subsequently created landscape paintings in which the illusionistic deep space was canceled more and more clearly. The “objects” continue to be understood as volumes and reduced to their basic geometric shapes. This design method is transferred to the entire picture area. The painterly gesture now treats the “distance” in a similar way to the “objects” themselves, giving the impression of a long-distance effect. In this way, Cézanne left the traditional pictorial space on the one hand, but on the other hand counteracted the dissolving impression of Impressionist pictorial works.

Mature period, Provence, 1878–1890

The "period of synthesis" followed, in which Cézanne completely broke away from the Impressionist style of painting. He solidified the forms by applying paint diagonally across the surface, eliminated the perspective representation to create the depth of the picture and directed his attention to the balance of the composition. During this period he increasingly created landscape and figure paintings. In a letter to his friend Joachim Gasquet he wrote: "The coloured surfaces, always the surfaces! The colourful place where the soul of the surfaces trembles, the prismatic warmth, the encounter of the surfaces in the sunlight. I design my surfaces with my shades on the palette, understand me! […] The areas must be clearly visible. Definitely [...] but they have to be distributed correctly, they have to flow into one another. Everything has to play together and yet create contrasts. It's all about the volume!"[79]

 
Boy with a Red Vest, Barnes Foundation, Philadelphia

The still lifes that Cézanne painted from the late 1880s are another focus of his work. He refrained from rendering the motifs in linear perspective and instead depicted them in the dimensions that made sense to him in terms of composition; a pear, for example, can be oversized in order to achieve inner balance and an exciting composition. He built his arrangements in the studio. In addition to the fruit, there are jugs, pots and plates, and occasionally a putto, often surrounded by a white, puffy tablecloth that lends the subject a baroque opulence. It is not the objects that should attract attention, but the arrangement of the shapes and colours on the surface.

Cézanne developed the composition from individual dabs of paint spread across the canvas, from which the form and volume of the object gradually build up. Achieving the balance of these patches of colour on the canvas required a slow process, so Cézanne often worked on a painting for a long time.[80] Initially only portraying family members or friends, Cézanne's better financial position allowed him to hire a professional model, a young Italian named Michelangelo di Rosa, for The Boy in the Red Vest (1888–1890), one of his best-known paintings. Di Rosa was represented in four paintings and two watercolours.[81]

Final period, Provence, 1890–1906

 
Cézanne's studio in Aix-en-Provence from 1902 until his 1906 death
 
Pyramid of Skulls, c. 1901, The dramatic resignation to death informs several still life paintings Cézanne made in his final period between 1898 and 1905 which take the skulls as their subject. Today the skulls themselves remain in Cézanne's studio in a suburb of Aix-en-Provence.

Many of his later works, the so-called "lyrical period", such as the cycle of the bathers, are characterized by a turn to freely invented figures in the landscape; Cézanne created about 140 paintings and sketches on the theme of the bathing scenes. Here you can find his admiration for classical painting, which seeks to unite man and nature in harmony in Arcadian idylls. In the last seven years he created three large-format versions of The Great Bathers (Les Grandes Baigneuses), with the 208 × 249 cm work on display in Philadelphia being the largest. Cézanne was concerned with the composition and the interplay of shapes and colours, of nature and figures. For his paintings at this time he used sketches and photographs as templates, since he did not like the presence of naked models.[82]

 
Les joueurs de cartes (The Card Players), 1892–1895, oil on canvas, 60 x 73 cm, Courtauld Institute of Art, London

Cézanne painted five versions of The Card Players (Les Joueurs de cartes) in 1890 and 1895, in which the same person is represented in different variants. For The Card Players, he used farmers and day laborers who worked in the fields near the Jas de Bouffan as models. They are not genre pictures, even if they show scenes from everyday life; the motif is constructed according to strict laws of colour and form.

The area around the Montagne Sainte-Victoire was one of the most important themes of his later years. From a vantage point above his studio, later called Terrain des Paintres, he painted several views of the mountain. A precise observation of nature was a prerequisite for Cézanne's painting: "In order to paint a landscape correctly, I first have to recognize the geological stratification."[83] In total he painted more than 30 oil paintings and 45 watercolours of the mountains, and he wrote to a friend in the 1890s "art is a harmony parallel to nature".[84]

Cézanne was primarily concerned with watercolour painting in his late work, as he realized that the specific application of his method could be particularly evident in this medium. The late watercolours also had an effect on his oil paintings, for example in the study with bathers (1902–1906), in which a depiction full of “empty spaces” flanked by colour appears to be complete.[85] The painter and art critic Roger Fry emphasized this in his seminal Cézanne publication Cézanne: A Study of His Development from 1927 that after 1885 the watercolour technique had a strong influence on his painting with oil paints. The watercolours in Vollard's Cézanne monograph of 1914 and in Julius Meier-Graefe's picture portfolio edited in 1918 with ten facsimiles based on the watercolours became known to a larger group of interested parties.[86] Only lightly coloured pencil studies, which occasionally appeared in sketch albums, stand next to carefully coloured works. Many watercolours are equal to the realizations on canvas and form an autonomous group of works. In terms of subject matter, landscape watercolours dominate, followed by figure paintings and still lifes, while portraits, in contrast to paintings and drawings, are rarer.[87]

Method

Artistic style

Cézanne's early work is often concerned with the figure in the landscape and includes many paintings of groups of large, heavy figures in the landscape, imaginatively painted. Later in his career, he became more interested in working from direct observation and gradually developed a light, airy painting style. Nevertheless, in Cézanne's mature work there is the development of a solidified, almost architectural style of painting. Throughout his life he struggled to develop an authentic observation of the seen world by the most accurate method of representing it in paint that he could find. To this end, he structurally ordered whatever he perceived into simple forms and colour planes. His statement "I want to make of impressionism something solid and lasting like the art in the museums",[88] and his contention that he was recreating Poussin "after nature" underscored his desire to unite observation of nature with the permanence of classical composition.

 
Les Grandes Baigneuses, 1898–1905; the triumph of Poussinesque stability and geometric balance

As with the old masters, for Cézanne the basis of painting was drawing, but the prerequisite for all work was subordination to the object, or the eye or pure looking: “All the painter’s intentions must be silent. He should silence all voices of prejudice. Forget! Forget! create silence! Be a perfect echo. […] The landscape is reflected, becomes human, thinks in me. […] I climb with her to the roots of the world. we germinate A tender excitement seizes me and from the roots of this excitement then rises the juice, the colour. I was born in the real world. I see! […] In order to paint that, then, the craft must be used, but a humble craft that obeys and is ready to transmit unconsciously.”[89]

 
Montagne Sainte-Victoire, 1904, Philadelphia Museum of Art

In addition to oil paintings and watercolours, Cézanne left behind an extensive oeuvre of more than 1200 drawings, which, hidden in the cupboards and folders of the studio during his lifetime only began to interest collectors in the 1930s. They form the working material for his works and show detailed sketches, observation notes and traces of Cézanne's sometimes difficult to decipher stages on the way to the realization of the picture. Their task, linked to the process of creating the respective work, was to give the overall structure and the object designations within the pictorial organism. Even in old age, portraits and figure drawings were made based on models from antique sculptures and baroque paintings from the Louvre, which gave him clarity about the isolation of plastic phenomena. Therefore, the black and white of the drawings was an essential prerequisite for Cézanne's colour designs.[90]

Paul Cézanne was the first artist to begin breaking down objects into simple geometric shapes. In his much-quoted letter of 15 April 1904 to the painter and art theorist Émile Bernard, who had met Cézanne in his last years, he wrote: "Treat nature according to cylinder, sphere, and cone and put the whole in perspective, like this that each side of an object, of a surface, leads to a central point […]"[91] Cézanne realized his painting ideas in the paintings of Montagne Sainte-Victoire and the his Still-Lifes. In his pictorial conception, even a mountain is understood as a superimposition of forms, spaces and structures that rise above the ground.[92]

Émile Bernard wrote of Cézanne's unusual way of working: "He began with the shadow parts and with one spot, on which he put a second, larger one, then a third, until all these shades, covering each other, modelled the object with their colouring. It was then that I realized that a law of harmony was guiding his work and that these modulations had a direction preordained in his mind.”[93] In this preordained direction, for Cézanne, lay the real secret of painting in the context of harmony and the illusion of depth. To the collector Karl Ernst Osthaus Cézanne emphasized on 13 April 1906 during his visit to Aix that the main thing in a picture is the meeting of the distance. The colour must express every leap into the depths.[94]

Optical phenomena

Cézanne was interested in the simplification of naturally occurring forms to their geometric essentials: he wanted to "treat nature in terms of the cylinder, the sphere and the cone"[95] (a tree trunk may be conceived of as a cylinder, an apple or orange a sphere, for example). Additionally, Cézanne's desire to capture the truth of perception led him to explore binocular vision graphically, rendering slightly different, yet simultaneous visual perceptions of the same phenomena to provide the viewer with an aesthetic experience of depth different from those of earlier ideals of perspective, in particular single-point perspective. His interest in new ways of modelling space and volume derived from the stereoscopy obsession of his era and from reading Hippolyte Taine’s Berkelean theory of spatial perception.[96][97] Cézanne's innovations have prompted critics to suggest such varied explanations as sick retinas,[98] pure vision,[99] and the influence of the steam railway.[100]

Aller sur le motif, sensation and realization

Cézanne preferred to use these terms when describing his painting process. First of all, there is the “motif”, by which he not only meant the representational concept of the picture, but also the motivation for his tireless work of observing and painting. Aller sur le motif, as he called his approach to work, therefore meant entering into a relationship with an external object that moved the artist inwardly and that had to be translated into a picture.

Sensation is another key term in Cézanne's vocabulary. First of all, he meant visual perception in the sense of “impression”, i.e. an optical sensory stimulus emanating from the object. At the same time, it includes the emotion as a psychological reaction to what is perceived. Cézanne expressly did not place the object to be depicted at the center of his painterly efforts, but rather the sensation: "Painting from nature does not mean copying the object, it means realizing its sensations." The medium that mediated between things and sensations was the colour, although Cézanne left it open to what extent it arises from things or is an abstraction of his vision.

Cézanne used the third term réalisation to describe the actual painterly activity, which he feared would fail to the end. Several things had to be “realized” at the same time: first the motif in all its diversity, then the feelings that the motif triggered in him, and finally the painting itself, the realization of which could bring the other “realizations” to light. "Painting" therefore meant letting those opposing movements of taking in and giving, of "impression" and "expression" merge into one another in a single gesture.[101] The "realization in art" became a key concept in Cézanne's thinking and acting.

Dating and cataloguing

The sometimes longer dates for creation in the catalogues of Cézanne's works do not always indicate that the exact dating cannot be clarified, even if Cézanne rarely dated his pictures, especially since he worked on some pictures for months if not years before he was satisfied with the result.[102] The artist himself regarded many of his paintings as unfinished, for painting was a never-ending process for him.

 
Portrait of the Critic Gistave Geffroy, 1895, Musée d'Orsay

Cataloging Cézanne's works turned out to be a difficult task. Ambroise Vollard made the first attempt, a multi-volume photo album, similar to his catalogue of Renoir. Vollard's catalogue never materialized however. Georges Rivière, the father-in-law of Cézanne's son published a biography of the artist in 1923 (Le Maître Paul Cézanne) that included a chronological and annotated list of many of the painter’s works. Conceived by the art dealer Paul Rosenberg, the first complete catalogue raisonné was published by Lionello Venturi in 1936. The two volume Cézanne: Son Art, Son Oeuvre became the definitive catalogue of the artist's work for over five decades, although requiring a supplement as additional works were discovered and new scholarship and documentation introduced. Adrien Chappuis' The Drawings of Paul Cézanne – A Catalog Raisonné was published by Thames and Hudson in London in 1973 and has remained the classic source for the artist's graphic work.[103]

 
Lac d'Annecy, 1896, Courtauld Institute of Art, London

John Rewald continued Venturi's work after his death. Rewald was tasked with combining Venturi’s planned supplement with his own research, an agreement that did not work out as intended. After years of studying Cézanne’s works, Rewald found that he not only disagreed with many of his predecessor’s dates but a number of his attributions as well. He therefore set about developing an entirely new catalogue raisonné.[103] Rewald's Paul Cézanne – The Watercolours: A Catalog Raisonné was published by Thames and Hudson, London with 645 illustrations in 1983. The missing dating of the paintings (Rewald only found one) and imprecise formulations of the pictorial motif such as Paysage or Quelques pommes caused confusion. In his early treatment of the Venturi Rewald made a list of all the works that could be dated without a stylistic analysis, because Rewald rejected such an analysis as unscientific. He continued his list by following the various whereabouts of Cézanne that could be verified by documents. Another scheme of his approach was to rely on the memories of the people portrayed, especially if they were Cézanne's contemporaries. Based on his own interviews, he made chronological assignments. Among the works that could be dated with certainty were Cézanne's Portrait of the Critic Gustave Geffroy, which the sitter confirmed as 1895, and Lake Annecy, which the artist visited only once, in 1896.

Rewald died in 1994, he was not able to fully complete his work. When in doubt, Rewald's tendency was to include rather than exclude. This method was adopted by his closest associates, Walter Feilchenfeldt Jr., son of the art dealer Walter Feilchenfeldt, and Jayne Warman, who completed the catalog and provided it with introductions. The catalog was published in 1996 under the title The Paintings of Paul Cézanne: A Catalog Raisonne – Review. It includes the 954 works that Rewald wanted to record.[104] Feilchenfeldt, Warman and David Nash went on to produce the first complete catalogue of the artist work since with The Paintings, Watercolours and Drawings of Paul Cézanne, an online catalogue raisonné.[3]

Legacy

Testimonies of contemporary friends and painters

Yes, Cézanne, he is the greatest of us all![105]

— Claude Monet to Georges Clemenceau

Cézanne's childhood friend, the writer Émile Zola, was skeptical about Cézanne's human and artistic qualities, saying as early as 1861 that "Paul may have the genius of a great painter, but he will never have the genius to actually become one. The slightest obstacle drives him to despair."[106] In fact, it was Cézanne's self-doubt and refusal to make artistic compromises, as well as his rejection of social concessions, that led his contemporaries to regard him as an oddball.[107]

Cézanne's works were rejected numerous times by the official Salon in Paris and ridiculed by art critics when exhibited with the Impressionists. Yet during his lifetime, Cézanne was considered a master by younger artists who visited his studio in Aix.[108] In the circle of the Impressionists, however, Cézanne was given special recognition; Camille Pissarro, Pierre-Auguste Renoir, Claude Monet and Edgar Degas spoke enthusiastically about his work, and Pissarro said: "I think it will be centuries before we get an account of it."[109]

 
View of the 1904 Salon d'Automne, photograph by Ambroise Vollard, Salle Cézanne (Victor Choquet, Baigneuses, etc.)

A portrait of Cézanne was painted by his friend and mentor Pissarro in 1874, and in 1901 the co-founder of the Nabis group, Maurice Denis, created Hommage à Cézanne, showing Cézanne's painting Still Life with Fruit[110] on the easel amidst artist friends at the Vollard Gallery. Originally owned by Paul Gauguin, Hommage à Cézanne was later acquired by French writer and Denis' friend, André Gide, who owned it until 1928. It is now on display at the Musée d'Orsay .

Contemporary art criticism

The first joint Impressionist exhibition, in Paris from April to May 1874, attracted extensive criticism. Audiences and art critics, for whom "the ideal" of the École de Beaux Arts was proof of the existence of art, burst out laughing. One critic claimed that Monet painted by loading his paints in a gun and shooting them at the canvas. A colleague performed an Indian dance in front of a painting by Cézanne and shouted: “Hugh! […] I am the walking impression, the avenging palette knife, Monet's 'Boulevard des Capucines', 'The House of the Hanged Man' and 'The Modern Olympia' by Mr. Cézanne. Hugh! Hugh![111]

In 1883, the French writer Joris-Karl Huysmans replied to Pissarro in a letter to Pissarro's accusation that Cézanne was only briefly mentioned in Huysman's book L'Art Moderne by suggesting that Cézanne's view of the motifs was distorted by astigmatism : "[...] but it There is certainly an eye defect involved, which I am assured he is also aware of.” Five years later, in La Cravache magazine, his judgment became more positive when he described Cézanne's works as “strange yet real” and as “revelations”. designated.[112]

The art dealer Ambroise Vollard first came into contact with Cézanne's works in 1892 through the paint dealer Tanguy, who had exhibited them in his shop in the Rue Clauzel in Montmartre in return for the delivery of painting utensils . Vollard recalled the lack of response: the shop was rarely visited, "since it was not yet fashionable at the time to buy 'atrocious works' expensively, not even cheaply." Tanguy even took interested parties to the painter's studio, to which he had a key where small pictures and 100 francs large pictures could be bought at a fixed price of 40 francs.[113] The Journal des Artistes echoed the general tone of the time, anxious to ask whether its sensitive readers would not be sickened at the sight of "these oppressive abominations, which exceed the measure of evil permitted by law."

The art critic Gustave Geffroy was one of the few critics who judged Cézanne's work fairly and unreservedly during his lifetime. As early as 25 March 1894, he wrote in the Journal about the then current relationship between Cézanne's painting and the efforts of younger artists, that Cézanne had become a kind of forerunner to which the Symbolists referred, and that there was a direct connection between Cézanne's painting and of the Gauguins, Bernards and even Vincent van Goghs. A year later, after the successful exhibition at the Vollard Gallery in 1895, Geffroy again led the Journal: "He is a great truth fanatic, fiery and naive, harsh and nuanced. He will go to the Louvre.” Between these two chronicles, Cézanne painted the portrait of Geffroy, which Cézanne left unfinished because he was dissatisfied with it.[114]

Posthumous exhibitions

Two retrospectives posthumously paid tribute to the artist in 1907. From 17 to 29 June, the Bernheim-Jeune gallery in Paris showed 79 watercolours by Cézanne. The 5th Salon d'Automne then paid homage to him from 5 October to 15 November, exhibiting 49 paintings and seven watercolours in two rooms in the Grand Palais. Visitors included the art historian Julius Meier-Graefe, who would write the first Cézanne biography in 1910, Harry Graf Kessler and Rainer Maria Rilke. The two exhibitions motivated many artists, such as Georges Braque, André Derain, Wassily Kandinsky, Henri Matisse and Pablo Picasso, on their crucial insights for 20th century art.[115][116]

In 1910, some of Cézanne's paintings were shown in the Manet and the Post-Impressionists exhibition in London (another one followed in 1912). The exhibition had been initiated by the painter and art critic Roger Fry in the Grafton Galleries, which wanted to introduce English art lovers to the work of Édouard Manet, Georges Seurat, Vincent van Gogh, Paul Gauguin and Cézanne. Fry used the name to describe the Post-Impressionist style . Although the exhibition was judged negatively by critics and the public, it was to be significant in the history of modern art. Fry recognized the extraordinary value of the path that artists such as van Gogh and Cézanne had taken in expressing their personal feelings and worldview through their paintings, even if visitors at the time could not yet understand this.[117] Cézanne's first exhibition in the United States took place in 1910/11 at Gallery 291 in New York. In 1913 his works were exhibited at the Armory Show in New York ; it was a groundbreaking exhibition of modern art and sculpture, although here too the exhibits were met with criticism and ridicule. Today, these artists, who were criticized and ridiculed even by their own art academies during their lifetime, are regarded as the fathers of modern art.

Influence on modernity and misinterpretations

Cézanne! Cézanne was the father of all of us.

— Pablo Picasso[118]

A kind of dear god of painting.

— Henri Matisse[119]

Many "productive" misunderstandings lie hidden in the reception of the works and the supposed intentions of Cézanne, which had a considerable influence on the further course and development of modern art.[120] The list of those artists who more or less justifiably referred to him and who coined individual elements from the wealth of his creative approaches for their own pictorial inventions shows an almost complete art history of the 20th century. As early as 1910, Guillaume Apollinaire stated that "most of the new painters claim to be successors of this serious painter who was only interested in art".[121]

Immediately after Cézanne's death in 1906, stimulated by a comprehensive exhibition of his watercolours in the spring of 1907 at the Galerie Bernheim-Jeune and a retrospective in October 1907 at the Salon d'Automne in Paris, a lively examination of his work began.[122] Among young French artists, Henri Matisse and André Derain were the first to become passionate about Cézanne, followed by Picasso, Fernand Léger, Georges Braque, Marcel Duchamp and Piet Mondrian.[123] This enthusiasm was lasting, as the eighty-year-old Matisse said in 1949 that he owed the most to the art of Cézanne.[124] Braque also described the influence of Cézanne on his art as an "initiation" and said in 1961: "Cézanne was the first to turn away from the learned mechanized perspective."[125] Picasso admitted that "he was the only master for me ..., he was a father figure to us: it was he who offered us protection."[126]

Cézanne expert Götz Adriani notes, however, that the Cézanne's reception by Cubists – particularly by the Albert Gleizes and Jean Metzinger, who placed Cézanne at the beginning of their way of painting in their 1912 treatise Du "Cubisme" – was arbitrary because they largely ignored the motivation gained from observing nature.[127] In this context, he points to the formalistic misinterpretations that refer to Émile Bernard's published paper from 1907, which refers to a 1904 letter Cézanne wrote advising him to "treat nature according to cylinder, sphere and cone"[128] Further misinterpretations of this kind can be found in Kazimir Malevich's 1919 text On the New Systems in Art.[129] In his quote, Cézanne did not intend to reinterpret the experience of nature in the sense of orienting himself towards cubic form elements; he was more concerned with corresponding to the object forms and their colouring under the various aspects in the picture.

 
Mardi Gras (Pierrot et Arlequin), 1888, Pushkin Museum, Moscow

One of the many examples of Cézanne's influence on modernism is the 1888 painting Mardi Gras in the Pushkin Museum, which shows his son Paul with his friend Louis Guillaume and in costumes from the Commedia dell'arte. Picasso took inspiration from it for the harlequin theme in his pink period. Matisse, in turn, took up the theme of the most classic painting in the Bathers series, The Great Bathers from the Philadelphia Museum of Art, in his 1909 painting The Bathers.[130]

Numerous artists were inspired by Cézanne's work.[131] The painter Paula Modersohn-Becker saw Cézanne's paintings in Paris in 1900, which deeply impressed her. Shortly before her death, she wrote to Clara Westhoff in a letter on 21 October 1907 : "I am thinking and thinking a lot these days about Cézanne and how he is one of the three or four painters who struck me like a thunderstorm or a major event.”[132] Paul Klee noted in his diary in 1909: “Cézanne is a teacher par excellence for me” after seeing more than a dozen paintings by Cézanne in the Munich Secession.[133] The artist group Der Blaue Reiter referred to him in their 1912 almanac when Franz Marc reported on the kinship between El Greco and Cézanne, whose works he understood as the gateways to a new era of painting.[134] Again, Kandinsky, who had seen Cézanne's painting at the 1907 retrospective at the Salon d'Automne, refers to Cézanne in his 1912 treatise On the Spiritual in Art, in whose work he found a "strong resonance of the abstract." recognized and found the spiritual part of his beliefs predetermined in him.[135] El Lissitzky emphasized his importance for the Russian avant-garde around 1923, and Lenin suggested erecting monuments to the heroes of the world revolution in 1918; on the roll of honor were Courbet and Cézanne.[136] Next to Matisse, Alberto Giacometti dealt most extensively with Cézanne's style of representation. Aristide Maillol worked on a Cézanne monument in 1909, but failed due to rejection by the city of Aix-en-Provence.[137] Cézanne was also an important authority for artists of the newer generation. Jasper Johns described him as the most important role model alongside Duchamp and Leonardo da Vinci.

Inspired by Cézanne, Albert Gleizes and Jean Metzinger wrote:

Cézanne is one of the greatest of those who changed the course of art history ... From him we have learned that to alter the colouring of an object is to alter its structure. His work proves without doubt that painting is not—or not any longer—the art of imitating an object by lines and colours, but of giving plastic [solid, but alterable] form to our nature. (Du "Cubisme", 1912)[108][138]

Along with the work of Vincent van Gogh and Paul Gauguin, the work of Cézanne, with its sense of immediacy and incompletion, critically influenced Matisse and others prior to Fauvism and Expressionism.[139][140] Cézanne's explorations of geometric simplification and optical phenomena inspired Picasso, Braque, Metzinger, Gleizes, Gris and others to experiment with ever more complex views of the same subject and eventually to the fracturing of form. Cézanne thus sparked one of the most revolutionary areas of artistic enquiry of the 20th century, one which was to affect profoundly the development of modern art. Picasso referred to Cézanne as "the father of us all" and claimed him as "my one and only master!" Other painters such as Edgar Degas, Pierre-Auguste Renoir, Paul Gauguin, Kasimir Malevich, Georges Rouault, Paul Klee, and Henri Matisse acknowledged Cézanne's genius.[108]

Ernest Hemingway compared his writing to Cézanne's landscapes.[141][142] As he describes in A Moveable Feast, I was "learning something from the painting of Cézanne that made writing simple true sentences far from enough to make the stories have the dimensions that I was trying to put in them."

Cézanne's painting The Boy in the Red Vest was stolen from a Swiss museum in 2008. It was recovered in a Serbian police raid in 2012.[143]

Films about Cézanne

Une visite au Louvre, 2004. Filmed and directed by Jean-Marie Straub and Danièle Huillet about Cézanne, based on the posthumously published conversations with the painter, handed down by his admirer Joachim Gasquet. The film describes a walk by Cézanne in the Louvre past the paintings of his fellow artists.[144]

On the 100th anniversary of Cézanne's death in 2006, two documentaries from 1995 and 2000 about Paul Cézanne and his motif La Montagne Sainte-Victoire were re-released. Cézanne's triumph was re-shot for the 2006 anniversary year.[145]

The Violence of the Motive, 1995. A film directed by Alain Jaubert. A mountain near his hometown of Aix-en-Provence becomes Cézanne's main motif. He shows La Montagne Sainte-Victoire from different perspectives and at different times of the year more than 80 times. The motif becomes an obsession that Jaubert gets to the bottom of in his film.

Cézanne – the Painter, 2000. A film by Elisabeth Kapnist. The story of a passion and a lifelong artistic search: the painter Cézanne, his childhood, his friendship with Zola and his encounter with Impressionism are portrayed.

The Triumph of Cézanne, 2006. A film by Jacques Deschamps. Deschamps takes the 100th anniversary of Cézanne's death in October 2006 as an opportunity to trace the genesis of a legend. Cézanne encountered rejection and incomprehension before he was allowed to rise to the Olympus of art history and the international art market.

The 2016 film Cézanne and I explores the friendship between the artist and Émile Zola.[146]

Cézanne and philosophy

The French philosopher Jean-François Lyotard argues in his work Misère de la philosophie, that Cézanne has, so to speak, the sixth sense: he senses the reality in the making before it is completed in normal perception. So the painter touches on the sublime when he sees the overwhelming quality of the mountainous landscape, which can neither be represented with normal language nor with the usual painting technique. Lyotard sums it up: "One can also say that the uncanniness of the oil paintings and watercolours dedicated to mountains and fruits derives both from a deep sense of the disappearance of appearances and from the demise of the visible world."[147]

Cézanne's stylistic approaches and beliefs regarding how to paint were analyzed and written about by the French philosopher Maurice Merleau-Ponty who is primarily known for his association with phenomenology and existentialism.[148] In his 1945 essay entitled "Cézanne's Doubt", Merleau-Ponty discusses how Cézanne gave up classic artistic elements such as pictorial arrangements, single view perspectives, and outlines that enclosed colour in an attempt to get a "lived perspective" by capturing all the complexities that an eye observes. He wanted to see and sense the objects he was painting, rather than think about them. Ultimately, he wanted to get to the point where "sight" was also "touch". He would take hours sometimes to put down a single stroke because each stroke needed to contain "the air, the light, the object, the composition, the character, the outline, and the style". A still life might have taken Cézanne one hundred working sessions while a portrait took him around one hundred and fifty sessions. Cézanne believed that while he was painting, he was capturing a moment in time, that once passed, could not come back. The atmosphere surrounding what he was painting was a part of the sensational reality he was painting. Cézanne claimed: "Art is a personal apperception, which I embody in sensations and which I ask the understanding to organize into a painting."[149]

Art market

 
Paul Cézanne, Still-Life with Green Melon

The increase in value of Cézanne's work can be seen from the auction of his painting Rideau, Cruchon et Compotier on 10 May 1999, which sold for $60.5 million at Sotheby's in New York,[150] the fourth-highest price paid for a painting up to that time, and the most expensive still life painting at the time.

Cézanne's watercolour Still Life with Green Melon set the record for a work on paper at an auction, when it sold for $25.5 million in 8 May 2007, far above its estimate of $18 million.[151] A preparatory watercolour for The Card Players series previously thought lost for sixty years sold for $19.1 million on 1 May 2012 to an anonymous bidder.[152]

One of the five versions of Cézanne's The Card Players was sold in 2011 to the Royal Family of Qatar for a price variously estimated at between $250 million ($301.1 million today) and possibly as high as $300 million ($361.4 million today), either price signifying a new mark for highest price for a painting up to that date. The record price was surpassed in November 2017 by Salvator Mundi by Leonardo da Vinci.[153][154] The Card Players is now the third most expensive painting of all time after the sale of Interchange by Willem de Kooning.

On 8 November 2022, $138 million US was paid for the painting La Montagne Sainte-Victoire as part of the Paul Allen collection sale at Christie's in New York City to setting a new mark for a price paid for his work at auction.[155]

Nazi-looted art

In 2000 French courts ordered the seizure of Cézanne's "The sea at l'Estaque" which was part of the "From Fra Angelico to Bonnard: masterpieces from the Rau Collection" exhibition at the Musée du Luxembourg because of a claim that it had been looted by Nazis from the gallery owner Josse Bernheim-Jeune.[156]

In 2020 the provenance of a Cézanne from the Buehrle collection came under scrutiny.[157] The painting, Paysage, had already been flagged as potentially problematic in the 2015 Schwarzbuch Bührle: Raubkunst für das Kunsthaus Zürich?[158]. In Die Wochenzeitung, Keller said the provenance of Paysage had been "whitewashed". "Among Keller's objections to the provenance description on the foundation's website is the failure to note that the pre-war owners, Berthold and Martha Nothmann, were forced to flee Germany as Jews in 1939."[159]

Cézanne's Provence

Visitors to Aix-en-Provence can discover Cézanne's landscape motifs along five marked trails from the city center. They lead to Le Tholonet, the Jas de Bouffan, the Bibémus quarry, the banks of the River Arc and the Les Lauves workshop.[160]

The Atelier Les Lauves has been open to the public since 1954. An American foundation initiated by James Lord and John Rewald made this possible with funds provided by 114 donors. They bought it from the previous owner Marcel Provence and transferred it to the University of Aix. In 1969 the studio was transferred to the city of Aix. The visitor will find Cézanne's furniture, easel and palette, the objects that appear in his still lifes, and some original drawings and watercolours.

During their lifetime, most of the residents of Aix mocked their fellow citizen Cézanne. More recently, they even named a university after their world-famous artist: in 1973 it was founded in Aix-en-Provence, the Paul Cézanne University with the departments of law and political science, business administration as well as natural sciences and technology. In 2011 it was dissolved and combined with the other two universities in Aix and Marseille to form the University of Aix-Marseille.

As a result of their rejection of his works in the past, the Musée Granet in Aix had to make do with a loan of paintings from the Louvre in order to be able to present visitors with Cézanne, the son of their city. In 1984, the museum received eight paintings and some watercolours, including a motif from the Bathers series and a portrait of Mme Cézanne. Thanks to another donation in 2000, nine paintings by Cézanne are now on display there.[161]

Gallery

See also: List of paintings by Paul Cézanne

Landscapes

Still life paintings

Portraits and self-portraits

Bathers

Watercolours

See also

Notes

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References

  • Adriani, Götz (2006). Paul Cézanne. Life and work. Munich: CH Beck Verlag. ISBN 978-3-406-54690-7.
  • Adriani, Götz (1993). Cézanne. Paintings. Cologne: DuMont Buchverlag. ISBN 3-7701-3088-X.
  • Adriani, Götz (1982). Cézanne. Watercolours. Cologne: DuMont Buchverlag. ISBN 3770113462.
  • Becks-Malorny, Ulricke (2007). Cézanne, 1839-1906. Pioneers of modernity. Cologne: Taschen Verlag. ISBN 9783836530156.
  • Brion, Marcel (1974). Cézanne. Thames and Hudson. ISBN 0-500-86004-1.
  • Cézanne, Paul; John Rewald; Émile Zola; Marguerite Kay (1941). Paul Cézanne, letters. B. Cassirer. ISBN 0-87817-276-9. OCLC 1196743.
  • Danchev, Alex (2012). Cézanne: A Life. Profile Books (UK); Pantheon (US). ISBN 978-1846681653.
  • Gowing, Lawrence; Adriani, Götz; Krumrine, Mary Louise; Lewis, Mary Tompkins; Patin, Sylvie; Rewald, John (1988). Cézanne: The Early Years 1859–1872. Harry N. Abrams.
  • Leonhard, Kurt (2003). Cézanne (13th ed.). Reinbeck: Rowohlt Verlag. ISBN 3-499-50114-7.
  • Lindsay, Jack (1969). Cézanne: His Life and Art. United States: New York Graphic Society. ISBN 0-8212-0340-1. OCLC 18027.
  • Machotka, Pavel (1996). Cézanne: Landscape into Art. United States: Yale University Press. ISBN 0-300-06701-1. OCLC 34558348.
  • Rosenblum, Robert (1989). Paintings in the Musée d'Orsay. New York: Stewart, Tabori & Chang. ISBN 1-55670-099-7.
  • Vollard, Ambroise (1984). Cézanne. England: Courier Dover Publications. ISBN 0-486-24729-5. OCLC 10725645.

Further reading

  • Andersen, Wayne (2003) The Youth of Cézanne and Zola: notoriety at its source: art and literature in Paris, Geneva and Boston: Editions Fabiart ISBN 0972557350
  • Andersen, Wayne (2004) Cézanne and the Eternal Feminine, Cambridge: Cambridge University Press ISBN 052183726X
  • Armstrong, Carol (2018) Cézanne's Gravity, New Haven and London: Yale University Press ISBN 9780300266832
  • Athanassoglou-Kallmyer, Nina M. (2003) Cézanne and Provence: The Painter in His Culture, Chicago and London: The University of Chicago Press ISBN 0226423085
  • Bernard, Émile (1925) (1925) Souvenirs sur Paul Cézanne: une conversation avec Cézanne: la méthode de Cézanne, Paris: R.G. Michel OCLC 423843520
  • D'Souza, Aruna (2008) Cézanne's Bathers, University Park, Pennsylvania State University Press ISBN 9780271032146
  • Dambrowski, André (2013) Cézanne, Murder, and Modern Life, Berkeley, University of California Press ISBN 0520273397
  • Danchev, Alex (2013) The Letters of Paul Cézanne, Los Angeles: Getty Publications, ISBN 978-1-60606-160-2
  • Gasquet, Joachim (1991) Joachim Gasquet's Cézanne, Translated by C. Pemberton. London and New York: Thames & Hudson OCLC 802912360
  • Kendall, Richard, ed. (1988) Cézanne: By Himself, London: Macdonald ISBN 0760755582
  • Kendall, Richard (1989) The History and Techniques of the Great Master Cézanne, London: Tiger Books International ISBN 1855010089
  • Lewis, Mary Tompkins (1989) Cézanne's Early Imagery, Berkeley: University of California Press ISBN 9780520322134
  • Machotka, Pavel (2008) Cézanne: The Eye and the Mind, 2 vols. Marseille: Editions Crès ISBN 2753700478
  • Pissarro, Joachim (2006) Cézanne/Pissarro, Johns/Rauschenberg: Comparative Studies on Intersubjectivity in Modern Art, Cambridge; New York: Cambridge University Press ISBN 0521836409
  • Rilke, Rainer Maria (1944) Lettres sur Cézanne, Paris: Editions Correa ISBN 2020260492
  • Sidlauskas, Susan (2009) Cézanne's Other: The Portraits of Hortense, Berkeley: University of California Press ISBN 9780520257450
  • Simms, Matthew (2008) Cézanne's watercolours: between drawing and painting, New Haven and London: Yale University Press ISBN 9780300140668
  • Smith, Paul (1996) Interpreting Cézanne, London: Tate Publishing ISBN 1854371711
  • Zola, Émile (1928) Correspondance (1858–1871), 2 vols. Oeuvres Complètes. Paris: François Bernouard ISBN 9780274259649

External links

 
Wikimedia Commons has media related to Paul Cézanne.
 
Wikiquote has quotations related to Paul Cézanne.
  • Paul Cézanne at the Museum of Modern Art
  • Getty Research Institute. Los Angeles, California
  • Impressionism: A Centenary Exhibition at the Metropolitan Museum of Art – Exhibition catalog: Cézanne (pp. 49–63)
  • The Private Collection of Edgar Degas, fully digitized text from The Metropolitan Museum of Art libraries (see Degas and Cézanne: Savagery and Refinement, pp. 197–220)
  • Société Paul Cezanne
  • John Rewald Papers
  • Barnes Foundation Archives
  • Paul Rosenberg Archives
  • Lionello Venturi Archive

April 16, 2023
paul, cézanne, cezanne, redirects, here, other, uses, cezanne, disambiguation, also, ɑː, zahn, french, pɔl, sezan, january, 1839, october, 1906, french, artist, post, impressionist, painter, whose, work, introduced, modes, representation, influenced, avant, ga. Cezanne redirects here For other uses see Cezanne disambiguation Paul Cezanne s eɪ ˈ z ae n say ZAN also UK s ɪ ˈ z ae n se ZAN US s eɪ ˈ z ɑː n say ZAHN 1 2 French pɔl sezan 19 January 1839 22 October 1906 was a French artist and Post Impressionist painter whose work introduced new modes of representation and influenced avant garde artistic movements of the early 20th century Cezanne is said to have formed the bridge between late 19th century Impressionism and the early 20th century s new line of artistic enquiry Cubism Paul CezanneCezanne in 1899Born 1839 01 19 19 January 1839Aix en Provence FranceDied22 October 1906 1906 10 22 aged 67 Aix en Provence FranceResting placeSaint Pierre CemeteryNationalityFrenchEducationAcademie Suisse Aix Marseille UniversityKnown forPaintingNotable workMont Sainte Victoire 1885 1906 Apotheose de Delacroix 1890 1894 Rideau Cruchon et Compotier 1893 94 The Card Players 1890 1895 The Bathers 1898 1905 MovementImpressionism Post ImpressionismAwardsCezanne medalWhile his early works are still influenced by Romanticism such as the murals in the Jas de Bouffan country house and Realism Cezanne arrived at a new pictorial language through intensive examination of Impressionist forms of expression He altered conventional approaches to perspective and broke established rules of academic art by emphasizing the underlying structure of objects in a composition and the formal qualities of art Cezanne strived for a renewal of traditional design methods on the basis of the impressionistic colour space and colour modulation principles Cezanne s often repetitive exploratory brushstrokes are highly characteristic and clearly recognizable He used planes of colour and small brushstrokes that build up to form complex fields The paintings convey Cezanne s intense study of his subjects Both Henri Matisse and Pablo Picasso are said to have remarked that Cezanne is the father of us all His painting provoked incomprehension and ridicule in contemporary art criticism Until the late 1890s it was mainly fellow artists such as Camille Pissarro and the art dealer and gallery owner Ambroise Vollard who discovered Cezanne s work and were among the first to buy his paintings In 1895 Vollard opened the first solo exhibition in his Paris gallery which led to a broader examination of the artist s work 3 Contents 1 Life and work 1 1 Early years and family 1 2 Studies in Paris 1 3 L Estaque Auvers sur Oise Pontoise 1870 1874 1 4 First Impressionist group exhibitions from 1874 1 5 Break with Zola and marriage 1 6 Exhibition at Les XX 1890 and first solo exhibition in Paris in 1895 1 7 Homage to Cezanne 1 8 Last years 1 9 Death 2 Main periods of Cezanne s work 2 1 Dark period Paris 1861 1870 2 2 Impressionist period Provence and Paris 1870 1878 2 3 Mature period Provence 1878 1890 2 4 Final period Provence 1890 1906 3 Method 3 1 Artistic style 3 2 Optical phenomena 3 3 Aller sur le motif sensation and realization 3 4 Dating and cataloguing 4 Legacy 4 1 Testimonies of contemporary friends and painters 4 2 Contemporary art criticism 4 3 Posthumous exhibitions 4 4 Influence on modernity and misinterpretations 4 5 Films about Cezanne 4 6 Cezanne and philosophy 4 7 Art market 4 8 Nazi looted art 5 Cezanne s Provence 6 Gallery 6 1 Landscapes 6 2 Still life paintings 6 3 Portraits and self portraits 6 4 Bathers 6 5 Watercolours 7 See also 8 Notes 9 References 10 Further reading 11 External linksLife and work EditEarly years and family Edit The Overture to Tannhauser The Artist s Mother and Sister 1868 Hermitage Museum St Petersburg Paul Cezanne was born the son of the milliner and later banker Louis Auguste Cezanne and Anne Elisabeth Honorine Aubert at 28 rue de l Opera in Aix en Provence His parents only married after the birth of Paul and his sister Marie born 1841 on 29 January 1844 His youngest sister Rose was born in June 1854 The Cezannes came from the commune of Saint Sauveur Hautes Alpes Occitania Paul Cezanne was born on 19 January 1839 in Aix en Provence 4 On 22 February he was baptized in the Eglise de la Madeleine with his grandmother and uncle Louis as godparents 4 5 6 7 and became a devout Catholic later in life 8 His father Louis Auguste Cezanne 1798 1886 9 a native of Saint Zacharie Var 10 was the co founder of a banking firm Banque Cezanne et Cabassol that prospered throughout the artist s life affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance 11 Spring 1860 Petit Palais His mother Anne Elisabeth Honorine Aubert 1814 1897 12 was vivacious and romantic but quick to take offence 13 It was from her that Cezanne got his conception and vision of life 13 He also had two younger sisters Marie and Rose with whom he went to a primary school every day 4 14 At the age of ten Cezanne entered the Saint Joseph school in Aix 15 Classmates were the later sculptor Philippe Solari and Henri Gasquet father of the writer Joachim Gasquet who was to publish his book Cezanne in 1921 a testament to the life of the artist In 1852 Cezanne entered the College Bourbon in Aix 16 now College Mignet where he became friends with Emile Zola who was in a less advanced class 11 14 as well as Baptistin Baille three friends who came to be known as Les Trois Inseparables The Three Inseparables 17 It was probably the most carefree time of his life as the friends swam and fished on the banks of the Arc They debated art read Homer and Virgil and practiced writing their own poems Cezanne often wrote his verses in Latin Zola urged him to take poetry more seriously but Cezanne saw it as just a pastime 18 He stayed there for six years though in the last two years he was a day scholar 19 In 1857 he began attending the Free Municipal School of Drawing in Aix where he studied drawing under Joseph Gibert a Spanish monk 20 At the request of his authoritarian father who traditionally saw in his son the heir to his bank Cezanne amp Cabassol Paul Cezanne enrolled in the law faculty of the University of Aix en Provence in 1859 and attended lectures for the study of jurisprudence He spent two years with his unloved studies but increasingly neglected them and preferred to devote himself to drawing exercises and writing poems From 1859 Cezanne took evening courses at the Ecole de dessin d Aix en Provence which was housed in the art museum of Aix the Musee Granet His teacher was the academic painter Joseph Gibert 1806 1884 In August 1859 he won second prize in the figure studies course there 21 His father bought the Jas de Bouffan House of the Wind estate that same year This partly derelict baroque residence of the former provincial governor later became the painter s home and workplace for a long time 22 23 The building and the old trees in the park of the property were among the artist s favorite subjects In 1860 Cezanne obtained permission to paint the walls of the drawing room and created the large format murals of the four seasons spring summer autumn and winter today in the Petit Palais in Paris which Cezanne ironically signed as Ingres whose works he did not appreciate The winter picture is additionally dated 1811 alluding to Ingres painting Jupiter and Thetis painted at that time and on display in the Musee Granet 24 Going against the objections of his banker father he committed himself to pursue his artistic development and left Aix for Paris in 1861 He was strongly encouraged to make this decision by Zola who was already living in the capital at the time and urged Cezanne to abandon his hesitancy and follow him there Eventually his father reconciled with Cezanne and supported his choice of career on condition that he begin a regular course of study having given up hope of finding Paul as his successor in the banking business Cezanne later received an inheritance of 400 000 francs from his father which rid him of all financial worries 25 Studies in Paris Edit Paul Alexis reading to Emile Zola 1869 70 Sao Paulo Museum of Art Cezanne moved to Paris in April 1861 The high hopes he had set in Paris were not fulfilled as he had applied to the Ecole des Beaux Arts but was turned down there He attended the free Academie Suisse where he was able to devote himself to life drawing There he met Camille Pissarro ten years his senior and Achille Emperaire from his hometown of Aix He often copied at the Louvre from works by old masters such as Michelangelo Rubens and Titian But the city remained alien to him and he soon thought of returning to Aix en Provence Initially the friendship formed in the mid 1860s between Pissarro and Cezanne was that of master and disciple in which Pissarro exerted a formative influence on the younger artist Over the course of the following decade their landscape painting excursions together in Louveciennes and Pontoise led to a collaborative working relationship between equals Portrait of Achille Emperaire 1868 Musee d Orsay Zola s faith in Cezanne s future was shaken so in June he wrote to their childhood friend Baille Paul is still the excellent and strange fellow I knew at school To prove that he hasn t lost any of his originality I have only to tell you that as soon as he got here he talked about returning 26 Cezanne painted a portrait of Zola that Zola had asked him to paint to encourage his friend but Cezanne was unsatisfied with the result and destroyed the picture In September 1861 disappointed by his rejection at the Ecole Cezanne returned to Aix en Provence and worked again in his father s bank 27 But already in the late autumn of 1862 he moved to Paris again His father secured his subsistence level with a monthly bill of over 150 francs The traditional Ecole des Beaux Arts rejected him again He therefore attended the Academie Suisse again which promoted Realism During this time he got to know many young artists after Pissarro also Claude Monet Pierre Auguste Renoir and Alfred Sisley In contrast to the official artistic life of France Cezanne was under the influence of Gustave Courbet and Eugene Delacroix who strove for a renewal of art and demanded the depiction of unembellished reality Courbet s followers called themselves realists and followed his principle Il faut encanailler l art One must throw art into the gutter formulated as early as 1849 which means that art must be brought down from its ideal height and become a matter of everyday life be made Edouard Manet made the definitive break with historical painting who was not concerned with analytical observation but with the reproduction of his subjective perception and the liberation of the pictorial object from symbolic burdens The Artist s Father Reading L Evenement 1866 National Gallery of Art Washington D C The exclusion of the works of Manet Pissarro and Monet from the official salon the Salon de Paris in 1863 provoked such outrage among artists that Napoleon III had a Salon des Refuses salon of the rejected set up next to the official salon Cezanne s paintings were shown in the first exhibition of the Salon des Refuses in 1863 The Salon rejected Cezanne s submissions every year from 1864 to 1869 He continued to submit works to the Salon until 1882 In that year artist Antoine Guillemet a friend of Cezanne s became a member of the Salon jury Since each jury member had the privilege of showing a picture of one of his students he passed off Cezanne as his student and secured his first participation at the Salon He exhibited Portrait de M L A probably Portrait of Louis Auguste Cezanne The Artist s Father Reading L Evenement 1866 National Gallery of Art Washington D C 28 although the painting was hung in a poorly lit spot in the top row of a secluded hall and received no attention This was to be his first and last successful submission to the Salon 29 30 In the summer of 1865 Cezanne returned to Aix Zola s debut novel La Confession de Claude was published it was dedicated to his childhood friends Cezanne and Baille In the autumn of 1866 Cezanne executed a whole series of paintings using the palette knife technique mainly still lifes and portraits He spent most of 1867 in Paris and the second half of 1868 in Aix At the beginning of 1869 he returned to Paris and met the bookbinder s assistant Marie Hortense Fiquet eleven years his junior at the Academie Suisse 31 L Estaque Auvers sur Oise Pontoise 1870 1874 Edit On 31 May 1870 Cezanne was best man at Zola s wedding in Paris During the Franco Prussian War Cezanne and Hortense Fiquet lived in the fishing village of L Estaque near Marseille which Cezanne would later visit and paint frequently as the place s Mediterranean atmosphere fascinated him He avoided conscription for military service Although Cezanne had been denounced as a deserter in January 1871 he managed to hide No further details are known as documents from this period are missing 32 After the Paris Commune was crushed the couple returned to Paris in May 1871 Paul fils the son of Paul Cezanne and Hortense Fiquet was born on 4 January 1872 Cezanne s mother was kept a party to family events but his father was not informed of Hortense for fear of risking his wrath and so as not to lose the financial allowances that his father gave him to live as an artist The artist received from his father a monthly allowance of 100 francs 33 When Cezanne s friend the crippled painter Achille Emperaire sought refuge with the family in Paris in 1872 due to financial hardship he soon left his friend however it was necessary otherwise I would not have escaped the fate of the others I found him here abandoned by everyone Zola Solari and all the others are no longer mentioned He s the strangest guy imaginable 34 From late 1872 to 1874 Cezanne lived with his wife and child in Auvers sur Oise where he met the doctor and art lover Paul Gachet later the painter Vincent van Gogh s doctor Gachet was also an ambitious hobby painter and made his studio available to Cezanne In 1872 Cezanne accepted an invitation from his friend Pissarro to work in Pontoise in the Oise Valley Pissarro as a sensitive artist became a mentor to the shy irritable Cezanne he was able to persuade him to turn away from the darker colours on his colour palette and gave him the advice Always only paint with the three primary colours red yellow blue and their immediate deviations In addition he should refrain from linear contouring the shape of things results from the gradation of the colour tonal values Cezanne felt that the Impressionist technique was bringing him closer to his goal and heeded his friend s advice Pissarro later reported We were always together but still each of us kept what counts alone our own feelings 35 First Impressionist group exhibitions from 1874 Edit A Modern Olympia 1873 74 Musee d Orsay Paris The young painters in Paris did not see any support for their works in the Salon de Paris and therefore took up Claude Monet s plan for their own exhibition which had been made in 1867 From 15 April to 15 May 1874 the first group exhibition of the Societe anonyme des artistes peintres sculpteurs engravers later known as the Impressionists took place This name derives from the title of the exhibited painting Impression soleil levant by Monet In the satirical magazine Le Charivari the critic Louis Leroy described the group as Impressionists and thus created the term for this new art movement The place of exhibition was the studio of the photographer Nadar on Boulevard des Capucines Pissarro pushed through Cezanne s participation despite concerns from some members who feared Cezanne s bold paintings would harm the exhibition Cezanne was influenced by their style but his social relations with them were inept he seemed rude shy angry and given to depression In addition to Cezanne Renoir Monet Alfred Sisley Berthe Morisot Edgar Degas and Pissarro among others exhibited Manet declined participation for him Cezanne was a mason who paints with a trowel 36 Cezanne in particular caused a sensation arousing indignation and derision from the critics with his paintings such as the Landscape near Auvers and the Modern Olympia 37 In A Modern Olympia created as a quote from Manet s 1863 painting Olympia which was often reviled Cezanne sought an even more drastic depiction and in addition to the prostitute and servant also showed the suitor whose figure is believed to be a self portrait 38 The Hanged Man s House 1873 Musee d Orsay Paris The exhibition proved a financial failure the final accounts showed a deficit of over 180 francs for each of the participating artists Cezanne s The Hanged Man s House was one of the few pictures that could be sold The collector Count Doria bought it for 300 francs 39 Portrait of Victor Chocquet 1876 77 In 1875 Cezanne met the customs inspector and art collector Victor Chocquet who mediated by Renoir bought three of his works and became his most loyal collector and whose commissions provided some financial relief Cezanne did not take part in the group s second exhibition but instead presented 16 of his works in the third exhibition in 1877 which in turn drew considerable criticism Reviewer Louis Leroy said of Cezanne s portrait of Chocquet This peculiar looking head the colour of an old boot might give a pregnant woman a shock and cause yellow fever in the fruit of her womb before its entry into the world 40 It was the last time he exhibited with the Impressionists 41 Another patron was the paint merchant Julien Pere Tanguy who supported the young painters by supplying them with paint and canvas in exchange for paintings In March 1878 Cezanne s father found out about the long hidden relationship with Hortense and their illegitimate son Paul through a thoughtless letter by Victor Chocquet He then cut the monthly bill in half and Cezanne entered a financially tense period in which he had to ask Zola for help 42 But in September he relented and decided to give him 400 francs for his family Cezanne continued to migrate between the Paris region and Provence until Louis Auguste had a studio built for him at his home Bastide du Jas de Bouffan in the early 1880s This was on the upper floor and an enlarged window was provided allowing in the northern light but interrupting the line of the eaves this feature remains Cezanne stabilized his residence in L Estaque He painted with Renoir there in 1882 and visited Renoir and Monet in 1883 43 In 1881 Cezanne worked in Pontoise with Paul Gauguin and Pissarro Cezanne returned to Aix at the end of the year He later accused Gauguin of having stolen his little sensation from him and that Gauguin on the other hand only painted chinoiseries 44 In the spring of 1882 Cezanne worked with Renoir in Aix and for the first time in L Estaque a small fishing village near Marseille which he also visited in 1883 and 1888 One of the first two stays was The Bay of Marseille seen from L Estaque 45 During the autumn of 1885 and the months that followed Cezanne stayed in Gardanne a small hilltop town near Aix en Provence where he produced several paintings whose faceted forms were already anticipating the cubist style Break with Zola and marriage Edit Cezanne s long friendly relationship with Emile Zola had by now become more distant In 1878 the urbane successful writer had set up a luxurious summer house in Medan near Auvers where Cezanne had visited him repeatedly in the years 1879 to 1882 and in 1885 but his friend s lavish lifestyle made Cezanne who lived an unassuming life aware of his own inadequacy and caused him to doubt himself 46 Zola who meanwhile regarded the childhood friend as a failure published his roman a clef L Œuvre from the novel cycle of Rougon Macquart in March 1886 whose protagonist the painter Claude Lantier did not achieve the realization of his goals and committed suicide In order to further emphasize the parallels between fiction and biography Zola placed the successful writer Sandoz alongside the painter Lantier in his work Monet and Edmond de Goncourt tended to see Edouard Manet in the fictional painter described but Cezanne found himself reflected in many details He formally thanked him for sending the work supposedly related to him For a long time it was thought that contact between the two childhood friends then broke off forever 47 48 Recently letters have been discovered that refute this A letter from 1887 demonstrates that their friendship did endure for at least some time after 49 50 Madame Cezanne Hortense Fiquet 1850 1922 in a Red Dress 1888 1890 oil on canvas 116 5 89 5 cm Metropolitan Museum of Art New York On April 28 1886 Paul Cezanne and Hortense Fiquet were married in Aix in the presence of his parents The connection to Hortense was not legalized out of love as their relationship had long since broken down Cezanne was shy of women and terrified of being touched a trauma that stemmed from his childhood when by his own admission a classmate had kicked him from behind on the stairs 51 Rather the marriage was intended to secure the rights of the now fourteen year old son Paul whom Cezanne loved very much as a legitimate son In the early 1880s the Cezanne family stabilized their residence in Provence where they remained except for brief sojourns abroad from then on The move reflects a new independence from the Paris centered impressionists and a marked preference for the south Cezanne s native soil Hortense s brother had a house within view of Montagne Sainte Victoire at L Estaque A run of paintings of this mountain from 1880 to 1883 and others of Gardanne from 1885 to 1888 are sometimes known as the Constructive Period 52 Despite the strained relationship Hortense was the person who was most often portrayed by Cezanne From the early 1870s to the early 1890s 26 paintings of Hortense are known She endured the strenuous sessions motionless and patiently In October 1886 after the death of his father Cezanne his mother and sisters inherited his estate which included the Jas de Bouffan estate so that Cezanne s financial situation became much easier My father was a brilliant man he said in retrospect he left me an income of 25 000 francs 53 By 1888 the family was in the former manor Jas de Bouffan a substantial house and grounds with outbuildings which afforded a new found comfort As of 2001 update this house with much reduced grounds is now owned by the city and was open to the public on a restricted basis 54 Exhibition at Les XX 1890 and first solo exhibition in Paris in 1895 Edit Le moulin sur la Couleuvre a Pontoise Cezanne lived in Paris and increasingly in Aix without his family Renoir visited him there in January 1888 and they worked together in Jas de Bouffan s studio In 1890 Cezanne contracted diabetes the illness made it even more difficult for him to deal with his fellow human beings Cezanne spent a few months in Switzerland with her and his son Paul in the hope that the troubled relationship with Hortense could be stabilized The attempt failed so he returned to Provence with Hortense and Paul fils going to Paris Financial need prompted Hortense s return to Provence but in separate living quarters Cezanne moved in with his mother and sister In 1891 he turned to Catholicism 55 In the same year he exhibited three of his works at the group Les XX in Brussels The Societe des Vingt short Les XX or Les Vingt was an association founded around 1883 by Belgian artists or artists living in Belgium including Fernand Khnopff Theo van Rysselberghe James Ensor and the siblings Anna and Eugene Boch Portrait of Ambroise Vollard 1899 Petit Palais Paris In May 1895 he attended Monet s exhibition at the Durand Ruel Gallery with Pissarro He was enthusiastic but later significantly identified 1868 as Monet s strongest period when he was even more influenced by Courbet With his fellow student from the Academie Suisse Achille Emperaire Cezanne went to the area around the village of Le Tholonet where he lived in the Chateau Noir which is located on the Montagne Sainte Victoire He often took the mountains as a theme in his paintings He rented a hut at the nearby Bibemus quarry Bibemus became another motif for his paintings Ambroise Vollard an aspiring gallery owner opened Cezanne s first one man show in November 1895 In his gallery he showed a selection of 50 of around 150 works that Cezanne had sent him as a package Vollard met Degas and Renoir in 1894 when he was exhibiting a bundle of Manet in his small shop and they exchanged Manet works for their own works with him Vollard also established relationships with Pierre Bonnard and Edouard Vuillard and in the same year the well known paint dealer Pere Tanguy When Tanguy died Vollard was able to buy works by three artists who were still unknown at the time Cezanne Gauguin and van Gogh The first buyer of a Cezanne painting was Monet followed by colleagues like Degas Renoir Pissarro and later art collectors Prices for works by Cezanne rose a hundredfold and Vollard as always profited from his stocks 56 In 1897 a Cezanne painting was purchased by a museum for the first time Hugo von Tschudi acquired Cezanne s landscape painting The Mill on the Couleuvre near Pontoise in the Durand Ruel Gallery for the Berlin National Gallery Cezanne s mother died on 25 October 1897 In November 1899 at the insistence of his sister he sold the now practically deserted property Jas de Bouffan and moved into a small city apartment at 23 Rue Boulegon in Aix en Provence the planned purchase of the Chateau Noir property could not be realized He hired a housekeeper Mme Bremond to look after him until his death Homage to Cezanne Edit Maurice Denis Hommage a Cezanne The art market meanwhile continued to react positively to Cezanne s works Pissarro wrote from Paris in June 1899 about the auction of the Chocquet collection from his estate These include thirty two Cezannes of the first rank The Cezannes will fetch very high prices and are already estimated at four to five thousand francs In this auction market prices for Cezanne paintings were achieved for the first time but they were still far below those for paintings by Manet Monet or Renoir 57 In 1901 Maurice Denis exhibited his 1900 large painting Hommage a Cezanne in Paris and Brussels The subject of the picture is Ambroise Vollard s gallery which presents a picture Cezanne s painting Still Life with Bowl of Fruit formerly owned by Paul Gauguin The writer Andre Gide acquired Hommage a Cezanne and gave it to the Musee du Luxembourg in 1928 It is currently in the Musee d Orsay Paris Among the people portrayed Odilon Redon is in the foreground on the left listening to Paul Serusier opposite him Also depicted from left to right are Edouard Vuillard the critic Andre Mellerio with a top hat Vollard behind the easel Maurice Denis Paul Ranson Ker Xavier Roussel Pierre Bonnard with a pipe and on the far right Marthe Denis the painter s wife 58 Last years Edit In 1901 Cezanne acquired a piece of land north of the city of Aix en Provence along the Chemin des Lauves an isolated road on some high ground where he had his studio built on the Chemin des Lauves in 1902 according to his needs Atelier de Cezanne now open to the public He moved there in 1903 For large format paintings such as The Bathers which he created in the Les Lauves studio he had a long narrow gap in the wall built through which natural light could flow That year Zola died leaving Cezanne in mourning despite the estrangement His health deteriorated with age In addition to his diabetes he suffered from depression in old age which manifested itself in growing distrust of his fellow human beings to the point of delusions of persecution Still Life with a Curtain 1895 illustrates Cezanne s increasing trend towards terse compression of forms and dynamic tension between geometric figures Despite the artist s increasing recognition hateful press releases appeared and he received numerous threatening letters 59 Cezanne s paintings were not well received among the petty bourgeoisie of Aix In 1903 Henri Rochefort visited the auction of paintings that had been in Zola s possession and published on 9 March 1903 in L Intransigeant a highly critical article entitled Love for the Ugly 60 Rochefort describes how spectators had supposedly experienced laughing fits when seeing the paintings of an ultra impressionist named Cezanne 60 The public in Aix was outraged and for many days copies of L Intransigeant appeared on Cezanne s door mat with messages asking him to leave the town he was dishonouring 61 I don t understand the world and the world doesn t understand me so I withdrew from the world said old Cezanne to his coachman 62 When Cezanne deposited his will with a notary in September 1902 he excluded his wife Hortense from the inheritance and declared his son Paul to be the sole heir Hortense is said to have burned the mementos of his mother 63 Three Skulls on an Oriental Carpet In 1903 he exhibited for the first time at the newly established Salon d Automne Paris Autumn Salon The painter and art theorist Emile Bernard first visited him for a month in February 1904 and published an article about the painter in L Occident magazine in July Cezanne was then working on a vanitas still life with three skulls on an oriental carpet Bernard reported that this painting changed colour and form every day during his stay although it appeared complete from day one He later regarded this work as Cezanne s legacy and summed it up Truly his way of working was a reflection with a brush in his hand 64 In the memento mori still lifes that he created several times Cezanne s increasing depression of old age was evident which in his letters since 1896 with comments such as life is beginning to be deadly monotonous for me were echoed 65 An exchange of letters with Bernard continued until Cezanne s death he first published his memoirs Souvenirs sur Paul Cezanne in the Mercure de France in 1907 and in 1912 they appeared in book form Portrait of the Gardiner Vallier 1906 Private collection Cezanne s final painting before his death From 15 October to 15 November 1904 an entire room of the Salon d Automne was furnished with the works of Cezanne In 1905 an exhibition was held in London in which his work was also shown the Galerie Vollard exhibited his works in June and the Salon d Automne followed in turn from 19 October to 25 November with 10 paintings The art historian and patron Karl Ernst Osthaus who had founded the Museum Folkwang in 1902 visited Cezanne on 13 April 1906 in the hope of being able to purchase a painting by the artist His wife Gertrud probably took the last photograph of Cezanne 66 Osthaus described his visit in his work A Visit to Cezanne published in the same year Despite the later successes Cezanne was only ever able to approach his goals On 5 September 1906 he wrote to his son Paul Finally I want to tell you that as a painter I am becoming more clairvoyant to nature but that it is always very difficult for me to realize my feelings I cannot reach the intensity that unfolds before my senses I do not possess that wonderful richness of colour that animates nature 67 Death Edit On 15 October 1906 Cezanne was caught in a storm while working in the field 68 After working for two hours he decided to go home but on the way he collapsed and lost consciousness He was taken home by a passing driver of a laundry cart 68 Due to hypothermia he contracted severe pneumonia His old housekeeper rubbed his arms and legs to restore the circulation as a result he regained consciousness 68 The next day Cezanne went out into the garden 69 to work on his last painting Portrait of the Gardener Vallier and wrote an impatient letter to his paint dealer bemoaning the delay in the delivery of paint but later on he fainted Vallier with whom he was working called for help he was put to bed and he never left it 68 His wife Hortense and son Paul received a telegram from the housekeeper but they were too late He died a few days later on 22 October 1906 68 of pneumonia at the age of 67 and was buried at the Saint Pierre Cemetery in his hometown of Aix en Provence 70 Main periods of Cezanne s work EditVarious periods in the work and life of Cezanne have been defined 71 Dark period Paris 1861 1870 Edit The Murder c 1870 Walker Art Gallery Liverpool Cezanne s early dark period was influenced by the works of French Romanticism and early Realism Models were Eugene Delacroix and Gustave Courbet His paintings are characterized by a thick application of paint high contrast dark tones with pronounced shadows the use of pure black and other tones mixed with black brown gray and Prussian blue occasionally a few white dots or green and red brushstrokes are added to brighten up enlivening the monochrome monotony 72 The themes of his pictures from this period are portraits of family members or demonic erotic content in which his own traumatic experiences are reminiscent They differ sharply from his earlier watercolours and sketches at the Ecole Speciale de dessin at Aix en Provence in 1859 and their violence of expression is in contrast to his subsequent works 73 The Abduction 1867 In 1866 67 inspired by the example of Courbet Cezanne painted a series of paintings with a palette knife He later called these works mostly portraits une couillarde a coarse word for ostentatious virility 74 Lawrence Gowing has written that Cezanne s palette knife phase was not only the invention of modern expressionism although it was incidentally that the idea of art as emotional ejaculation made its first appearance at this moment 74 Among the couillarde paintings are a series of portraits of his uncle Dominique in which Cezanne achieved a style that was as unified as Impressionism was fragmentary 75 Later works of the dark period include several erotic or violent subjects such as Women Dressing c 1867 The Abduction c 1867 and The Murder c 1867 68 which depicts a man stabbing a woman who is held down by his female accomplice 76 Impressionist period Provence and Paris 1870 1878 Edit The Pool at Jas de Bouffan 1876 Camille Pissarro lived in Pontoise There and in Auvers he and Cezanne painted landscapes together For a long time afterwards Cezanne described himself as Pissarro s pupil referring to him as God the Father as well as saying We all stem from Pissarro 77 Under Pissarro s influence Cezanne began to abandon dark colours and his canvases grew much brighter 78 and he now used a colour palette based purely on the basic tones yellow red and blue In doing so he broke away from his technique of heavy often overloaded looking application of paint and adopted the loose painting technique of his role models consisting of brushstrokes placed side by side Portraits and figurative compositions receded in these years Cezanne subsequently created landscape paintings in which the illusionistic deep space was canceled more and more clearly The objects continue to be understood as volumes and reduced to their basic geometric shapes This design method is transferred to the entire picture area The painterly gesture now treats the distance in a similar way to the objects themselves giving the impression of a long distance effect In this way Cezanne left the traditional pictorial space on the one hand but on the other hand counteracted the dissolving impression of Impressionist pictorial works Mature period Provence 1878 1890 Edit The period of synthesis followed in which Cezanne completely broke away from the Impressionist style of painting He solidified the forms by applying paint diagonally across the surface eliminated the perspective representation to create the depth of the picture and directed his attention to the balance of the composition During this period he increasingly created landscape and figure paintings In a letter to his friend Joachim Gasquet he wrote The coloured surfaces always the surfaces The colourful place where the soul of the surfaces trembles the prismatic warmth the encounter of the surfaces in the sunlight I design my surfaces with my shades on the palette understand me The areas must be clearly visible Definitely but they have to be distributed correctly they have to flow into one another Everything has to play together and yet create contrasts It s all about the volume 79 Boy with a Red Vest Barnes Foundation Philadelphia The still lifes that Cezanne painted from the late 1880s are another focus of his work He refrained from rendering the motifs in linear perspective and instead depicted them in the dimensions that made sense to him in terms of composition a pear for example can be oversized in order to achieve inner balance and an exciting composition He built his arrangements in the studio In addition to the fruit there are jugs pots and plates and occasionally a putto often surrounded by a white puffy tablecloth that lends the subject a baroque opulence It is not the objects that should attract attention but the arrangement of the shapes and colours on the surface Cezanne developed the composition from individual dabs of paint spread across the canvas from which the form and volume of the object gradually build up Achieving the balance of these patches of colour on the canvas required a slow process so Cezanne often worked on a painting for a long time 80 Initially only portraying family members or friends Cezanne s better financial position allowed him to hire a professional model a young Italian named Michelangelo di Rosa for The Boy in the Red Vest 1888 1890 one of his best known paintings Di Rosa was represented in four paintings and two watercolours 81 Final period Provence 1890 1906 Edit Cezanne s studio in Aix en Provence from 1902 until his 1906 death Pyramid of Skulls c 1901 The dramatic resignation to death informs several still life paintings Cezanne made in his final period between 1898 and 1905 which take the skulls as their subject Today the skulls themselves remain in Cezanne s studio in a suburb of Aix en Provence Many of his later works the so called lyrical period such as the cycle of the bathers are characterized by a turn to freely invented figures in the landscape Cezanne created about 140 paintings and sketches on the theme of the bathing scenes Here you can find his admiration for classical painting which seeks to unite man and nature in harmony in Arcadian idylls In the last seven years he created three large format versions of The Great Bathers Les Grandes Baigneuses with the 208 249 cm work on display in Philadelphia being the largest Cezanne was concerned with the composition and the interplay of shapes and colours of nature and figures For his paintings at this time he used sketches and photographs as templates since he did not like the presence of naked models 82 Les joueurs de cartes The Card Players 1892 1895 oil on canvas 60 x 73 cm Courtauld Institute of Art London Cezanne painted five versions of The Card Players Les Joueurs de cartes in 1890 and 1895 in which the same person is represented in different variants For The Card Players he used farmers and day laborers who worked in the fields near the Jas de Bouffan as models They are not genre pictures even if they show scenes from everyday life the motif is constructed according to strict laws of colour and form The area around the Montagne Sainte Victoire was one of the most important themes of his later years From a vantage point above his studio later called Terrain des Paintres he painted several views of the mountain A precise observation of nature was a prerequisite for Cezanne s painting In order to paint a landscape correctly I first have to recognize the geological stratification 83 In total he painted more than 30 oil paintings and 45 watercolours of the mountains and he wrote to a friend in the 1890s art is a harmony parallel to nature 84 Cezanne was primarily concerned with watercolour painting in his late work as he realized that the specific application of his method could be particularly evident in this medium The late watercolours also had an effect on his oil paintings for example in the study with bathers 1902 1906 in which a depiction full of empty spaces flanked by colour appears to be complete 85 The painter and art critic Roger Fry emphasized this in his seminal Cezanne publication Cezanne A Study of His Development from 1927 that after 1885 the watercolour technique had a strong influence on his painting with oil paints The watercolours in Vollard s Cezanne monograph of 1914 and in Julius Meier Graefe s picture portfolio edited in 1918 with ten facsimiles based on the watercolours became known to a larger group of interested parties 86 Only lightly coloured pencil studies which occasionally appeared in sketch albums stand next to carefully coloured works Many watercolours are equal to the realizations on canvas and form an autonomous group of works In terms of subject matter landscape watercolours dominate followed by figure paintings and still lifes while portraits in contrast to paintings and drawings are rarer 87 Method EditArtistic style Edit Cezanne s early work is often concerned with the figure in the landscape and includes many paintings of groups of large heavy figures in the landscape imaginatively painted Later in his career he became more interested in working from direct observation and gradually developed a light airy painting style Nevertheless in Cezanne s mature work there is the development of a solidified almost architectural style of painting Throughout his life he struggled to develop an authentic observation of the seen world by the most accurate method of representing it in paint that he could find To this end he structurally ordered whatever he perceived into simple forms and colour planes His statement I want to make of impressionism something solid and lasting like the art in the museums 88 and his contention that he was recreating Poussin after nature underscored his desire to unite observation of nature with the permanence of classical composition Les Grandes Baigneuses 1898 1905 the triumph of Poussinesque stability and geometric balance As with the old masters for Cezanne the basis of painting was drawing but the prerequisite for all work was subordination to the object or the eye or pure looking All the painter s intentions must be silent He should silence all voices of prejudice Forget Forget create silence Be a perfect echo The landscape is reflected becomes human thinks in me I climb with her to the roots of the world we germinate A tender excitement seizes me and from the roots of this excitement then rises the juice the colour I was born in the real world I see In order to paint that then the craft must be used but a humble craft that obeys and is ready to transmit unconsciously 89 Montagne Sainte Victoire 1904 Philadelphia Museum of Art In addition to oil paintings and watercolours Cezanne left behind an extensive oeuvre of more than 1200 drawings which hidden in the cupboards and folders of the studio during his lifetime only began to interest collectors in the 1930s They form the working material for his works and show detailed sketches observation notes and traces of Cezanne s sometimes difficult to decipher stages on the way to the realization of the picture Their task linked to the process of creating the respective work was to give the overall structure and the object designations within the pictorial organism Even in old age portraits and figure drawings were made based on models from antique sculptures and baroque paintings from the Louvre which gave him clarity about the isolation of plastic phenomena Therefore the black and white of the drawings was an essential prerequisite for Cezanne s colour designs 90 Paul Cezanne was the first artist to begin breaking down objects into simple geometric shapes In his much quoted letter of 15 April 1904 to the painter and art theorist Emile Bernard who had met Cezanne in his last years he wrote Treat nature according to cylinder sphere and cone and put the whole in perspective like this that each side of an object of a surface leads to a central point 91 Cezanne realized his painting ideas in the paintings of Montagne Sainte Victoire and the his Still Lifes In his pictorial conception even a mountain is understood as a superimposition of forms spaces and structures that rise above the ground 92 Emile Bernard wrote of Cezanne s unusual way of working He began with the shadow parts and with one spot on which he put a second larger one then a third until all these shades covering each other modelled the object with their colouring It was then that I realized that a law of harmony was guiding his work and that these modulations had a direction preordained in his mind 93 In this preordained direction for Cezanne lay the real secret of painting in the context of harmony and the illusion of depth To the collector Karl Ernst Osthaus Cezanne emphasized on 13 April 1906 during his visit to Aix that the main thing in a picture is the meeting of the distance The colour must express every leap into the depths 94 Optical phenomena Edit Cezanne was interested in the simplification of naturally occurring forms to their geometric essentials he wanted to treat nature in terms of the cylinder the sphere and the cone 95 a tree trunk may be conceived of as a cylinder an apple or orange a sphere for example Additionally Cezanne s desire to capture the truth of perception led him to explore binocular vision graphically rendering slightly different yet simultaneous visual perceptions of the same phenomena to provide the viewer with an aesthetic experience of depth different from those of earlier ideals of perspective in particular single point perspective His interest in new ways of modelling space and volume derived from the stereoscopy obsession of his era and from reading Hippolyte Taine s Berkelean theory of spatial perception 96 97 Cezanne s innovations have prompted critics to suggest such varied explanations as sick retinas 98 pure vision 99 and the influence of the steam railway 100 Aller sur le motif sensation and realization Edit Cezanne preferred to use these terms when describing his painting process First of all there is the motif by which he not only meant the representational concept of the picture but also the motivation for his tireless work of observing and painting Aller sur le motif as he called his approach to work therefore meant entering into a relationship with an external object that moved the artist inwardly and that had to be translated into a picture Sensation is another key term in Cezanne s vocabulary First of all he meant visual perception in the sense of impression i e an optical sensory stimulus emanating from the object At the same time it includes the emotion as a psychological reaction to what is perceived Cezanne expressly did not place the object to be depicted at the center of his painterly efforts but rather the sensation Painting from nature does not mean copying the object it means realizing its sensations The medium that mediated between things and sensations was the colour although Cezanne left it open to what extent it arises from things or is an abstraction of his vision Cezanne used the third term realisation to describe the actual painterly activity which he feared would fail to the end Several things had to be realized at the same time first the motif in all its diversity then the feelings that the motif triggered in him and finally the painting itself the realization of which could bring the other realizations to light Painting therefore meant letting those opposing movements of taking in and giving of impression and expression merge into one another in a single gesture 101 The realization in art became a key concept in Cezanne s thinking and acting Dating and cataloguing Edit The sometimes longer dates for creation in the catalogues of Cezanne s works do not always indicate that the exact dating cannot be clarified even if Cezanne rarely dated his pictures especially since he worked on some pictures for months if not years before he was satisfied with the result 102 The artist himself regarded many of his paintings as unfinished for painting was a never ending process for him Portrait of the Critic Gistave Geffroy 1895 Musee d Orsay Cataloging Cezanne s works turned out to be a difficult task Ambroise Vollard made the first attempt a multi volume photo album similar to his catalogue of Renoir Vollard s catalogue never materialized however Georges Riviere the father in law of Cezanne s son published a biography of the artist in 1923 Le Maitre Paul Cezanne that included a chronological and annotated list of many of the painter s works Conceived by the art dealer Paul Rosenberg the first complete catalogue raisonne was published by Lionello Venturi in 1936 The two volume Cezanne Son Art Son Oeuvre became the definitive catalogue of the artist s work for over five decades although requiring a supplement as additional works were discovered and new scholarship and documentation introduced Adrien Chappuis The Drawings of Paul Cezanne A Catalog Raisonne was published by Thames and Hudson in London in 1973 and has remained the classic source for the artist s graphic work 103 Lac d Annecy 1896 Courtauld Institute of Art London John Rewald continued Venturi s work after his death Rewald was tasked with combining Venturi s planned supplement with his own research an agreement that did not work out as intended After years of studying Cezanne s works Rewald found that he not only disagreed with many of his predecessor s dates but a number of his attributions as well He therefore set about developing an entirely new catalogue raisonne 103 Rewald s Paul Cezanne The Watercolours A Catalog Raisonne was published by Thames and Hudson London with 645 illustrations in 1983 The missing dating of the paintings Rewald only found one and imprecise formulations of the pictorial motif such as Paysage or Quelques pommes caused confusion In his early treatment of the Venturi Rewald made a list of all the works that could be dated without a stylistic analysis because Rewald rejected such an analysis as unscientific He continued his list by following the various whereabouts of Cezanne that could be verified by documents Another scheme of his approach was to rely on the memories of the people portrayed especially if they were Cezanne s contemporaries Based on his own interviews he made chronological assignments Among the works that could be dated with certainty were Cezanne s Portrait of the Critic Gustave Geffroy which the sitter confirmed as 1895 and Lake Annecy which the artist visited only once in 1896 Rewald died in 1994 he was not able to fully complete his work When in doubt Rewald s tendency was to include rather than exclude This method was adopted by his closest associates Walter Feilchenfeldt Jr son of the art dealer Walter Feilchenfeldt and Jayne Warman who completed the catalog and provided it with introductions The catalog was published in 1996 under the title The Paintings of Paul Cezanne A Catalog Raisonne Review It includes the 954 works that Rewald wanted to record 104 Feilchenfeldt Warman and David Nash went on to produce the first complete catalogue of the artist work since with The Paintings Watercolours and Drawings of Paul Cezanne an online catalogue raisonne 3 Legacy EditTestimonies of contemporary friends and painters Edit Yes Cezanne he is the greatest of us all 105 Claude Monet to Georges Clemenceau Cezanne s childhood friend the writer Emile Zola was skeptical about Cezanne s human and artistic qualities saying as early as 1861 that Paul may have the genius of a great painter but he will never have the genius to actually become one The slightest obstacle drives him to despair 106 In fact it was Cezanne s self doubt and refusal to make artistic compromises as well as his rejection of social concessions that led his contemporaries to regard him as an oddball 107 Cezanne s works were rejected numerous times by the official Salon in Paris and ridiculed by art critics when exhibited with the Impressionists Yet during his lifetime Cezanne was considered a master by younger artists who visited his studio in Aix 108 In the circle of the Impressionists however Cezanne was given special recognition Camille Pissarro Pierre Auguste Renoir Claude Monet and Edgar Degas spoke enthusiastically about his work and Pissarro said I think it will be centuries before we get an account of it 109 View of the 1904 Salon d Automne photograph by Ambroise Vollard Salle Cezanne Victor Choquet Baigneuses etc A portrait of Cezanne was painted by his friend and mentor Pissarro in 1874 and in 1901 the co founder of the Nabis group Maurice Denis created Hommage a Cezanne showing Cezanne s painting Still Life with Fruit 110 on the easel amidst artist friends at the Vollard Gallery Originally owned by Paul Gauguin Hommage a Cezanne was later acquired by French writer and Denis friend Andre Gide who owned it until 1928 It is now on display at the Musee d Orsay Contemporary art criticism Edit The first joint Impressionist exhibition in Paris from April to May 1874 attracted extensive criticism Audiences and art critics for whom the ideal of the Ecole de Beaux Arts was proof of the existence of art burst out laughing One critic claimed that Monet painted by loading his paints in a gun and shooting them at the canvas A colleague performed an Indian dance in front of a painting by Cezanne and shouted Hugh I am the walking impression the avenging palette knife Monet s Boulevard des Capucines The House of the Hanged Man and The Modern Olympia by Mr Cezanne Hugh Hugh 111 In 1883 the French writer Joris Karl Huysmans replied to Pissarro in a letter to Pissarro s accusation that Cezanne was only briefly mentioned in Huysman s book L Art Moderne by suggesting that Cezanne s view of the motifs was distorted by astigmatism but it There is certainly an eye defect involved which I am assured he is also aware of Five years later in La Cravache magazine his judgment became more positive when he described Cezanne s works as strange yet real and as revelations designated 112 The art dealer Ambroise Vollard first came into contact with Cezanne s works in 1892 through the paint dealer Tanguy who had exhibited them in his shop in the Rue Clauzel in Montmartre in return for the delivery of painting utensils Vollard recalled the lack of response the shop was rarely visited since it was not yet fashionable at the time to buy atrocious works expensively not even cheaply Tanguy even took interested parties to the painter s studio to which he had a key where small pictures and 100 francs large pictures could be bought at a fixed price of 40 francs 113 The Journal des Artistes echoed the general tone of the time anxious to ask whether its sensitive readers would not be sickened at the sight of these oppressive abominations which exceed the measure of evil permitted by law The art critic Gustave Geffroy was one of the few critics who judged Cezanne s work fairly and unreservedly during his lifetime As early as 25 March 1894 he wrote in the Journal about the then current relationship between Cezanne s painting and the efforts of younger artists that Cezanne had become a kind of forerunner to which the Symbolists referred and that there was a direct connection between Cezanne s painting and of the Gauguins Bernards and even Vincent van Goghs A year later after the successful exhibition at the Vollard Gallery in 1895 Geffroy again led the Journal He is a great truth fanatic fiery and naive harsh and nuanced He will go to the Louvre Between these two chronicles Cezanne painted the portrait of Geffroy which Cezanne left unfinished because he was dissatisfied with it 114 Posthumous exhibitions Edit Two retrospectives posthumously paid tribute to the artist in 1907 From 17 to 29 June the Bernheim Jeune gallery in Paris showed 79 watercolours by Cezanne The 5th Salon d Automne then paid homage to him from 5 October to 15 November exhibiting 49 paintings and seven watercolours in two rooms in the Grand Palais Visitors included the art historian Julius Meier Graefe who would write the first Cezanne biography in 1910 Harry Graf Kessler and Rainer Maria Rilke The two exhibitions motivated many artists such as Georges Braque Andre Derain Wassily Kandinsky Henri Matisse and Pablo Picasso on their crucial insights for 20th century art 115 116 In 1910 some of Cezanne s paintings were shown in the Manet and the Post Impressionists exhibition in London another one followed in 1912 The exhibition had been initiated by the painter and art critic Roger Fry in the Grafton Galleries which wanted to introduce English art lovers to the work of Edouard Manet Georges Seurat Vincent van Gogh Paul Gauguin and Cezanne Fry used the name to describe the Post Impressionist style Although the exhibition was judged negatively by critics and the public it was to be significant in the history of modern art Fry recognized the extraordinary value of the path that artists such as van Gogh and Cezanne had taken in expressing their personal feelings and worldview through their paintings even if visitors at the time could not yet understand this 117 Cezanne s first exhibition in the United States took place in 1910 11 at Gallery 291 in New York In 1913 his works were exhibited at the Armory Show in New York it was a groundbreaking exhibition of modern art and sculpture although here too the exhibits were met with criticism and ridicule Today these artists who were criticized and ridiculed even by their own art academies during their lifetime are regarded as the fathers of modern art Influence on modernity and misinterpretations Edit Cezanne Cezanne was the father of all of us Pablo Picasso 118 A kind of dear god of painting Henri Matisse 119 Many productive misunderstandings lie hidden in the reception of the works and the supposed intentions of Cezanne which had a considerable influence on the further course and development of modern art 120 The list of those artists who more or less justifiably referred to him and who coined individual elements from the wealth of his creative approaches for their own pictorial inventions shows an almost complete art history of the 20th century As early as 1910 Guillaume Apollinaire stated that most of the new painters claim to be successors of this serious painter who was only interested in art 121 Immediately after Cezanne s death in 1906 stimulated by a comprehensive exhibition of his watercolours in the spring of 1907 at the Galerie Bernheim Jeune and a retrospective in October 1907 at the Salon d Automne in Paris a lively examination of his work began 122 Among young French artists Henri Matisse and Andre Derain were the first to become passionate about Cezanne followed by Picasso Fernand Leger Georges Braque Marcel Duchamp and Piet Mondrian 123 This enthusiasm was lasting as the eighty year old Matisse said in 1949 that he owed the most to the art of Cezanne 124 Braque also described the influence of Cezanne on his art as an initiation and said in 1961 Cezanne was the first to turn away from the learned mechanized perspective 125 Picasso admitted that he was the only master for me he was a father figure to us it was he who offered us protection 126 Cezanne expert Gotz Adriani notes however that the Cezanne s reception by Cubists particularly by the Albert Gleizes and Jean Metzinger who placed Cezanne at the beginning of their way of painting in their 1912 treatise Du Cubisme was arbitrary because they largely ignored the motivation gained from observing nature 127 In this context he points to the formalistic misinterpretations that refer to Emile Bernard s published paper from 1907 which refers to a 1904 letter Cezanne wrote advising him to treat nature according to cylinder sphere and cone 128 Further misinterpretations of this kind can be found in Kazimir Malevich s 1919 text On the New Systems in Art 129 In his quote Cezanne did not intend to reinterpret the experience of nature in the sense of orienting himself towards cubic form elements he was more concerned with corresponding to the object forms and their colouring under the various aspects in the picture Mardi Gras Pierrot et Arlequin 1888 Pushkin Museum Moscow One of the many examples of Cezanne s influence on modernism is the 1888 painting Mardi Gras in the Pushkin Museum which shows his son Paul with his friend Louis Guillaume and in costumes from the Commedia dell arte Picasso took inspiration from it for the harlequin theme in his pink period Matisse in turn took up the theme of the most classic painting in the Bathers series The Great Bathers from the Philadelphia Museum of Art in his 1909 painting The Bathers 130 Numerous artists were inspired by Cezanne s work 131 The painter Paula Modersohn Becker saw Cezanne s paintings in Paris in 1900 which deeply impressed her Shortly before her death she wrote to Clara Westhoff in a letter on 21 October 1907 I am thinking and thinking a lot these days about Cezanne and how he is one of the three or four painters who struck me like a thunderstorm or a major event 132 Paul Klee noted in his diary in 1909 Cezanne is a teacher par excellence for me after seeing more than a dozen paintings by Cezanne in the Munich Secession 133 The artist group Der Blaue Reiter referred to him in their 1912 almanac when Franz Marc reported on the kinship between El Greco and Cezanne whose works he understood as the gateways to a new era of painting 134 Again Kandinsky who had seen Cezanne s painting at the 1907 retrospective at the Salon d Automne refers to Cezanne in his 1912 treatise On the Spiritual in Art in whose work he found a strong resonance of the abstract recognized and found the spiritual part of his beliefs predetermined in him 135 El Lissitzky emphasized his importance for the Russian avant garde around 1923 and Lenin suggested erecting monuments to the heroes of the world revolution in 1918 on the roll of honor were Courbet and Cezanne 136 Next to Matisse Alberto Giacometti dealt most extensively with Cezanne s style of representation Aristide Maillol worked on a Cezanne monument in 1909 but failed due to rejection by the city of Aix en Provence 137 Cezanne was also an important authority for artists of the newer generation Jasper Johns described him as the most important role model alongside Duchamp and Leonardo da Vinci Inspired by Cezanne Albert Gleizes and Jean Metzinger wrote Cezanne is one of the greatest of those who changed the course of art history From him we have learned that to alter the colouring of an object is to alter its structure His work proves without doubt that painting is not or not any longer the art of imitating an object by lines and colours but of giving plastic solid but alterable form to our nature Du Cubisme 1912 108 138 Along with the work of Vincent van Gogh and Paul Gauguin the work of Cezanne with its sense of immediacy and incompletion critically influenced Matisse and others prior to Fauvism and Expressionism 139 140 Cezanne s explorations of geometric simplification and optical phenomena inspired Picasso Braque Metzinger Gleizes Gris and others to experiment with ever more complex views of the same subject and eventually to the fracturing of form Cezanne thus sparked one of the most revolutionary areas of artistic enquiry of the 20th century one which was to affect profoundly the development of modern art Picasso referred to Cezanne as the father of us all and claimed him as my one and only master Other painters such as Edgar Degas Pierre Auguste Renoir Paul Gauguin Kasimir Malevich Georges Rouault Paul Klee and Henri Matisse acknowledged Cezanne s genius 108 Ernest Hemingway compared his writing to Cezanne s landscapes 141 142 As he describes in A Moveable Feast I was learning something from the painting of Cezanne that made writing simple true sentences far from enough to make the stories have the dimensions that I was trying to put in them Cezanne s painting The Boy in the Red Vest was stolen from a Swiss museum in 2008 It was recovered in a Serbian police raid in 2012 143 Films about Cezanne Edit Une visite au Louvre 2004 Filmed and directed by Jean Marie Straub and Daniele Huillet about Cezanne based on the posthumously published conversations with the painter handed down by his admirer Joachim Gasquet The film describes a walk by Cezanne in the Louvre past the paintings of his fellow artists 144 On the 100th anniversary of Cezanne s death in 2006 two documentaries from 1995 and 2000 about Paul Cezanne and his motif La Montagne Sainte Victoire were re released Cezanne s triumph was re shot for the 2006 anniversary year 145 The Violence of the Motive 1995 A film directed by Alain Jaubert A mountain near his hometown of Aix en Provence becomes Cezanne s main motif He shows La Montagne Sainte Victoire from different perspectives and at different times of the year more than 80 times The motif becomes an obsession that Jaubert gets to the bottom of in his film Cezanne the Painter 2000 A film by Elisabeth Kapnist The story of a passion and a lifelong artistic search the painter Cezanne his childhood his friendship with Zola and his encounter with Impressionism are portrayed The Triumph of Cezanne 2006 A film by Jacques Deschamps Deschamps takes the 100th anniversary of Cezanne s death in October 2006 as an opportunity to trace the genesis of a legend Cezanne encountered rejection and incomprehension before he was allowed to rise to the Olympus of art history and the international art market The 2016 film Cezanne and I explores the friendship between the artist and Emile Zola 146 Cezanne and philosophy Edit The French philosopher Jean Francois Lyotard argues in his work Misere de la philosophie that Cezanne has so to speak the sixth sense he senses the reality in the making before it is completed in normal perception So the painter touches on the sublime when he sees the overwhelming quality of the mountainous landscape which can neither be represented with normal language nor with the usual painting technique Lyotard sums it up One can also say that the uncanniness of the oil paintings and watercolours dedicated to mountains and fruits derives both from a deep sense of the disappearance of appearances and from the demise of the visible world 147 Cezanne s stylistic approaches and beliefs regarding how to paint were analyzed and written about by the French philosopher Maurice Merleau Ponty who is primarily known for his association with phenomenology and existentialism 148 In his 1945 essay entitled Cezanne s Doubt Merleau Ponty discusses how Cezanne gave up classic artistic elements such as pictorial arrangements single view perspectives and outlines that enclosed colour in an attempt to get a lived perspective by capturing all the complexities that an eye observes He wanted to see and sense the objects he was painting rather than think about them Ultimately he wanted to get to the point where sight was also touch He would take hours sometimes to put down a single stroke because each stroke needed to contain the air the light the object the composition the character the outline and the style A still life might have taken Cezanne one hundred working sessions while a portrait took him around one hundred and fifty sessions Cezanne believed that while he was painting he was capturing a moment in time that once passed could not come back The atmosphere surrounding what he was painting was a part of the sensational reality he was painting Cezanne claimed Art is a personal apperception which I embody in sensations and which I ask the understanding to organize into a painting 149 Art market Edit Paul Cezanne Still Life with Green Melon The increase in value of Cezanne s work can be seen from the auction of his painting Rideau Cruchon et Compotier on 10 May 1999 which sold for 60 5 million at Sotheby s in New York 150 the fourth highest price paid for a painting up to that time and the most expensive still life painting at the time Cezanne s watercolour Still Life with Green Melon set the record for a work on paper at an auction when it sold for 25 5 million in 8 May 2007 far above its estimate of 18 million 151 A preparatory watercolour for The Card Players series previously thought lost for sixty years sold for 19 1 million on 1 May 2012 to an anonymous bidder 152 One of the five versions of Cezanne s The Card Players was sold in 2011 to the Royal Family of Qatar for a price variously estimated at between 250 million 301 1 million today and possibly as high as 300 million 361 4 million today either price signifying a new mark for highest price for a painting up to that date The record price was surpassed in November 2017 by Salvator Mundi by Leonardo da Vinci 153 154 The Card Players is now the third most expensive painting of all time after the sale of Interchange by Willem de Kooning On 8 November 2022 138 million US was paid for the painting La Montagne Sainte Victoire as part of the Paul Allen collection sale at Christie s in New York City to setting a new mark for a price paid for his work at auction 155 Nazi looted art Edit In 2000 French courts ordered the seizure of Cezanne s The sea at l Estaque which was part of the From Fra Angelico to Bonnard masterpieces from the Rau Collection exhibition at the Musee du Luxembourg because of a claim that it had been looted by Nazis from the gallery owner Josse Bernheim Jeune 156 In 2020 the provenance of a Cezanne from the Buehrle collection came under scrutiny 157 The painting Paysage had already been flagged as potentially problematic in the 2015 Schwarzbuch Buhrle Raubkunst fur das Kunsthaus Zurich 158 In Die Wochenzeitung Keller said the provenance of Paysage had been whitewashed Among Keller s objections to the provenance description on the foundation s website is the failure to note that the pre war owners Berthold and Martha Nothmann were forced to flee Germany as Jews in 1939 159 Cezanne s Provence EditVisitors to Aix en Provence can discover Cezanne s landscape motifs along five marked trails from the city center They lead to Le Tholonet the Jas de Bouffan the Bibemus quarry the banks of the River Arc and the Les Lauves workshop 160 The Atelier Les Lauves has been open to the public since 1954 An American foundation initiated by James Lord and John Rewald made this possible with funds provided by 114 donors They bought it from the previous owner Marcel Provence and transferred it to the University of Aix In 1969 the studio was transferred to the city of Aix The visitor will find Cezanne s furniture easel and palette the objects that appear in his still lifes and some original drawings and watercolours During their lifetime most of the residents of Aix mocked their fellow citizen Cezanne More recently they even named a university after their world famous artist in 1973 it was founded in Aix en Provence the Paul Cezanne University with the departments of law and political science business administration as well as natural sciences and technology In 2011 it was dissolved and combined with the other two universities in Aix and Marseille to form the University of Aix Marseille As a result of their rejection of his works in the past the Musee Granet in Aix had to make do with a loan of paintings from the Louvre in order to be able to present visitors with Cezanne the son of their city In 1984 the museum received eight paintings and some watercolours including a motif from the Bathers series and a portrait of Mme Cezanne Thanks to another donation in 2000 nine paintings by Cezanne are now on display there 161 Gallery EditSee also List of paintings by Paul Cezanne Landscapes Edit Mont Sainte Victoire1882 1885Metropolitan Museum of Art L Estaque1883 1885 Houses in Provence The Riaux Valley near L Estaque1883 The Bay of Marseilles view from L Estaque1885 The Neighborhood of Jas de Bouffan1885 1887Solomon R Guggenheim Museum New York Thannhauser Collection Maison Maria on the way to the Chateau Noir1895Kimbell Art Museum Fort Worth Texas Chateau Noir1900 1904National Gallery of Art Washington US Mont Sainte Victoire and Chateau Noir1904 05Bridgestone Museum of Art Tokyo JapanStill life paintings Edit Still Life with an Open Drawer1867 1869 Musee d Orsay Flowers in a Rococo Vase1876National Gallery of Art Washington D C Still Life with Cherries and Peaches1885 87Los Angeles County Museum of Art Still Life with Fruit Basket1888 90Musee d Orsay Paris The Basket of Apples1890 1894Art Institute of Chicago Still Life Drapery Pitcher and Fruit Bowl1893 1894Whitney Museum of American Art New York City Still Life with Cherub1895Courtauld Institute of Art London Still Life with Plaster Cupid1890sNationalmuseum Stockholm Still Life with a Teapot1902 05National Museum CardiffPortraits and self portraits Edit Portrait of Uncle Dominique1865 1867Metropolitan Museum of Art Self portrait1875Musee d Orsay Self portrait1880 81National Gallery London Self portrait1879 1882Kunstmuseum Bern Femme au Chapeau Vert Woman in a Green Hat Madame Cezanne 1894 1895 Portrait of Madame Cezanne1885 1886Berggruen Museum Berlin Germany Madame Cezanne1885 1887Solomon R Guggenheim Museum Portrait of Paul Cezanne s SonPastel1888 1890The National Gallery of Art Washington D C Madame Cezanne in a Red Dressc 1890 1894 Sao Paulo Museum of Art Man with a Pipe1892 1896Courtauld Institute of Art Boy in a Red Waistcoat1888 1890National Gallery of Art Self portrait with Beret1898 1900Museum of Fine Arts Boston Woman with a CoffeepotOil on canvasc 1895 Musee d Orsay 162 Young Italian Woman at a Table1895 1900J Paul Getty Museum Los AngelesBathers Edit Bather1885 1887Museum of Modern Art Bathers c 1890 Musee d Orsay Paris The Bathers1898 1905National Gallery London Bathers 1900 05 Private collectionWatercolours Edit Boy with Red Vest1890 Self portrait1895 Three Pears ca 1888 1890 Henry and Rose Pearlman Collection on long term loan to the Princeton University Art Museum The Plaster Kiln 1890 94 Private collection Pine Tree in Front of the Caves above Chateau Noir ca 1900 Princeton University Art Museum Mill at the River1900 1906 Study of a Skull 1902 1904 Henry and Rose Pearlman Collection on long term loan to the Princeton University Art Museum Still Life with Carafe Bottle and Fruit 1906 Henry and Rose Pearlman Collection on long term loan to the Princeton University Art Museum River with the Bridge of the Three Sources1906Cincinnati Art MuseumSee also Edit Art portal Biography portalList of paintings by Paul Cezanne Cezanne typeface Post Impressionism Marie Hortense Fiquet List of artwork associated with Agnes E Meyer Croix de Provence on the Montagne Sainte VictoireNotes Edit Wells John C 2008 Longman Pronunciation Dictionary 3rd ed Longman ISBN 978 1 4058 8118 0 Jones Daniel 2011 Roach Peter Setter Jane Esling John eds Cambridge English Pronouncing Dictionary 18th ed Cambridge University Press ISBN 978 0 521 15255 6 Adriani Gotz Cezanne Life and Work p 110 a b c J Lindsay Cezanne his life and art p 6 Dominique Auzias Le Petit Fute 2008 p 142 1 Archived 10 June 2016 at the Wayback Machine Dominique Auzias Jean Paul Labourdette Aix en Provence 2012 Le Petit Fute 2012 p 299 2 Archived 8 May 2016 at the Wayback Machine Olivier Rene Veillon Seul comme Cezanne Maisonneuve et Larose 1995 p 24 Paul Cezanne TotallyHistory June 2011 Archived from the original on 8 December 2015 Retrieved 6 December 2015 Louis Auguste Cezanne Guarda Mor Edicao de Publicacoes Multimedia Lda Archived from the original on 29 March 2007 Retrieved 27 February 2007 Danchev Alex 2012 Cezanne A Life Pantheon p 45 ISBN 0307377075 a b Paul Cezanne Biography 1839 1906 Biography com Archived from the original on 3 September 2011 Retrieved 17 February 2007 Louis Auguste Cezanne Guarda Mor Edicao de Publicacoes Multimedia Lda Archived from the original on 29 March 2007 Retrieved 27 February 2007 a b A Vollard First Impressions p 16 a b A Vollard First Impressions p 14 P Machotka Narration and Vision p 9 Paul Cezanne French artist Encyclopedia Britannica Archived from the original on 17 August 2018 Retrieved 17 August 2018 National Gallery of Art timeline retrieved 11 February 2009 Nga gov Archived from the original on 5 November 2010 Retrieved 19 January 2011 Becks Malorny Ulricke Cezanne p 7 J Lindsay Cezanne his life and art p 12 Gowing 1988 p 215 P Cezanne Paul Cezanne letters p 10 Bastide du Jas de Bouffan Cezanne in Provence Retrieved 15 July 2022 Becks Malorny Ulricke Cezanne p 8 Becks Malorny Ulricke Cezanne p 10 J Lindsay Cezanne his life and art p 232 Leonhard Kurt Cezanne p 111 Becks Malorny Ulricke Cezanne p 10 The Artist s Father Reading L Evenement 1866 National Gallery of Art Washington D C Archived from the original on 26 April 2015 Retrieved 9 August 2015 Gowing 1988 p 110 Societe des artistes francais catalogue illustre Salon 1882 Cezanne Portrait de M L A p 32 no 520 1879 Archived from the original on 24 September 2015 Retrieved 7 November 2015 Adriani Gotz Cezanne Life and Work p 121 Tillier Bertrand 2013 La Commune de Paris revolution sans images Seyssel p 84 ISBN 9782876733909 Cezanne in Provence A Provencal Chronology of Cezanne 1870 1879 Archived 22 September 2015 at the Wayback Machine National Gallery of Art Retrieved 14 February 2015 Becks Malorny Cezanne p 20 Becks Malorny Cezanne p 20 Becks Malorny Cezanne p 30 Leonhard Kurt Cezanne p 148 Adriani Gotz Cezanne Life and Work p 17 Becks Malorny Cezanne p 34 Brion 1974 p 34 Leonhard Kurt Cezanne p 49 Adriani Cezanne Life and Work p 30 Cezanne in Provence A Provencal Chronology of Cezanne 1880 1889 Archived 15 February 2015 at the Wayback Machine National Gallery of Art Retrieved 14 February 2015 Bernard Emile Cezanne On Art p 88 Adriani Cezanne Life and Work p 123 Adrianni Cezanne Life and Work p 32 Adrianni Cezanne Life and Work p 33 Paul Cezanne Claude Lantier and Artistic Impotence by Aruna D Souza Archived from the original on 18 January 2018 Retrieved 17 January 2018 Elderfield John Morton Mary Rey Xavier Danchev Alex Warman Jayne S 2017 Cezanne Portraits London National Portrait Gallery p 224 ISBN 9781855147317 OCLC 1006293797 Lethbridge Robert Winter 2014 The End of the Affair Zola and Cezanne French Studies Bulletin 35 133 95 99 doi 10 1093 frebul ktu026 Becks Malorny Cezanne p 19 Anne Distel Michel Hoog Charles S Moffett Impressionism A Centenary Exhibition Metropolitan Museum of Art Archived 30 December 2019 at the Wayback Machine 12 December 1974 10 February 1975 p 56 ISBN 0870990977 Becks Malorny Cezanne p 50 Ulrike Becks Malorny Cezanne Archived 1 January 2020 at the Wayback Machine Taschen 2001 p 48 ISBN 3822856428 Susan Sidlauskas Cezanne s Other The Portraits of Hortense Archived 28 December 2019 at the Wayback Machine University of California Press 2009 p 240 ISBN 0520257456 Tobias Timm 30 November 2006 Der Mann der Cezanne entdeckte Die Zeit Adriani Cezanne Life and Work p 85 Hommage a Cezanne Musee d Orsay Retrieved 17 July 2022 Becks Malorny Cezanne p 81 a b Rochefort Henri L Amour du laid L Intransigeant Archived 19 January 2018 at the Wayback Machine Numero 8272 9 March 1903 Gallica Bibliotheque nationale de France French The Unknown Matisse A Life of Henri Matisse Retrieved 19 January 2011 Leonhard Kurt Cezanne p 77 Dita Amory et al Madame Cezanne Archived 28 December 2019 at the Wayback Machine Metropolitan Museum of Art 2014 p 19 ISBN 0300208103 Adriani Cezanne Life and Work p 101 Adriani Cezanne Life and Work p 101 The last photograph of Cezannes by Gertrud Osthaus www nytimes com accessed on 20 October 2011 Adriani Cezanne Life and Work p 53 a b c d e Vollard pp 113 114 Birksted Jan 2000 Birksted Jan ed Cezanne s property Landscapes of memory and experience 1st ed London and New York Spon Press Taylor and Francis Group pp 77 86 ISBN 0419250700 Paul Cezanne 1839 1906 MyStudios com Archived from the original on 24 March 2007 Retrieved 18 February 2007 The scheme presented here is essentially that of the Encyclopaedia Britannica Some alternative names are mentioned On the whole the various classifications tend to converge Paul Cezanne g23 ch Retrieved 17 July 2022 Le Moniteur 24 April 1863 in Maneglier Herve Paris Imperial La vie quotidienne sous le Second Empire p 173 a b Gowing 1988 p 10 Gowing 1988 p 104 Andre Dombrowski Cezanne Murder and Modern Life Archived 24 December 2019 at the Wayback Machine University of California Press 2013 ISBN 0520273397 Brion 1974 p 26 Rosenblum 1989 p 348 Paul Cezanne g23 ch Retrieved 17 July 2022 Becks Malorny Cezanne p 55 Adriani Cezanne Life and Work p 88 Becks Malorny Cezanne pp 81 88 Cezanne Paul Doran P M 2001 Conversations with Cezanne Berkeley University of California Press p 140 ISBN 0520225171 Toovey R Art is a harmony in parallel with nature West Sussex County Times Retrieved 22 October 2022 via PressReader Adriani Cezanne Life and Work p 78 Adriani Cezanne Watercolours p 22 Adriani Cezanne Watercolours p 19 Paul Cezanne Letters edited by John Rewald 1984 Cezanne Paul Doran P M 2001 Conversations with Cezanne Berkeley University of California Press pp 137 141 ISBN 0520225171 Adriani Cezanne Life and Work p 80 Adriani Cezanne Life and Work p 47 Paul Cezanne g23 ch Retrieved 17 July 2022 Cezanne Paul Doran P M 2001 Conversations with Cezanne Berkeley University of California Press pp 80 81 ISBN 0520225171 Adriani Cezanne Watercolours p 67 Cezanne Paul 2013 The Letters of Paul Cezanne Translated by Danchev Alex Los Angeles The J Paul Getty Museum p 334 Rod Bantjes Perspectives batardes Stereoscopy Cezanne and the Metapictoral Logic of Spatial Construction History of Photography 41 3 August 2017 262 285 Jon Kear Paul Cezanne Archived 27 December 2019 at the Wayback Machine Reaktion Books 15 June 2016 p 65 Joris Karl Huysmans Trois peintres Cezanne Tissot Wagner La Cravache 4 August 1888 Hans Sedlmayr Art in Crisis The Lost Center London 1957 original German 1948 Cezanne and the Steam Railway 1 Tomoki Akimaru Art Historian Archived from the original on 9 September 2017 Retrieved 9 March 2013 Michael Luthy Relationale Asthetik Uber den Fleck bei Cezanne und Lacan Zurich Berlin 2005 S 265 ff Retrieved 15 August 2008 Becks Malorny Cezanne p 60 a b About the Project Cezanne Catalogue Retrieved 20 July 2022 Richard Shiff The Paintings of Paul Cezanne A Catalogue Raisonne Review Retrieved 12 August 2008 Adriani Cezanne Life and Work p 56 Adriani Cezanne Watercolours p 33 Becks Malorny Cezanne p 7 a b c Philadelphia Museum of Art Philadelphia Museum of Art philamuseum org Archived from the original on 14 November 2013 Adriani Cezanne Life and Work p 111 Maurice Denis Hommage a Cezanne Impressionism Art Gallery Retrieved 29 November 2008 Leonhard Kurt Cezanne p 43 Leonhard Kurt Cezanne p 44 Adriani Cezanne Life and Work p 110 Leonhard Kurt Cezanne p 67 Adriani Cezanne Watercolours p 21 Adriani Cezanne Life and Work p 113 Culture quake Manet and Post Impressionism Telegraph co uk 14 July 2004 Retrieved 8 August 2008 Bernard Grom 2003 Menschen und Weltbilder moderner Malerei S 173 Beckmann Verlag ISBN 9783833011252 Retrieved 6 November 2008 Adriani Cezanne Paintings p 14 Adriani Cezanne Paintings p 27 Adriani Cezanne Life and Work p 109 Cousins Judith 1990 Picasso and Braque Munich Prestel ISBN 3 7913 1046 1 Adriani Cezanne Paintings p 31 Adriani Cezanne Life and Work p 113 Adriani Cezanne Paintings p 31 Adriani Cezanne Life and Work p 114 Adriani Cezanne Life and Work p 115 Reff Theodore October 1977 Cezanne on Solids and Spaces Artforum Vol 16 no 2 ISSN 0004 3532 Retrieved 4 February 2023 Adriani Cezanne Life and Work p 115 Becks Malorny Cezanne pp 82 89 Adriani Cezanne Life and Work p 117 Bohlmann Modersohn Marina 2007 Paula Modersohn Becker A Biography with Letters Munich Verlag p 282 ISBN 978 3 442 72169 6 Oskar Batschmann Cezanne und seine Zeitgenossen Universitat Bern Archived from the original on 10 May 2009 Retrieved 2 October 2012 Adriani Cezanne Paintings p 31 Adriani Cezanne Life and Work p 114 Adriani Cezanne Life and Work p 117 Adriani Cezanne Paintings p 33 Albert Gleizes Jean Metzinger Du Cubisme Edition Figuiere Paris 1912 First English edition Cubism T Fisher Unwin London 1913 Richard Shiff Cezanne and the End of Impressionism A Study of the Theory Technique and Critical Evaluation of Modern Art University of Chicago Press 2014 pp 55 61 ISBN 022623777X Paul Cezanne Overview and Analysis The Art Story Archived from the original on 17 August 2018 Retrieved 17 August 2018 Johnson Kenneth 1984 Hemingway and Cezanne Doing the Country American Literature 56 1 28 37 doi 10 2307 2925913 JSTOR 2925913 Herlihy Jeffrey 2011 In Paris or Paname Hemingway s Expatriate Nationalism In Paris or Paname Amsterdam Rodopi Brill 61 Serb police find stolen Cezanne painting CBS News 12 April 2012 Archived from the original on 9 May 2012 Retrieved 23 May 2012 Une Visite au Louvre www film at Retrieved 2 January 2009 Filme von Jaubert Kapnist Deschamps Retrieved 9 August 2008 Pacatte Rose 31 March 2017 Film dramatizes broken friendship of Cezanne and Zola National Catholic Reporter The National Catholic Reporter Publishing Company Archived from the original on 24 February 2019 Retrieved 24 February 2019 Klaus Englert Erganzung zum philosophischen Hauptwerk Jean Francois Lyotard Das Elend der Philosophie Deutschlandfunk Retrieved 8 August 2008 Maurice Merleau Ponty 1908 1961 Internet Encyclopedia of Philosophy Iep utm edu Archived from the original on 25 August 2011 Merleau Ponty 1965 Decker Andrew 25 October 1999 Paul Cezanne Painting Ends Up in Las Vegas After Sale Goes Sour Observer Retrieved 13 July 2022 Vogel Carol 10 May 2007 International Bidders Raise Prices at Art Auction The New York Times Retrieved 13 July 2022 Vogel Carol 2 May 2012 Cezanne Artwork Out of Sight for Years Sells at Christie s The New York Times Retrieved 13 July 2022 Art Media Agency AMA 250 M a new record for a painting Archived 23 September 2015 at the Wayback Machine 4 May 2011 Haigney Sophie 3 July 2017 Lawsuit Reveals Gauguin Painting Was Not World s Most Expensive The New York Times Archived from the original on 4 July 2017 Retrieved 3 July 2017 A Cezanne Landscape Owned by Microsoft Billionaire Co Founder Sells for 138 M 10 November 2022 Court orders Cezanne to be seized from show Family claims painting in Rau Collection is war loot The Art Newspaper Archived from the original on 8 October 2001 According to Michel Dauberville however Sam Salz bought quite a number of items from Gaston my grandfather s brother after the war He said that he bought this painting in 1936 but in fact he bought it in Switzerland in 1945 46 The painting belonged to Josse In 1941 it was in Josse s gallery in his safe and it was stolen It is listed no 1947 in the inventory of goods looted in France during the war According to Mr Dauberville the painting was acquired by Sam Salz from the Swiss family Janninck Veraguth The Buhrle Collection A Cezanne in the Turmoil of the Second World War www woz ch in German 27 January 2021 Retrieved 25 April 2021 Thomas Buomberger 2016 Schwarzbuch Buhrle Raubkunst fur das Kunsthaus Zurich Rotpunktverlag ISBN 978 3 85869 676 2 OCLC 958546788 Hickley Catherine An arms dealer casts a shadow over Kunsthaus Zurich www lootedart com The Art Newspaper Archived from the original on 25 April 2021 Retrieved 25 April 2021 In a recent article for Zurich newspaper Die Wochenzeitung Keller accused the foundation of whitewashing the provenance of Cezanne s painting Paysage around 1879 Among Keller s objections to the provenance description on the foundation s website is the failure to note that the pre war owners Berthold and Martha Nothmann were forced to flee Germany as Jews in 1939 The website says only that they left Germany that year Provence entdecken Funf Wege auf den Spuren Cezannes Retrieved 30 November 2015 Das Musee Granet PDF Tourismuszentrale Aix Archived from the original PDF 2 0 MB on 20 December 2010 Retrieved 20 December 2008 Woman with a Coffeepot www musee orsay fr Archived from the original on 19 February 2015 References EditAdriani Gotz 2006 Paul Cezanne Life and work Munich CH Beck Verlag ISBN 978 3 406 54690 7 Adriani Gotz 1993 Cezanne Paintings Cologne DuMont Buchverlag ISBN 3 7701 3088 X Adriani Gotz 1982 Cezanne Watercolours Cologne DuMont Buchverlag ISBN 3770113462 Becks Malorny Ulricke 2007 Cezanne 1839 1906 Pioneers of modernity Cologne Taschen Verlag ISBN 9783836530156 Brion Marcel 1974 Cezanne Thames and Hudson ISBN 0 500 86004 1 Cezanne Paul John Rewald Emile Zola Marguerite Kay 1941 Paul Cezanne letters B Cassirer ISBN 0 87817 276 9 OCLC 1196743 Danchev Alex 2012 Cezanne A Life Profile Books UK Pantheon US ISBN 978 1846681653 Gowing Lawrence Adriani Gotz Krumrine Mary Louise Lewis Mary Tompkins Patin Sylvie Rewald John 1988 Cezanne The Early Years 1859 1872 Harry N Abrams Leonhard Kurt 2003 Cezanne 13th ed Reinbeck Rowohlt Verlag ISBN 3 499 50114 7 Lindsay Jack 1969 Cezanne His Life and Art United States New York Graphic Society ISBN 0 8212 0340 1 OCLC 18027 Machotka Pavel 1996 Cezanne Landscape into Art United States Yale University Press ISBN 0 300 06701 1 OCLC 34558348 Rosenblum Robert 1989 Paintings in the Musee d Orsay New York Stewart Tabori amp Chang ISBN 1 55670 099 7 Vollard Ambroise 1984 Cezanne England Courier Dover Publications ISBN 0 486 24729 5 OCLC 10725645 Further reading EditAndersen Wayne 2003 The Youth of Cezanne and Zola notoriety at its source art and literature in Paris Geneva and Boston Editions Fabiart ISBN 0972557350 Andersen Wayne 2004 Cezanne and the Eternal Feminine Cambridge Cambridge University Press ISBN 052183726X Armstrong Carol 2018 Cezanne s Gravity New Haven and London Yale University Press ISBN 9780300266832 Athanassoglou Kallmyer Nina M 2003 Cezanne and Provence The Painter in His Culture Chicago and London The University of Chicago Press ISBN 0226423085 Bernard Emile 1925 1925 Souvenirs sur Paul Cezanne une conversation avec Cezanne la methode de Cezanne Paris R G Michel OCLC 423843520 D Souza Aruna 2008 Cezanne s Bathers University Park Pennsylvania State University Press ISBN 9780271032146 Dambrowski Andre 2013 Cezanne Murder and Modern Life Berkeley University of California Press ISBN 0520273397 Danchev Alex 2013 The Letters of Paul Cezanne Los Angeles Getty Publications ISBN 978 1 60606 160 2 Gasquet Joachim 1991 Joachim Gasquet s Cezanne Translated by C Pemberton London and New York Thames amp Hudson OCLC 802912360 Kendall Richard ed 1988 Cezanne By Himself London Macdonald ISBN 0760755582 Kendall Richard 1989 The History and Techniques of the Great Master Cezanne London Tiger Books International ISBN 1855010089 Lewis Mary Tompkins 1989 Cezanne s Early Imagery Berkeley University of California Press ISBN 9780520322134 Machotka Pavel 2008 Cezanne The Eye and the Mind 2 vols Marseille Editions Cres ISBN 2753700478 Pissarro Joachim 2006 Cezanne Pissarro Johns Rauschenberg Comparative Studies on Intersubjectivity in Modern Art Cambridge New York Cambridge University Press ISBN 0521836409 Rilke Rainer Maria 1944 Lettres sur Cezanne Paris Editions Correa ISBN 2020260492 Sidlauskas Susan 2009 Cezanne s Other The Portraits of Hortense Berkeley University of California Press ISBN 9780520257450 Simms Matthew 2008 Cezanne s watercolours between drawing and painting New Haven and London Yale University Press ISBN 9780300140668 Smith Paul 1996 Interpreting Cezanne London Tate Publishing ISBN 1854371711 Zola Emile 1928 Correspondance 1858 1871 2 vols Oeuvres Completes Paris Francois Bernouard ISBN 9780274259649External links Edit Wikimedia Commons has media related to Paul Cezanne Wikiquote has quotations related to Paul Cezanne National Gallery of Art Cezanne in Provence Paul Cezanne at the Museum of Modern Art Getty Research Institute Los Angeles California Impressionism A Centenary Exhibition at the Metropolitan Museum of Art Exhibition catalog Cezanne pp 49 63 The Private Collection of Edgar Degas fully digitized text from The Metropolitan Museum of Art libraries see Degas and Cezanne Savagery and Refinement pp 197 220 Societe Paul Cezanne John Rewald Papers Barnes Foundation Archives Paul Rosenberg Archives Lionello Venturi Archive Retrieved from https en wikipedia org w index php title Paul Cezanne amp oldid 1147534611, wikipedia, wiki, book, books, library,

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