Paul Cézanne - deux pommes et demie,1878-1879

Paul Cézanne 1839-1906

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Paul Cezanne - deux pommes et demie,1878-1879.

huile sur toile - 16,5 x 10 cm

Fondation Barnes,Philadelphie

Paul Cezanne - Madame Cezanne

Paul Cezanne 1839-1906

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Paul Cezanne -Madame Cezanne,1891.

(Madame Cezanne in the conservatory)

huile sur toile - 92,1 x 73 cm

Metropolitan museum of Art,New York

Hortense Fiquet, a former artist’s model, met Cézanne about 1869; they had a son in 1872, fourteen years before they married. This painting, one of more than two dozen for which Hortense posed, is set in the conservatory of Jas de Bouffan, the Cézanne family estate near Aix. The unfinished canvas offers a revealing glimpse into Cézanne’s working method. He placed Madame Cézanne’s carefully modeled head slightly off-center, cradled between a lush tree and a spindly plant, and then proceeded to build up the rest of the pyramidal composition, touch by exacting touch.

Paul Cezanne -Madame Cezanne,1885-1886.

huile sur toile - 46,8 x 36,8 cm

museum of Art,Philadelphia

Paul Cezanne - portraits

Paul Cezanne 1839-1906 ( 67 ans )


exposition 2017 au musée d'Orsay de portraits réalisés par Paul Cézanne

Paul Cezanne - Paul Alexis lisant à Emile Zola,1869-1870.

huile sur toile - 133 x 163 cm

Museu de Arte,Sao Paulo

Paul Cezanne - Autoportrait,1862-1864.

huile sur toile - 46 x 38 cm

Collection particulière, New York

Paul Cezanne - L'homme au bonnet de coton,vers 1866.

dit aussi L'homme Dominique

huile sur toile - 79 x 64 cm 

The Metropolitan Museum of Art,New York

Paul Cezanne -Madame Cezanne cousant,1877.

huile sur toile - 59,5 x 49,5 cm

Stocholm, Nationalmuseum

Paul Cezanne - Portrait de l'artiste au fond rose,1875.

( sa période couillarde d'après l'artiste lui-même)

huile sur toile - 66 x 55 cm

Paris,Musée d'Orsay

Paul Cezanne - Portrait du fils de l'artiste,1881-1882.

huile sur toile - 38 x 38 cm

Paris,Musée de l'Orangerie

Paul Cezanne - Portrait demadame Cezanne,1890-1892.

huile sur toile - 61,9 x 51,9 cm

Philadelphie,Philadelphia Museum of Art

Paul Cezanne - madame Cezanne ,musée Boston

Paul Cezanne 1839-1906

Paul Cezanne -MadameCezanne dans un fauteuil roue,1877.

huile sur toile - 72 x 56 cm

muséee des beaux-arts de Boston

Cezanne - nature morte

Paul Cezanne 1839-1906

Paul Cézanne

Still Life with Milk Jug and Fruit, ca. 1900Seattle Art Museum

Paul Cezanne 1839-1906 - Les grandes baigneuses

Paul Cezanne 1839-1906

 

 Paul Cezanne  - Les grandes baigneuses,1900-1906.

huile sur toile - 210.5 x 250.8 cm

 Philadelphia,Museum of Art

 

 Paul Cezanne  - Les grandes baigneuses,1894-1905..

huile sur toile - 127.2 x  196.1 cm

National Gallery,London 

voiir l'opinion de Philippe Solers ( link )

Paul Cezanne  - Cinq baigneuses,1877-1878

huile sur toile - 40.6 x 42.9 cm 

The Barnes Foundation

Paul Cezanne - raisin et une pèche sur une assiette

Paul Cezanne 1839-1906

Paul Cezanne - raisin et une pèche sur une assiette,1877-1879.

huile sur toile 16,6 x 29;5 cm

The Barnes Foundation

pour voir d'autres Cezanne à la Barnes Foundation dont les grandes baigneuses
cliquer ici ( link )

Paul Cezanne - Aquarelle Jas de Bouffan

Paul Cezanne 1839-1906

Paul Cezanne - allée de châtaignier au Jas de Bouffan, vers 1880.

Aquarelle et crayon sur papier - 310 x 470 mm.

(watercolor and pencil on ribbed hand-made paper)

Avenue of chesnut trees at the Jas de bouffan,around 1880's

Städel Museum, Francfort-sur-le-Main,Allemagne.

Paul Cezanne - Maison du Jas de Bouffan,1878.

huile sur toile - 52,5 x 5 cm

Collection particulière

La montagne Sainte Victoire vue de Bellevue

Metropolitan Museum of Art, New York

«Les Grandes Baigneuses» (1906) de Paul Cézanne

Paul Cezanne

«Les Grandes Baigneuses» (1906) de Paul Cézanne (1839 – 1906).

Oil on canvas
82 7/8 x 98 3/4 inches (210.5 x 250.8 cm)

This is the largest, the last, and in many ways, the most ambitious work from Cézanne’s lifelong exploration of the time-honored theme of nudes in a landscape. It is also, perhaps, in its unfinished state, the purest and most serene witness to the man whom Paul Gauguin described as spending “entire days on mountaintops reading Virgil,” dreaming of wooded glades populated with beautiful figures who, if not exactly participants in a narrative as such, are full of animation and interaction. Perhaps it is its grand nobility—its authority as something beyond time, “like art in the museums,” as Cézanne said—that made it so attractive to many artists.

Near the end of his life Paul Cézanne painted three large canvases of female nudes disporting in a landscape. They derive in part from pastoral images of female bathers, such as the goddess Diana and her maidens, long favored in French art. These works seem to have been, for Cézanne, the culmination of a lifetime of exploration on the nude, his final testament within the grand tradition of French narrative painting on the nature of the human condition. They differ greatly from one another, these three paintings (the others are in the Barnes Foundation, Merion, Pennsylvania, and the National Gallery, London). The Philadelphia version, perhaps because of its unfinished state, is both the most exalted and the most serene. The women command a great stage, very much like goddesses in some grand opera production, with the arched trees acting as the proscenium. They are completely at ease, and for all the motion and activity there is a profound sense of eternal calm and resolution, as well as a quality of monumentality achieved through the most lucid and unlabored means. Joseph J. Rishel, from Philadelphia Museum of Art: Handbook of the Collections (1995), p. 211.

Estate of Paul Cézanne, 1906; purchased by Ambroise Vollard, Paris from Cézanne's son, 1907; Auguste Pellerin (1852-1929), Paris, by 1923; by descent to his son Jean-Victor Pellerin, Paris, 1929-1936 [1]; with Wildenstein & Co., New York, acting as agent for Pellerin, 1936 [2]; sold to the City of Philadelphia for the W. P. Wilstach Collection, July 6, 1937 [3]. 1. Lent by M. and Mme. Pellerin to the 1936 exhibition "Cézanne", Musée de l'Orangerie, Paris, no. 107. 2. Provenance per John Rewald, The Paintings of Paul Cézanne: A Catalogue Raisonné, New York, 1996, no. 857. See also Joseph Rishel, Cézanne in Philadelphia Collections, Philadelphia, 1983, p. xvi. 3. Copy of dated receipt in registrar file.