-•££*»

The EarivEa* 1859-1872

This new volume devoted to the early work of Paul
Cezanne (1839-1906) is the first to explore the
least-known period of this most brilliant, revolu-
tionary, and influential of painters. His unique
vision freed art from the academic constraints of
the nineteenth century and heralded the begin-
nings of Cubism and the modern movement.
Startling in their intensity and in their diverse,
often complex subject matter, Cezanne's early
paintings provide a fascinating insight into the
mind of an artist drawn toward tradition yet
intrigued by the artistic upheavals and revelations
of his own day. Though Cezanne was later to
devote himself almost exclusively to the study of
landscape, with some forays into still life and por-
traiture, the work of these formative years is

unique for its fantastic and visionary aspects and

for the use of literary subject matter, which links
the artist more closely to the pastoral tradition than
to his Impressionist contemporaries. Cezanne's
sources of inspiration included the works of
Flaubert, Wagner, and Zola (a close friend for
many years), and the resultant paintings display an
unrestrained Romanticism, suggested by the loose,
vigorous handling of paint and the rich colors and
dramatic moods and contrasts.
This book, published to accompany an exhibi-
tion opening at London's Royal Academy of Arts
and traveling to the National Gallery of Art, Wash-
ington, and the Musee d'Orsay, Paris, documents
Cezanne's achievement during the years 1859-72.
Each of the 67 oils, 4 watercolors, and 19 drawings
is illustrated, and the works are catalogued and

discussed in detail by the distinguished art histo-

rian and painter Lawrence Gowing. A foreword by
John Rewald, author of Abrams' award-winning
Cezanne: A Biography, sets the stage for this
unprecedented study. Five essays by noted scholars
and curators position Cezanne's work within the
broader artistic and historical context of the
period, covering such subjects as Cezanne's liter-
ary and visual sources, an analysis of his early figure
scenes, and his relation to the critics, dealers, and
collectors who encouraged the young artist, recog-
nizing in these brooding and passionate works an
emerging genius.

137 illustrations, including 71 plates in full color

BOSTON
PUBLIC
LIBRARY
CEZANNE
The Early Years 1859-1872
CEZANNE
The Early Years 1859-1872

( Catalogue by Lawrence Gowing

With contributions by G6t2 Adriani,

Mary Louise Krumrine, Mary Tompkins Lewis,
SyL ie Patin and John Rewald

I clitccl by Mary Anne Stevens

[ larry N. Ahrams, Inc., Publishers, New York

BRIGHTON
Cover Illustration: Self-Portrait, c. 1872,
Musee d'Orsay, Paris (cat. 6})

Library of Congress Cataloging-in-Publication Data

Go.wing, Lawrence.
Cezanne, the earlv years 1 859-1 %->i Lawrence Gowing.
p. cm.
F.xhibition schedule: Roval Academy of Arts, London 22 April-21
August 1988; Musee D'( )rsa\\ Paris 15 Sept.-5iDec. 1988; National
Gallery of An, \\ ashington 29 Jan.- 30 April 1989.
Bibliography: p.

Includes index.
ISBN 0-8109-1048-9
1. Cezanne, Paul, 1859-1906 — Exhibitions. 2. Painting, French
Exhibitions. 3. Painting, Modern — 19th century — France
Exhibitions. I. Title
NDss;.C;;A4 1988 88-3510
759.4—dci9 CIP

Copyright C Royal Academy of Arts, 1988

Published in 1988 by Harry N. Abrams, Incorporated, New York

All rights reseryed. No part of the contents of this book may
be reproduced without the written permission of the publisher

A Times Mirror Company

Printed and bound in Great Britain

House Editor: Emma Way

Designer: Harry Green
 X

Contents

page vii 1 oreword

page viii Lenders to the Exhibition

page ix Acknowledgements
page x Photographic Acknowledgements

page i Editorial Note

page 2 Introduction
John Keivald

page 4 The Early Work of Paul Cezanne

Laurence Gowing

page 20 Parisian Writers and

the Early Work of Cezanne
Mary 1 --ouise Krumrine

page p Literature, Music and

Cezanne's Early Subjects
Mary Tompkins Lewis

page 41 'La Lutte d'amour':

Notes on Cezanne's early figure scenes
Gbl^ A dria ni
page jj The Collectors of Cezanne's
1 arly Works
Sylrie Patin

page 67 The ( Catalogue

page 21) Chronologj

page 21 Concordance ot \\ <>rks in the Exhibition

page 220 1 ist "i I xhibitions including Cezanne's Early Work

page 221 Select Bibliography

page 224 Index

Foreword

It is enormously gratifying and extremely appropriate that draftsman ot remarkable and consistent stature from the
we share this exhibition of Paul Cezanne's early work with very beginning of his career. In addition, it contributes to the
the Royal Academy of -Arts and the Musee d'Orsay. Collections resolution of certain critical dating problems and provides
in Washington area, both public and private, have long
the important evidence for a more secure chronology tor the
been rich in the art of Cezanne. There are nineteen paintings artist's stylistic and iconographic development and it adds sig-

and fourteen works on paper in our collection; six paintings nificantly to our knowledge of and the early years
this artist

and one drawing in the Phillips Collection; eight paintings of the impressionist movement. Moreover, as recent scholar-
in the collection of the White louse; and numerous works I ship treating Cezanne's subject pictures suggests, manv aspects
in private collections. Moreover, we are vers pleased to be of his extraordinarv achievement have been misinterpreted
able to lend two exceedingly important portraits of 1866, often as a result of a poor understanding of the early work.

The Artist's Fathei and \ntony alabregue, both of which I Cezanne: The Early Years 1R19-1X-2 makes an important con-
were given to the National Gallery by two of the most tribution not onlv to our appreciation of one of the most
enthusiastic collectors ot Cezanne's work in tins country, extraordinarv figures in the entire historv of art, but also to
Mi and Mrs Paul Mellon. our know ledge of the artist who inspired manv of his con-
A small selection ol Paul (.e/a line's paintings of the 860s 1
temporaries as well as Bracjuc, Picasso, ami later artists.

and 1 870s is almost always included in exhibitions and survc\ s To Sir Lawrence Gowing, the Curatorial Chairman of the
of the impressionist movement, and liis later work has been Phillips Collection, who has been the principal organi/er
carefully analyzed in essaj monographs, and such exhibitionss, and driving force behind the exhibition, and to the authors
as C&tyinne: The Late Work held in New York and Paris in of the catalogue, we owe an enormous debt. This exhibition
1
v7H lowever, the earl) work has never before been isolated
. I would not have been possible without the cooperation and
and extensively studied. Ce\anne: //«Early Years 18}?—1872 assistance ol' numerous individuals and institutions, most
is I he first exhibition to provide a thorough examination of notablv the man) lenders who have so kindlj and generously
the formative years of the artist who was a kej figure in the made their paintings, drawings, ami watercolours available
impressionist and post impressionist movements, and in whose tor the better part of a vear. \\ e are vcrv grateful to the I
N

work we find the undisputed origins of modern art. Although Federal Council on the Arts and the 1 1 u mam ties for granting
artists such as the German expressionists andmore recenth the exhibition an indemnity. In addition, sincerest thanks
those of the itilernatiiin.il neo-expressionist movement are are due to our colleagues at the Roval Ae.ulcmv of Arts,
clearly indebted lo ( e/anne's early work, II has taken scholars especiallj Roger de Grey, President; Piers Rodgcrs, Secretary;
more than a century to come to terms with the precocious Norman Rosenthal, Exhibitions Secretary , who initially con-
brilliance, enigmatic subjeel matter, and seemingly anomalous ceived the idea for this exciting project; Annette Bradshaw
stylistic development oi the earl) work. and Susan Thompson of the Exhibitions Office; ami above
This exhibit ion reveals the immense div ersit v of Cezanne's all the indefatigable Man \1111c Stevens, Librarian and lead I

creative 1 mag mat ion. It also shows US the richness and beaut v 1 it I ducat 1011, who co select ed and coordinated the exhibition,
of the quasi-expressionisi technique thai characterizes his and edited the catalogue. I would also like to express mv
work prior to the influence ol orthodox impressionism and gratitude to 1). Dodge Thompson, Chief of Exhibitions;
the concomitant emergence of his more characteristic 'con Charles S. Moffett, Senior Curator ot' Paintings; Frances
structive' brushstroke in the mid 1870s. For more than a Smyth, Editor; Gaillard Ra\ end and Mark .e ha user, ( !hief 1 it

century, Cezanne's earlj work has been both controversial and Deput) Chief of Installation ami Design; Man Su/or,
and perplexing to most viewers. However, in the careful Registrar, and the manv others at the National dallcrv of
examination ol a large number of earlj works of great Art who worked on v arious aspects ot the exhibition.
quality, the exhibition confirms the artist as a painter and

I. ( iRiiR Brown
Director
National Gallery of . \rt
List of Lenders

Australian National Gallery, Canberra The Trustees of the National Gallery

National Museum of Wales, Cardiff

Museo de Arte, Sao Paulo
The Trustees of the Tate Gallery
Museum of Fine Arts, Montreal National Museum and Galleries on Merseyside,
Walker Art Gallery
Nationalgalerie der Staatlichen Museen zu Berlin,

Hauptstadt der DDR The Art Institute of Chicago

The Bakwin Collection

Insel Hombroich
Cincinnati Art Museum, Cincinnati, Ohio
Musee Faure, Aix-en-Bains ). Paul Getty Museum, Malibu, California

Musee Granet, Aix-en-Provence Jim and Mary Lewis

Pierre Malbos Los Angeles County Museum of Art

(Cabinet des Dessins, Musee du Louvre, Paris Metropolitan Museum of Art

Musee d'Orsay, Paris National Gallery of Art, Washington

Musee de la Yille de Paris, Petit Palais The Henry and Rose Pearlman Foundation
Picker Art Gallery, Colgate University
Civica Galleria d'Arte Moderna, Milan Saint Louis Art Museum
Museum Bovmans-van Beuningen, Rotterdam The Sam Spiegel Collection
The Ian Woodner Family Collection, Inc.
Foundation F.G. Biihrle Collection, Zurich Yassar College Art Gallery, Poughkeepsie, N.Y.
Kunsthaus, Zurich Yale University Art Gallery, New Haven
Kunstmuseum, Basel
Leningrad, The State Hermitage Museum
The Syndics of the Fitzwilliam Museum, Cambridge
The Provost and Fellows of King's College, Cambridge and those lenders who wish to remain anonymous
A c know ledge me nts

We would like r<> thank the following Jeanninc et Edouard Chapet Stephanie Rachum
who have contributed in so many Mme Adrien Chappuis Judge Rava Dreben
different ways to the organisation ol Lucy Dew- Anne Roquebert
the exhibition and the preparation Bruno Ely James Roundell
of the catalogue: Gennady Fedosov Herr Rudolf
Pierre Giannadda F.lisabeth Salvan

Charles Allsopp Cheryl A. I lauser Patrice Schmidt

Eve A on so I [acqueline I lenr\ Julien Stock

foseph Baillio Paul I lering Michel Strauss

Armelle Barrc Amanda Kiddy Philippe Thiebaut

Evelyn Barron Annick I.autraite Patricia Tang

Segolene Bergeon ( riuseppe Liverani I Eugene Thaw
Beatrice dc Boisseson Gabriele Mazzotta [sabelle Volf
David Bottoms Karin Meyer |ayne Warman
Alexis Brandt Peter Nathan Martin Wyld
I larry Brooks Boris Pietrovsky and those who wish to remain
[sabelle Cahn ( icnrtkh Popov anonymous
Photographic Acknowledgements

The exhibition organisers would like to thank the following Kunsthalle Mannheim Cat. 73
for making photographs available. All other photographs
Kunsthalle Tubingen Figs 29, 30, 33, 35
were provided bv the owners of the works.
Robert Lorenzon Cat. 49
A + B Photographic Services Ltd Figs i, 2, 4, 5, 7, 8, 10, 11,
Metropolitan Museum of Art, New York Cat. 83
12, 13, 14, 16, 17, 18, 19, 20, 23, 27, 28, ;4

|ohn Mills (Photography) Ltd Cat. 34

\cquavella Galleries, Inc., New York big. 21

Musee de la Yille de Paris

Douglas Baz (New York) Cat. 8
© by Spadem 1987 Cat. la-d
The Chrysler Museum, Norfolk, Virginia Fig. 5
Museum Insel Hombroich, Kunstparellel zur Natur
Bernard-Yves Cochain, Paris Cat. 5
Cat. 11, 28

W. Draver, Zurich Cat. 1

5
Pollitzer, Strong + Meyer Cat. 19, 29, 61,85

Mike Fear for White Bros (Printers) Ltd Cat. 59 Service photographique de la Reunion des musees nationaux
Figs 9, 22, 24, 25, 26, 31, 32, 56, 37, 38, 39,40,41,42
Foto Saporetti, Milan Cat. 41
Cat. 2, 6, 14, 15,20, 23,25,26, 32, 33, 39,40,46, 51, 52, 53,
Koto-Studio, H. Humm Cat. 48, 50 62,63,78, 80, 81

Lynton Gardiner Cat. 42 Sotheby's Cat. 9, 10

Professor Sir Lawrence Gowing Fig. 6 Bernard Terlav Cat. 68

Tom Haartsen Cat. 69, 82 John Webb Cat. 60

Mary Louise Krumrine Fig. 1

Editorial Note

The literary and exhibition references were provided by Each work is given its catalogue raisonne reference followed
|ohfl Rcwald, New York, who is preparing a new catalogue by its number, e.g. Y. 20, RWC. 4, Ch. 81. Where a work is

raisonne of Cezanne's paintings with the help of grants from not listed in the relevant catalogue raisonne, the abbreviation
the National Endowment for the I [umanities, Washington, is preceded by 'non', e.g. 'non-V.'.

d.(.. I le is assisted in this work by Mrs Jayne Warman.

When the history of a painting is uncertain, a (?) precedes
The catalogue is in three sections: oil paintings, watercolours the name of the collection or the sale through which the
and drawings. The works within each section are arranged painting may have passed.
chronologically.
Exhibition references for paintings are listed
Titles are given in English, followed In the French original chronologically. Certain major exhibitions have been
in brackets. In a few cases, e.g. he Dejeuner sur Pherbe feat. abbreviated with tow n preceding institution and date, e.g.

5 i), no translation has been given. 'Paris, ( )rangerie, 195 $'• lull details of all exhibitions are

given in the List of Exhibitions on p. 220. Where an

on canvas unless otherwise stated.
All paintings are in oil
exhibition takes place in more than one location, a dash
Watercolours and drawings are on white paper unless
follows the date and catalogue number and precedes the
otherwise Stated; their medium is always specified.
subseciuent location, e.g. 'Edinburgh, Scottish Royal
Dimensions of all works are given in centimetres (cm) and Academy, 1954.no. 7 London, Tate Gallery, 1954,
inches (in), height preceding width. no. 7'.

Very few works executed by Cezanne in the period 1X^9 72 Bibliographical references for paintings are given in
can be firmly dated. Where external evidence exists to permit chronological order under BIBLIOGRAPHY. Where a reference-

a firm date within a given year, the dale is given without occurs frequently in the catalogue and in the essays, it has

qualification, e.g. '

1 866'. Where st\ hstic and/or external been abbreviated to the author's surname followed by the
evidence suggesi thai the work was probably executed date of publication and page reference(s), e.g. Riviere, 192;.

within a given year, th< date is preceded by V.', e.g. '1.1 866'. pp. 240 4 1 . lull bibliographical details are given in the

Where stylistic and/or external e\ idence suggest that the Bibliography oa pp. zii ;.

work was executed within a longer period, the extent ot the

lor works on paper, full provenance, exhibition and
period is denoted as follows: \ 1 866 8'.
work can be found
,

bibliographical references for each in the

for 1 he three catalogues r.iisonnes ot ( e/. in tie's paintings, relevant catalogue raisonne, RW < . for watercolours, Ch. tor

w atercolours and dravs ings, the follow ing abbre\ 1. it ions are- draw ings, tor w Inch .1 number is also given.

used:
ne works cannot be exhibited in London, Tans and
V. = L. Venturi, Cit^atme, son art, son auvre, Paris, 1936. \\ ashington. \\ here a w ork is unavailable for exhibition, its

RWC. = ). Rcwald, PaulCi^anne, The Watercolours, catalogue note is prefaced with the initial of that cnv . e.g. *l"

1 ,ondon 1983. = London, "p" = Paris and 'w' = Washington, D.c. Where a
Ch. = A. Chappuis, The Drawings of Paul Ce\anm I
w ork is exhibited in one cttv only, is designated with two it

Catalogue Kaisonnt, 1 vols., Greenwich, Conn., and London, initials, i.e. "1 p' = exhibited 111 \\ ashington, D.C. onlv . \

1973-
work with no designation is exhibited in all three cities.
 nobody today who has
Introduction There
intense,
is a more
and more lucid concept of Paul Cezanne's work
intimate, more

than Lawrence Gowing. A painter himself, he has developed

John Rewald oyer many years a burning passion for the master. But
Gowing is also a historian, with an extraordinary range
of interests, experience, and, hence, knowledge. Thus he
is able to see Cezanne's achieyements within the context

of past centuries and to distill the specific nature that sets

them apart from those of his peers. As a painter, Gowing
approaches Cezanne not with the idle questions of why
he did what he did, but with the professional curiosity as
to how his accomplishments were attained. And it is this
'how' that offers one of the keys to the master's work.
Cezanne's paintings, to Gowing, are less subjects for cold
dissections or hazardous interpretations as they are sources
for constant wonder, where the penetration of the artist's
means of expression becomes an irrepressible spring of
delight. Yet, he does not content himself with merely
experiencing this delight; in the most graceful prose he
expresses what he sees and feels, thereby communicating
as well as this unique bliss, the mysterious felicity released
b\ the contemplation of a masterpiece.
Gowing's delight, his warm and enthusiastic response
to Cezanne has helped him reach an unequalled familiarity
with the artist's style. As a result, not only the most
subtle yariations of expression but also every single brush
stroke and every nuance of colour are seen as telling
elements of the artist's slow - and sometimes hesitant -
development. Under these circumstances no one has been
better qualified than Sir Lawrence to study what is certainly
the least well-known phase of Cezanne's evolution: his
early work.
Throughout his life, Cezanne provided few facts or
dates that might help establish a sequence of his paintings;
and - at close scrutiny - even some of his rare 'guideposts'
turn out to be unreliable. This is where the intuition,
knowledge, and experience of a painter-historian such as
Gowing render signal service. For the Cezanne of the
formative years, the Cezanne before the mature Cezanne,
was a man of major achievements, an artist who would
have left a name even if he had not reached the glorious
mastery of his subsequent, especially late, years. Yet, this
early Cezanne - despite the number of overpowering
works sometimes appears almost unrelated to those ot
that
the older man - has remained practically unexplored, and
never systematically separated from the one who emerged
step by step after the Franco-Prussian War, an event that
coincided with his encounter with nascent Impressionism.
Indeed, Cezanne's formative years ended when, under
the impulse of Camille Pissarro's example, he began to
"develop his sensations in contact with nature'. The change
was such a radical one (though not at first necessarily for

the better) that it not only justifies the cut-off date selected
by Gowing, the change actually imposes itself as a stylistic

break of tremendous consequences.

 INTRODUCTION

If Cezanne, then in his earlj thirties, had been killed every Cezanne is entitled to his inconsistencies, the
artist,

during the war of [870 fas was Frederic Bazille), or

1 more so as he was frequently dissatisfied with his paintings,
had he died before the age of forty (like Raphael, Mozart, and in such cases he mav have looked left and right or
Gericault, Seurat or Radiguet), we should not know- c\ en backward before taking a step forward. His insecurity
such canvases as the Arc 'alley with Mont Sainte- ictoire,
I 1 mav actuallv have been the ransom of the over-abundance
Old Woman with a Rosary, or The (•real Bathers. Still, we of his gifts, the almost disturbing richness of his 'sensations'
would recognise an ebullient young genius who, from that left him hesitant before deciding which road he
the beginning, followed a road of his own and did so should follow.
despite the various influences to which every beginner is Nevertheless, Gowing's minute scrutiny of Cezanne's
exposed. We would, in other words, admire not merely earlv work has enabled him to establish a certain succession,
promises contained in his first paintings, but also their to detect elements of continuity that reduce what would
astonishing realisation; for he has in truth left us landscapes otherwise appear to be capriciousness. He allows us to
of dramatic moods and contrasts, still lifes ot serene follow the voung master in the conquest of his own
equilibrium and of boldness, portraits of fascinating pene- personality, in, one might say, the harnessing of his unruly
tration and impetuous expression, as well as imaginary temper. But there remains a factor of uncertainty that
still

scenes of vibrant intensity and unconcealed eroticism. even Sir Lawrence's gifted insights cannot elucidate, namely,
Indeed, there is nothing among the works of his contem- the unquestionably numerous works
major as well as
-

poraries that can be compared to the uniqueness of his minor were destroyed by the artist himself (or
that
sometimes awesome variety of
frenetic output or to the possibly even his father) or have simply been lost. With
his subjects approach to them.
and his them has disappeared manv a link that might otherwise
The very diversity and splendour of Cezanne's works have completed the chain of Cezanne's evolution. To
dating from before or during those- war years seem to mention this does not minimise Lawrence Gowing's
mock all attempts at classification. The young painter achievements. It serves rather to illustrate some of the
tackled countless problems, as though testing the limits insurmountable problems he encountered in the pursuit
of his genius which was unlimited. Undeterred by these of his heroic task. Fate notwithstanding, what we are
(.owing has ventured t<> establish sonic- kind
difficulties, offered in this exhibition an unexpected glimpse at the
is

of order, even though he knows full well that what may formative years of one of the giants of art who, without
appear logical to us may not necessarily conform to the actuall) wrapping himself in a cloak of mystery stubbornly ,

artist's own validity. As a matter of fact, ( lezanne did not refused t<> leave us anything but his masterpieces
and probably did not care- to follow a strict line ot This foreword was written, not so much for this
progress. Did he not paini 111 Auvers, during his initial catalogue- w ith us multiple contributions, as tor Lawrence
contact with Impressionism, some si ill lifes that are sur Gowing's specific introduction.

prisinglv inferior to still lifes executed previously? Like

The Early Work The first image that we have of the youth of Paul Cezanne
and one of the first drawings bv him that we possess is on
the last page of a letter (fig. i) written in 1859 when he
of Paul Cezanne was twentv to Emile Zola, the literary son of a great
engineer and his inseparable friend, who had been at
school with him in Aix-en-Provence. Another friend, 1

Lawrence Gowixg almost equally close, was Baptistin Bailie, a physicist by

inclination destined to become head of a firm of optical
instrument makers. In the letter the three are shown
bathing together under on one of their idyllic
a great tree
expeditions into the country around Aix on which they
would climb and swim, exchange romantic poems and
discuss their hopeless amours, while Paul emerged from
the shadow of his formidable father. The nostalgia for
those days stayed with Cezanne. To the end of his life the
sense of comradeship and the countryside remained 'the
sentiments stirred in us by the good sun of Provence.'
The three friends had more poetry and romantic
fantasy in their heads than painting, although Cezanne
had won a prize for painting at fifteen and went on to

- M*

/ -

1
!>,.'

I'ig. 1 Bathing, 20 June 1859 (Ch.38), pen drawing in a letter to Emile

Zola. Private Collection.
 THE KARLY WORK OI PAl I. CEZANNE

draw at the Academy in Aix after passing his baccalaureate

'rather well' in Greek, Latin, Science, Mathematics and
I listory at his second attempt in 1858. Zola (whose mother
had taken him to Paris after his father's death the year
before) failed his baccalaureate altogether. Cezanne wrote
to him on 9 April 1 8 5 S:

'Do you remember how that pine tree standing beside the
Arc tossed its hirsute head over the abyss yawning at its

feet that pine whose foliage sheltered our bodies from

the fierceness of the sun? Ah, may the gods preserve it

from the dread stroke of the woodsman's axe!' 2

The passionate involvement in nature and the loyalty

to a native countryside were incorporated in Cezanne's
later attitude to painting and increasingly essential to it in
Ins last years.

So much must have been a common legacy of Ro-

mantic boyhoods. The personality in which Cezanne's
friends delighted was described In Bailie in a joint letter
that they wrote to Zola in 1858, referring to 'that poetic,
fantastic, bacchic, erotic, antique, physical, geometrical
friend of ours . . .'A It is hard to know which epithet we
could spare.
The passions of Cezanne's involvemenl with nature
contained from the beginning an element of self immolation.
In the next year he sent /.0I.1 a nightmare poem of pursuit
l>\ demons entitled / ' nc terrible histoire which culminated
in a dread invocation! '
" 1 1 rn , 1 11 sin In wo/.' Rocbers, b)

won corps!" 11 voulais m'icrier: "0 demeure des morts, Receve%-

moivivant" These feelings of his b<>\ hood contributed to
'.
'
1
2 \ miuIscape with a Fisherman, c i860 62. Formed} |as de Bouflan,
the intensitywhich lezanne eventuall) brought to painting
( Prance.
from nature. Bui the pictures that he began to p. lint in his
twenties seem on the surface to have had no part in it. very direct!} to us. So we have thought it none too soon
The reason for looking closel) at what ( avannc did befi >rc to look at Cezanne's first w orks tor their own sake.

1872, when he joined 1'issarro and developed rapidh into ( 1 zanne had all domineering fathers
the troubles that
the painter we know, is 1l1.1t constituted a separate and 11 give their passionate sons. Louis-Auguste Cezanne was a
unparalleled creation. Its relevance to Ms surroundings banker like the lather of Degas; unlike the tolerant

and sequels was marginal. Oblivious of opinion, it held Parisian family, he did not welcome the appearance behind
meaning in its own passionate right and in the uncouth the counter of a moroseb determined painter-to-be. But
coin action of the paint* 1 there must have been a good deal of understanding between
Cezanne's work found shadow while other painters, them. In 1SS9 Louis Augustc bought the scvcntccnth-
his Paris friends, sought light. Its emotional expression ccntun mansion of the Jas de Bouflan outside \tx and
w as often grievous. Death and mourning were its common within a year or two the salon was being decorated in a
stales.Love in was inseparable from violence. Its caprice
II way that a lesser man might have found disconcerting.
was ungoverned and its reason eccentric. Its portrayal oi Tlie Landscape with a Fisherman (tig. 2), which was until

his world can now be recognised as often brilliant, some k end) on the left hand wall >.A the salon, was a blend of
<

times grotesque, yei as often crudel) grand, K always

ne. 11 conventional and romantic idioms. Another dec-oration
unquiet and seemingly haunted by a spun thai is unex- (fig. m the picturesque manner was transformed later
plained. Its movements writhed like snakes. Its stillness by the insertion of a male mule in a position suggested by
built a solidity into paint as no painting before had ever the notorious father b\ Courbet though it is not clear
been built, as if pa ill could be as monumental as mason r\
1
that Cezanne knew the actual picture which Napoleon HI

before e/. nine's w.i\ changed in iSt: am) his ferocity

( had struck with his whip in 18s ;. It is doubtful whether
was sublimated under another star, these firsi works cul- anj oi these decorations was painted before June 1S
minated group of masterpieces low Inch opinion has
in a when Zola could si ill write to Cezanne about 'big panels
still hardly allowed theil deserts, yei which now speak such as \ mi want 10 do at home".

5
L A \V R E N* C E G O \V I N CI

near Salon, the family home of Granet's friend, the Comte

de Forbin, with extensive grounds that were and are a
favourite resort of families from Aix, the boudoir of
Pauline Borghese's apartments on the second floor is

decorated with a set of papiers peints, ascribed to Granet,

with full length figures of the Seasons in a formal neo-
classical style that has no resemblance to Granet's habitual
style troubadour. Whoever designed them, the subject was
at least current in Provence. But Cezanne seems to have
been aware of the tradition that descended ultimately
from examples like the Seasons then ascribed to Botticelli,
which were bought, it is not known where or when, but
Paris in the 860s is a likely guess, for the Rothschild col-
1

lection at Mentmore in England and sold again by Lord

Rosebery at the end of the decade. 5 An engraving of
them might conceivably have reached Aix, by way of Zola
who had been established in Paris, however uncomfortably,
for three years. But the simplicity of the decorations
should not obscure the possibility that they reflect direct
experience in Paris and thus do not date from before 1861.
They are unlikely to have been painted all together.
The placing was odd: Spring, Summer, Winter, then Autumn.
It must have reflected two phases in the work - firstly the

painting of Summer (cat. ia) and Winter (cat. ib) in the

major positions, and then the addition of Spring (cat. ic)
and Autumn (cat. id) rather later. They are big pictures and
the ambitious scale is sustained with a confident touch and
clear colour, but there is a sardonic note; all are signed
and Winter is inscribed and dated Ingres 181 i. This is a
reference to themost important nineteenth-century picture
in Aix, the Jupiter and Thetis by an artist who was always

repugnant to Cezanne - and whom it may have occurred

to him to mock on the fiftieth anniversary of the picture.
Later he added to the scheme a paraphrase of a Lancret of

Fig. ; Buther and Rocks, c. 1860-62 (Y.85). The Chrvsler Museum,

Norfolk, Virginia, Gift of Walter P. Chrvsler, [r.

The most remarkable parts of the scheme at the Jas

de Bouffan were the famous panels in the alcove of the
salon (fig. 4), now in the Musee du Petit Palais, Paris.

These have usuallv been regarded as the earliest works by

Cezanne that we know, on the assumption that their plain
clear colour and innocent drawing were merely ignorant.
It now seems, on the contrary, that thev represent a serious

and creditable, indeed rather able, amateur's attempt

to recapture a character of Renaissance painting. Winter
(cat. ib) suggests that he had seen, if only in an engrav-

ing, one of the starry skies in this mode by Tintoretto

and the whole series must have been suggested bv some
prototype of a kind that might not have been easy to find
in Aix. There was one series of single-figure allegories of
Fig. 4 Alcove in the salon of the Jas de Bouffan. Portrait of
the Seasons by one of Cezanne's favourite artists and that Louis- Atiguste Cezanne, Father of the .Artist in the centre, flanked by
he might possibly have seen. At the Chateau of Barbcn, The h our Seasons.
 THE EARLY WORK OF PAUL CEZANNE

Blind Man's Huff, which Fulfilled more conventional expec-

tations, and still of Louis-Auguste in the
later a portrait
middle (cat. 4). These first decorations must all be under-
stood as to some degree ironical, with the facetiousness
of adolescent vulnerability. The) give no sign that, as a
letter from Zola implied, Cezanne regarded himself as a

realist.' 1
In this kind of delayed artistic adolescence styles
are so many disguises, bur there is a romantic spirit in the
airwith which Cezanne flaunts them and then lets them
drop, lie was a passionate dreamer, and the hopeless
nocturnal lust for style was a part, with his macabre and
sensual poetry, of the dream world that sustained him. In
1870 Zola found charming confession in a letter of
a
l
Cezanne's thai is lost to us and sent on to Bailie: Je suis it

en nourrice che% les illusions.'" It was evidently in 1861 2,

1

possibly during an unrecorded return to \ix in the summer,

that Cezanne painted the last of these early decorations,
the whole-hearted tribute to Louis August c which is now
in the- National (iallcrv in London (cat. 4). It has an
obsessional consistency that is all his own, and an insight
into the essential lumpinesi of the modelling in heavy
paim which was the conventional hallmark of Courbet's
influence. This same assertive lumpmcss, pleated and
convoluted into simplified and forceful patterns, marks
what must be among the earlier of Cezanne's paraphrases
oi fashion plates. 8 By hindsight, one can sec- thai there is

an originality in the naive frankness ol his com iction that

style is the intrinsic force with which a visual statemem is

propounded. Conventional criticism has been quite wrong

in regarding a picture like the paraphrase of a fashion
plate in Russia as merely maladroit. The actual execution
is m its own way rather adept the hands, for example, Fig. s Photograph oi Paul < ezanne, 1861.
show him adopting all the dclic.u \ oi tonal modelling <>t

which the style espagnole was capable in the early 1860s

when his commitment to an extreme formulation allowed des Refuses in 1863. The view of the Colosseum (tig. 6)
it. There was an evident pre-disposition to a passionate echoes the arch-form of the trees, as one might expect of
reaction to every situation, a reaction that was predictable the painter whose later works made the intrinsic shapes
only in its invariable force. 1 1
1 a formulation into the essence ol art. But these pictures
An inconclusive, but forceful portraii of Zola maj are revealing in another wav; the) reflect homesickness
well be one of those thai were worked on, deleted and tor \i\. The ( olosseum is in tact a paraphrase reversed
started over again in summer 1 H() 1
.''
Also in 1 S6 1
, ( iezanne and dependent on an engraving of a famous picture b)
had photograph taken (fig. 5), and the sombre sell
his the greatesi ol \i\ artists, M. Granet (tig. 7), winch 1 .

portrait that he made from the result was carried out in a hail been bought b) the state .\\u\ added to the Louvre in

quite unprecedented style (cat. 2); is photographic in its it 1806. Cezanne did not understand that Granet's picture-
iron grey tonality, but also in the accents of unmitigated was a \ lew within the ('olosseum across the arena. But he-
vermilion which mark the emotive features less restrained got from it a qualit) of the South, and a reminder of the
by convention, in lact less photographic than anything large collection of hisworks that Granet had bequeathed
else m the painting of" the time. The picture portraj s very to tin- \i\ museum when Cezanne was ten in 1849. .mile I

clearly the brooding conviction which is echoed in ever) Biinard supposed that Cezanne's admiration for Granet
thing we know of him at this time, was due simpl) to local patriotism, but in fact the example
Two little pictures, a landscape and a view ol Rome, was in his mind throughout his life. Granet, who was,
which have appeared on the markel in recent decades, seem among other things, the greatest exponent of painting in
to me entirel) acceptable as Cezanne's work. The trees the open air from nature who hail ever worked in Provence,
are the kind oi inconspicuous production thai Cezanne virtuall) discovered Cezanne's rock) motifs and his
niiuht have hail refused al the Salon and hulls' at the Salon quenl subject was die Mont Sainte Victoire.
LAWRENCE GOWING

In these years Cezanne's blend of the method of skills of figure drawing Academie Suisse in the
at the

Courbet with the matter of Barbizon had often an over- company of soon built
Pissarro. But, unlike Pissarro, he
tone of Granet, who was devoted to the arch-form. But his studies into Romantic and lusty pictures free from the
Cezanne's attitude, if not immediately his style, was more archness of J.-F. Millet, the nearest forerunner among
affected firstly bv the study of Renaissance art, and life the older artists whom the circle respected. The fresh
drawing in the manner derived from it, and secondly by iridescence of the colour is exceptional and one can under-
Camille Pissarro, whom he met at the Academie Suisse. stand the admiration of Pissarro who owned Women dressing
Claude Monet was working there too. Pissarro, who had (cat. 28) and drawings for it, but these pictures had more
made his debut at the Salon in 1864 as a pupil of Corot, conventional sweetness than suited their painter.
was working in a more refined, sophisticated style. The In the artistic climate in which Delacroix had observed
attenuated purity of the landscape vision of painters in came from breaking the rules,
that the best effects often
thismode, and the hint of social message, to judge by Cezanne was distinguished by a native recklessness and
more than one cartoon of Daumier's in 1865, seemed to an urge towards the major historic categories of subject
the older generation slightly ridiculous. Certainly the matter that Pissarro never possessed. It is quite wrong to
robustness of Courbet had more immediate appeal to think of him at his most impulsive as unskilled or clumsy
Cezanne. Cezanne gathered knowledge of the traditional in any usual sense, even in his twenties. In 1864, he wrote

Fig. 6 I 'iew of the Colosseum, Rome, F.M.

after Crane/,

f.1863-5. Present location unknown.

 THE EARLY WORK OF PAUL CEZANNE

Fig. 7 I'M. ( rranet, Interior I "tew of the Colosseum,

Rome,c.itio6. Musee du Louvre, Paris.

that he had done- no more to his [. . .] after Delacroix; the earlier canvases were to hand, and it shows no sign ot the

word is illegible, bul he maj have been speaking of his freshness with which Cezanne was likely, at any date, to
copy of the Barque oj Dante (cat. 5). which is remarkably respond to working outdoors. It seems that the unfinished

adept. Cezanne's way of painting from the model in [864 1

Pere Rouvel has been lost; there is no other candidate for

sccurel) documented bj a dated Portrait of a Woman} sup the identification among the surviving pictures of the

posedly the future Mme Zola, in a confidently tonal style middle sixties. It is not impossible that the head of the
with affinities with Manet as well as with Courbet. There old man was painted earb in [866; it surely dates trom
is a suggestion of contrapposto in the pose which links it before the large group of palette-knife pictures on which
with more awkward and apparently earlier
a Portrait oj a he embarked in August. In this culmination of the style
Young Woman. u This is carried out in long, curling anil of 86s, the strips of colour on which it was based took
1

laboured strokes of paint and introduces us to the other on a snaking power, and an observant figurative reference
aspect of Cezanne's style w hich alternates « ith the Mocks which reappeared in the curling strip like styles of the
of tone throughout the 1860s. The sharplv contrasting years to come. The head of the old man is unfinished and
directions are echoed inanother port tan also dominated
1
'
under it there are traces of a juvenile picture of hooded
by a blue shirt hut in ever) Waj more assured which we worshippers in a religious procession, which seems to
must link with his increasing capability after 1864. The reflect an interest in ceremonies of the pious cults of Aix

development of this strip like Style oi brush-work was like the Penitents Cms which mav help us to understand

immediatelj affected by his study of Delacroix and Rubens at least one ot" the subjects that Cezanne was to paint in

m [864 The most developed drawing after Rubens was

s.
the latter part of the decade.

made before 865 (cat. 73) V hen w as given to Jacomin.

1
11 The characteristic achievement of the middle sixties,
The still life in Cincinatti, dated [865 (cat. 7), depended on the palette-knife pictures, most of them portraits (cat. is,
more recent models. The conception and ision as well as \ 16, is 2 )', were not at all baroque, neither linear nor in

the rounded modelling are akin to painters in the wake of am wav historicist except in the variety of costumes that
Courbet like Honvin, while the strips of paint take on a his uncle Dominique was made to wear. The units ot

Stringy and tenacious rhythm which reflects admiration stvle were the tonal slabs out of which the images were
for the virility of Baroque type styles. The culmination built. The whole astonishing group of pictures, of which

of this trend was the famous portrait ot an old man swen heads, including the first mature self-portrait in the
(cat. 6), which came to the French National Collection from pose which later became habitual and live half-length
Vollard. It has been suggested thai this might be the portraits as well as the full-length survive, would seem to
portrait ofPere Rouvel, the father of Cezanne's landladj have been painted between \ugust S66 and the following 1

at Benneci »uo in the summer of 866, which he described

, 1 January. ezanne is described as finishing each of the
(

beginning in the open air in a letter to Zola on $0 June. heads in an afternoon; it was extraordinary testimony to
lake the other large picture in this stvle, the
This is improbable for two reasons, the Old Man was his abilities,

clearly painted in a habitual studio where abandoned portrait ofValabregue which had been painted earlier in
LAWRENCE COWING

the vear (cat. 16), the lower parts of Louis- Vuguste's dentally that; the idea of art as emotional ejaculation
portrait reverted to the more linear, rhythmical handling. made its first appearance at this moment. But bevond this
On the wall behind him hung a still life of a blue mug, a Cezanne was the first man in the group, perhaps the first
sugar-bowl and three pears as an additional demonstration; man in history, to realise the necessitv for the manner in
the original is now deposited at the Musee Granet in \i\ which paint is handled to build up a homogenous and
(cat. 14). In it the handling with the knife can be observed consistent pictorial structure. This is the invention of
replacing the fat brushwork which preceded it. forme in the French modernist sense - meaning the con-
The picture of the father described by Guillemet on dition of paint that constitutes a pictorial structure. It is

2 November 1866 is a demonstration piece. Louis-Auguste the discoverv of an intrinsic structure inherent in the
is reading the paper, L' Evenement, which had printed medium and the material. Unlike Monet, Renoir and
Zola's series of articles on the Salon in which he had Pissarro, who were adapting Courbet's method to sen-
attacked the |urv that had refused (among other things] suous or atmospheric purposes in the relatively polite
the portrait of Valabregue. This series of articles went on kinds of picture that went with ultimately conformist
to develop Zola's theorj of
art and to review not so intentions, Cezanne was intensifying Courbet's least ac-
much whole Parisian artistic scene.
the exhibition as the ceptable pcculiaritv, making it obstrusive, svstematic and
This was the view of art that Zola had propounded a few obsessional.
months earlier in an article on Proudhon and Courbet Underneath the rudeness of Cezanne's way with paint
when he defined art as a corner of nature seen through a in 1866 there was the idea of an order of structure that
temperament. In the Salon reviews he pursued the idea: it would be inherent in the paint-stuff. It was the expression
is not the tree, the countenance, the scene offered to me of what he found lacking in Manet and had in mind when
in a picture that touches me; it is man whom find in
the 1 he said: 7/ crache le ton out, mats it manque d'harmonie et
. . .

the work, the powerful individual who has known how to aussi de temperament^ He lacked, that is to say, 'the initial
create alongside God's world a personal world which my force which alone can carrv someone to the destination
eves will never forget and which they will recognise every- he must attain'. " The remark about Manet is our first
1

1
where. In other words, the point of Zola's definition lay glimpse of Cezanne's special vocabulary of pictorial defin-
in the second half of the proposition the power of the itions, which takes on such importance in his later years
temperament through which the corner of nature was to when it articulates and sustains a shift in the whole inten-
be seen. This identification with the personal force that tion of art.
an artist brings to art as the ultimate artistic value is the 'Harmony' is evidentlv not merelv the tonal accord
context of Cezanne's cultivation of a forceful application which a painter like Manet might possess, but the struc-
of paint to the canvas. The reading of L.' Evenement was a ture of correspondences. 'Temperament' meant the com-
popular subject for painters in 1866: in Renoir's Cabaret pulsive force with which real painters had to deploy such
de la Mere Antoine Sislev has the paper open in front of structures.
him in the foreground of the picture. 13 In fact Louis- 1866 is the first of the dates that Cezanne offers us -
Auguste did not read U
'Evenement. Guillemet describes there are several others later - which we mav if we wish
him reading Le Steele, a conservative paper which had call the beginning of modern art. Cezanne's initial force
always attacked Manet as vigorouslv as Zola defended and the innovation that it dictated were immediately
him. Cezanne's picture is not, as is sometimes supposed, an understood by one man, Camille Pissarro. A still life
image of the proud father reading his son's praises; in fact dated 1867, now in Toledo, Ohio, was executed entirely
Cezanne was not mentioned and the prefatorv letter to with the knife in a passable (though relatively amenable)
him, which further developed the theme of the dominating version of Cezanne's manner, and a picture like the Square
temperament, was only added when the series was re- at Roche Guyon (fig. 8) seems to show a knowledge of pic-
published as a pamphlet later in the vear. 'We told our- tures like Cezanne's view of the Rue des Sanies (cat. 29). 16
selves', Zola wrote in the preface, that outside a powerful One more picture can be documented to 1866, Mar/on
individual personalitv there is nothing but deceit and and alabregue setting out for the Motif (cat. 25), a sketch
I

stupidity.' from nature on the theme of friendship showing Valabregue

The palette-knife pictures were exceptional. Looking and Marion setting out to look for a landscape motif, the
at them stacked against his studio wall thirty years after- latter with an easel on his back a picture which was to
wards, Cezanne called them une couillarde and the coarse be painted outdoors. The months of intensive effort in
word for ostentatious virility suited the crudity of the at- the studio left Cezanne with the belief that pictures painted
tack with which the palette-knife expressed the indispens- indoors would never be as good as those done in the

able force of temperament for a few months in 866. 1 open air; it was the nucleus of the convictions about
Onlv Pissarro understood what Cezanne had begun painting from nature that he acted on five years later. To
in this group or pictures. This phase was not onlv the judge from the of paint that compose Marion and
fat strips

invention of modern expressionism, although it was inci- 1 alabregue, the pictures that Cezanne produced on such

10
 THE EARLY WORK OF PAUL CEZANNE

expeditions would have been like the C/airiere^ which Cezanne is unlikelv to have seen. But he certainly knew
recently appeared in the salerooms. \X'e have no real Daumier's sources, the Romantic rapes extending back
conception ofwhai the total achievment of 1866 would through Gericault to Pugct and Mannerism. The Rape
have been like. Thirty-three years later when the Jas dc remains reminiscent of Puget's .Andromeda which Cezanne
Bo u flan was sold and the studio there cleared, Cezanne is drew and Tintoretto's Removal of the Body of St Mark. It is
said to have burned a number of targe canvases which the unccrtaintv whether Cezanne's victim will survive the
were figure compositions executed with the knife pictures rape which distinguishes his formulation from the Baroque
which, if they were correctly described, are quite hard to rapture. Romantic passion has something deathly about
imagine, unless Marion and alabregue was among them.
I it, and The Rapt- is akin to the climax of the poem Une

But as soon as the structures of the palette-knife terrible bistoire. In his dream a woman, the most beautiful

pictures had stabilised, Cezanne's style was on the move he has ever seen, calls the poet to her. Throwing himself
again, lie spent the first half of 1867 in Paris and it must before her he kisses with guilt) lip her breast but in the
have been there thai he painted the negro model Scipion, instant the chill of death seizes him and the woman in his

now at Sao Paulo (cat. 30). arms is changed into a corpse and then into a rattling
The handling of the palette knife pictures based on skeleton. We feel the imagining and the image ot
rigid blocks of tone, forming pictures that were solidly Rape to be the antithesis of the frame of mind of Cezanne's
observed from life, which occupied Cezanne in the autumn matuntv There is no doubt that his later engrossment in
.

and winter of [866 7, was followed when he returned to the actual held in check the very real burden ot his fantasy.
Paris by a reaction towards the opposite element in his In old age Cezanne is said to have told |oachim Gasquet:
artistic constitution, the linear handling and rhythmical \l\ method if have one is based on hatred ot the
I

"
mobility which alternate with the principle o\ stability imaginative.' Many of the imaginings of the later 1860s
1

throughout his work, and which was applied in the later might have incurred such a hatred. The counterbalance-
1860s only to pictures that were uncharacteristically to it was the equally emotional attachment to the objective
imaginative and fantastic. recreation, which was within the reach of painting con-
'Ilie central picture oi 1X6^, which bears a date, was trolled by the motif.
The Rape (eat. }ij, painted for Zola in Ins house in the The imagining of the dark ravisher in Tie Rape may
rue l.a Condaminc. The theme is the romantic one ot be connected w ith a picture that was studied from life, no
erotic violence, akin to Zola's vcr\ earliest stories, before doubt m the same year, of a model who was a favourite
this theme was embedded in the industrial scene. Its with the students at the \cadcmic Suisse, the negro Scipion.
rendering of passion is cquallv conventional; the bodies It ma\ be that the stuck was suggested b) the composition
are bunched into a quivering muscular knol reminiscent rather than \ ice versa and the curling brush strokes attain

o! a thawing by Daumicr known as The KtSS xi which more freedom as well as a richer substance than thev are

8 ( amille Pissai ro, Square at /.,. R

Guyon, , . 1 867. National Gallerj . Berlin.

1 1
LAWRENCE GOWING

allowed in The Rape. It is one of the pictures before to tell against this view has been misunderstood. It is

Impressionism in which one is most aware of the necessity, well known that the two halves of the decoration were
indeed the imminence of Post-Impressionism. Monet who each suggested by earlier pictures representing the same
owned the picture and hung it in his bedroom with his subjects. The limbo design was taken from a picture in

favourite possessions, used to boast of ' ce negre de Ce\anne, the Prado illustrated by Charles Blanc in the Histoire des
. . . qui est 1111 morceau de premier force'. Van Gogh already e'coles (Ecole Espagnole) while the Magdalen
peintres de totites
existed in peto. comes from a Magdalen picture by Domenico Feti in the
The passionate handling of the Negro Scipion links it Louvre where it is entitled La Melancolie (fig. 9). Charles
with elements of the two parts of a picture which was an Blanc's work was published in 869, and has been held to
1

even more extreme result of the drive towards imagined provide a terminus ante quern for the date of Christ in
(or at least borrowed) composition, the decoration correctly Limbo. However Blanc's work had previously been issued
entitled Christ in Limbo with the Magdalen (cat. 32 and 33). in periodical parts (to u hich the Library of Congress
7

This was painted for the Jas de Bouffan, offered by its subscribed, recording at intervals the dates of receipt)
owners to the French State in 1907, refused and then cut and the traceable dates of the parts show the beginning of
in two parts, of which one, the right hand part, has now the Spanish School to have been available in 1867. More-
reached the National Collection. The right hand part in over the Navarrete, or rather Sebastiano, an otherwise
particular is linked with the study of Scipion. The drawing little-known picture, was certainly available to the public
of the hands also recalls the same detail in The Rape. The in 1867 and was imitated by Daumier in a lithograph
pendulous loops of drapery are not far from the looped (directed against the exclusiveness of the Exposition
folds of Scipion's trousers, and, given the fact that, when- Universelle) captioned 'You aren't in this show children'
ever it was painted, the decoration represents the ir- and published in the same year.
ruption of a mood near to hysteria, which is repeatedly It is worth looking again at this curtailed masterpiece
noticed in the storv of Cezanne's twenties, its positive of Cezanne's painting in his twenties, if only in the hope
affinities are with the pictures of 1 867. The evidence held that opinion will encourage its reconstitution. Some critics

seem almost willing to consent to its dismemberment. So

far from joining two subjects without logical connection,
Christ in Limbo with the Magdalen was a perfectly orthodox
and current Easter subject. It depicted an integral and
moving part of the Christian legend on the eve of the
Resurrection, and echoed a number of previous pictures
as well as a devotional tradition (lately studied by Mary
Lewis 2 "). Without the flash of sky across the Limbo canvas,
the bitter brilliance of the other picture hardly conveys
the originality of the colour. The picture is only seen as a
whole in illustrations 21 of the photograph taken before
the decoration was cut (fig. 10) and these do not support
the idea that the disproportion between the two parts,
Christ in Limbo and the Magdalen, was injudicious or even
unconventional. It may be that the effect of the Magdalen
being placed as if on a rostrum higher and closer than the

narrative scene to the left was as convincing and impressive

as it appears in the illustration of sixty years ago. Certainly
the discrepancy was no more disturbing to the unity than
in many Mannerist compositions both from Italy and the
North. It was quite similar in structure to Beccafumi's
Roman Tribune Cremating, and far less discordant than
Hans Bock's Allegory of Day. Cezanne's instinct for six-
teenth-century conventions was in fact as remarkable
here as it was in The Rape and The Seasons. Finally, Cezanne's
borrowings from earlier pictures were supplemented on
both sides with additions of his own invention which
contributed to the serious meaning of the whole. The
artist's sister Marie did duty for Eve, improving consider-
ably on Sebastiano's type. On the other side Mrs Lewis

Fig. 9 Domenico Feti, Melancholy, 1867. Musee du Louvre, Paris. has resourcefully discovered in pious French poetry the

12
 THE EARLY WORK OF PAUL CEZANNE

innovative procedure remained dependent all his life.

The pictures by or attributed to Ribera that were acquired

by the Louvre in the 1860s were the major formative in-

fluence on the gaunt Preparation for the Funeral (cat. 35)

but it cannot be said that the resemblances, even to the
notably influential Deposition, passed to the Louvre by
Napoleon III and exhibited from the beginning of 1869,
were specific enough to fix a date for the picture. But the
bearded, wrinkled head, which obstinately resists fore-
shortening, of the man in the Preparation, reminds one of
the scries of bald heads which fill the middle of Caravaggio's
Death of the I 'trgin. The bowed head that defies conven-
tional perspective reappears on the villainous woman who
holds the victim still for stabbing in The Murder (cat. 34),

now at Liverpool. The gale of violence that rushes through

this picture blows all the drawing sideways, to its ultimate
expressive benefit. \\ ithout straining the evidence we can
imagine these related, violent pictures as representing the
Style of 1869. The retrospective style of the sixties is

Fig. [o Christ in I ./mho and the Magdalen, c. \

867 (V.84; V.86), before the apparent in the picture of the studio stove, 22 which must
picture was cut, Reproduced in Fritz Burger's ( e\ame and I la/ller have reminded Cezanne of Delacroix as much as it does
(Munich, 1909). us. \ composition of four lumpish bathers by a river (see

fig. 20), which exists both in a watcrcolour rehearsal and

in an oil, possessed an implicit gcomctn as well as the

authentic freedom from received formulations which were

bright red tears, like Pentecostal flames, in which the to characterise ( c/. nine's realisation of such subjects within
Magdalen's grief materialises above her. a few years.
A number of Cezanne's pictures in the later sixties in Cezanne's production mounted in a crescendo as the
fact took up traditions of sacred art and revived them in end of the decade approached. In April 1869 he painted a
his own uncompromising terms. The museum drawings sombre watcrcolour of smoking factories to be mounted
(it around 1867 formed the habit on which ( e/. nine's in the lid of Mme Zola's elegant work-box (tig. 1 1). ( )ne

(
ig, 11 Potteries at L'Estaque, 1 so«> (R\\ C.24). Atelier Cezanne, Vis-en-Provence.

13
LAWRENCE GOWING

cannot imagine a more incongruous purpose for an image the earlier versionsthough no traces remain, with the
that gloried in industrial squalor. 23 This was the single armchair empty and the domestic design resolved into its
moment at which Cezanne's brand of realism, with its simplest, most absolute form, without doubt in 1869.
gathering, brooding undertone, coincided with Zola's. The Baudelairean reading of Wagnerism, the faith that
Meanwhile, Cezanne had found (or invented) a smoking extremism would achieve the artistic greatness from which
factorv beside the Mont du Cen^le, the flank of Mont moderation was for ever debarred, reached its full expression
Sainte Yictoire, and painted a closely related oil (cat. 48) at last. Several aspects of the extremism to come made

of that. In September 1869 Zola met Cezanne's friend their appearance all together. The colour had a barely
Paul Alexis, who became his amanuensis, and the autumn credible heraldic simplicity. The lustre on the girl's hair
is the earliest time at which Cezanne can have painted and the light that modelled the mother's hands at her
Alexis reading to the master i^cat. 4-7), another strange needlework were still quite gentle and Manet-like, but
transmutation of expectations and a remarkable icon of everywhere else the style was Manet gone barbaric. Fat
the Pasha of realism en grand divan, which the Zolas found black drawing passed ruthlessly over the W'histlerian greys
entirely unacceptable and consigned to the attic where it of the girl's dress. The splendid arabesques of the wall-
was later discovered. Meanwhile Cezanne was probably paper leave one wondering whether Fauvism is about to
finishing the picture of his vounger sister Rose playing be prematurely born before one's eyes.
the Overture to Tannhduser (cat. 44) on the )as de BourTan Some masterpieces seem to set the centuries at nought.
piano, the dominating achievement in this phase of domestic Then we realise that a great painter has created the future
painting transcended. had been started and 'half-built'
It single-handed.
in 1866, with Louis- Auguste looking out of the armchair It was in 1870 that Cezanne submitted to the Salon
on the model of Degas pere in the Bellelli Family (Musee his full length portrait of Acbille Empera/re (sitting in the
d'Ors.n, Paris). It was repainted in 1867 in the lighter same armchair that had figured in his father's portrait and
tonality that was developing, with Fortune Marion in the in the Overture) (cat. 46) as well as a nude that is lost.

armchair, and then painted over again, possibly on top of During the submission he was interviewed by the corre-

LE SALON par STOCK

d'niUclmmbn BVanl rnuvprtiipp -In Sal.-n

I
7
ig. 1 2 Album Stock. Caricature of Paul Cezanne with the two paintings
rejected bv the Salon Jury of 1870.

14
 THE EARLY WORK OF PALL CEZANNE

Spondent ot the Album Stock, which printed a caricature tones as much as the colours are galvanised by this sense
oi him (fig. i z) and the following paragraph: of scale.
The drawing is more powerful than ever before in
'The and critics who happened to be at the
artists Palais
Le/anne's painting. The substance of paint, thick all over,
de 1'Industrie OH March 20th, the last dav for the
is encrusted more thickly still along the contours where
submission of paintings, will remember the ovation given
the linear definition has been laboured to such effect. In
10 two works of a new kind Courbet, Manet, Monet, . . .

preparation for this picture Cezanne had in fact aligned

and all of you who paint with a knife, a brush, a broom
himself, as never before, with specifically graphic traditions.
or any other instrument, you are out-distanced! I have
The two great studies for it (cat. 79; 80), are at first sight
the honour you to our master: M. Lezannes
to introduce \

profoundly different from the picture and from one another;

(sic) .Cezannes
. . hails from \i\ en Provence. le is a I

one is almost Baroque and the other indubitably classic,

realist painter and, what is more, a convinced one. Listen
very much in the sense of the finished picture, resplendent
to him rather, telling me with a pronounced Provencal
in its breadth yet gentle and grand. One must compare
accent: "Yes, my dear Sir, paint as see, as feel I and I I I

the lirst drawing (cat. 80), now in the Louvre, with real
have very strong sensations. The others, too, feel and see-
Baroque, a portrait like Van Dvck's etching of Lucas
as Ido, but they don't dare lit \ produce Salon . . . t

Vorsterman, to see that the seventeenth century itself had

pictures ... I do dare, Sir, do dare ... have the
I I

no rhythms to show more powerful and penetrating than

courage oi mj opinions and he laughs best who laughs
these. The consistency and coherence of the result was
last!'" 24
the theme of the second drawing at Basel (cat. 79). from
In this defiant mood there can be no doubt that 1X^0 onwards it was the recurrent object of his art to
Cezanne would have submitted recent works to the Salon bring the two concerns together. He aligned himself all
jury. So the portrait of \chille Emperaire and the lost nu his hie- between the polarities that were established in his
11la puce must be added to the pictures that were painted carlv work. Cezanne's apparent historicism, his brilliantlv
in 1X69. It was painted alter the portrait ot h,ouis- Auguste v iv id revival of the Baroque, in fact served a distinct and
reading UEvinement. Cezanne has gone forward from proto- opposite purpose. He was not studying the historic reper-
impressionisi intimism tow ard a style that oilers a timeless tory, certainly not a Hashing eve or curling lock. Any
monumentality. Here and in the Overture an observed preconceived pattern would have been repugnant to him.
domestic subject, rather than mereh portraiture, has been Thirty years later, when he was still drawing Baroque
given an eiuluring form. Tin- ins< ription on the Imperaire, I busts in the I.oliv re to help him with the least Baroque of
\\< MM. EMPERAIRE PEINTRE*, was no doubt suggested
1, 1. his pictures, the portrait of Yollard, it became clear that
by the inscription that was then to be' seen on Tintoretto's he was stuelv ing the nature of continuity
itself; the rhythmic

self-portrait, or bj a Velazquez in the- Louvre. It is signifi spring would him, not only for serpentine line,
fortifj
cam, and not onl\ because it was stencilled with ordinary but for am sequence- that he required to hold in mind,
packers' stencils across the- canvas, yellow ochre on purple, chromatic .is well as linear, as he explained, Cezanne
suggestive oi the future as this economj oi effort is. The loved Emperaire, one must imagine, with just the same
character of the stencil lettering, the exaggeration ot the- admiration for the living impetus that he felt in front of
Bodoni Style thick and thin, reminds one 1l1.1t was it in tlu curlj rln thms ofCoysevox.
these- years anil this group of pictures that the- meaning ot In Cezanne pursued his
the simple stvle of [869
parallels in Cezanne's art lust became clear. Parallel lines, intention to paint from nature outdoors and set about a
parallel folds, pleats, crew ices; parallel planes; the parallel second, more deliberate version of the railway cutting
partnership of forms; this systematic parallelism is the beyond the garden wall, the picture at Munich in which
essence of Cezanne's design. the formal strophe- .unl antistrophe of modern painting
.'"
Comparison between the styles ot the two lull length established themselves for the first time (fig, 1; \

portraits shows that there were several years ot develop- little later .1 similar pictorial system, generated the studv
ment between them. The distinction between the tonal of a tuv uu- w ith .1 w atermill (cat. 5
-

illusion of pattern on the loose cover as w as seen m the it War with Prussia was declared on 18 lulv 1870 and,
portrait and the bold restatement ot the
<>l Louis [uguste anticipating Cezanne withdrew to
the conscription,
rosebud mollis as such in the E.t»peraire shows what L'Estaque (fig. 14) with Hortense Liquet who eighteen
happened. In the new style nothing is a merely visual months later bore his child. He was virtuallv in hiding.
effect, everything is itself, intact and complete. Even a The half-dozen L'Estaque landscapes dating from is-
shadow is a thing in itself, never now an amorphous mighl appear sufficient output under the circumstances
smear. Light comes transversely, kit to right, flat areas but, original though the) were, the more unaccountable
of cast shadow on the chair and e/"the chair give- a strong achievements were the fantastic scenes that were perhaps
sense of the volume contained. The head is almost twice painted at \i\ during the previous months. These oppress
life si/e vet its character is sombre and pathetic. The grey ively emotional works centre on a picture, elated [870 bv

IS
LAWRENCE GOWING

Fig. 15 The Cutting, r. 1869-70. (Y.^o), surprised to find ourselves in need of more data about
Baverische Staatsgemaldesammlungen, Munich. their contexts and connotations than is easily come by.
More, it may be, than we have been aware of requiring
tradition and bearing an uncertain inscription, known as for any French picture of Cezanne's time.
Idyll, lately acquired for the Musee d'Orsay from the Those who are ready to look and read closely will
Pellerin Collection (cat. 52). Naked personifications of therefore be grateful to Mary Louise Krumrine (q.v.) for
passion surround a bearded figure reasonably identified releasing some of the preliminary results of studying the
as the artist, reclining in a riverside landscape furnished way towards Cezanne's later bather compositions that are
with phallic vegetation. It is a sombre 'Temptation of relevant to these landscapes-with-figures in which the
Cezanne' and another picture, not dissimilar in spirit, work of the 1860s culminated. It has always been evident
depicts St Anthony in the same state (cat. 50), while a that the context included an artistic element (in particular
third, an attempt at colour like Veronese which has long an attitude to the art and influence of Manet) and it
been known as The Orgy, has lately been identified as the should have been plain that the relationship with Zola
Banquet of Nebuchadnezzar from Flaubert's book (cat. (who had himself a very specific relation to Manet) was
39). A Flaubertian vein of fantastic sensuality in fact runs only part of a deeply rooted and deeply sexual dilemma.
through the whole group. There are also a Dejeuner sur Together with all this we are now ready to recognise that
1'herbe (cat. 5 1) and a Modern Olympia (cat. 40), which have the attitude to art in general and to literature in particular
neither of them anything to do with Manet, except in - to Baudelaire and to Wagner, whose importance to him
their ironical correction of his standpoint, and The Robbers Cezanne openly advertised - was inseparable from the
and t be Ass (cat. 41) in the manner of Daumier. nostalgia for natural beauty and for male companionship.
We have not been aware of Cezanne's pictures as The development of a new genre of triumphant emotional
holding, or withholding, meaning except the formal allegory at the very moment that Hortense Fiquet was
articulation that modernism accounted significant, and as induced to enter his life is so comprehensible that we may
we come to look seriously at these figured landscapes, easily overlook that this was, certainly not by coincidence,
quite clearly composed with more concentrated attention also the time in his life when the forms of his native
than posterity has ever brought to them, we may be landscape came together for him in structures of such

16
 THE EARLY WORK OF PAUL CEZANNE

Zola, wrote: 'As you have translated Virgil's second

Kclogue, why not send it to me? Thank God I am not a
young girl and I shall not be shocked.' Twenty vears
later, asking the help of Zola himself in his passion for
the maid Fanny with her 'body like a man', which swept
him away, in a passion that in failure prompted the last
degree of that sublimation which began just when this
exhibition ends - Cezanne quoted from the verv same
Kclogue, 'Trahit sua quemque voluptas.'' Rediscovering the
pastoral mood ageing painter, one finds
intact within the
oneself reflecting on the historical associations of that
apparent suspension of the traditional purposes of descrip-
tion and and their replacement bv self-sufficient
illustration
structures of alignment and the logic of colour which
occupied Cezanne for the remaining thirtv-four vears of
his life. As a figurative system the inherent harmonies of
painting made a sudden appearance in Venice in the first
years of the sixteenth century. The basic work of Cezanne's
twenties, the build-up of emotional pressure aside, was
the realisation that the best tribute to the past was the
emulation of figurative integritv, as his friends in the Ile-
de-France were emulating it. In Venetian painting the
harmonies could be seen to spring, as they sprang in the
nascent Impressionism, from observation and painterlv
purity ot heart. Reassuring Kmilc Bernard in 1904, when
he was in truth more inclined to convict him of historicism,
Cezanne wrote: 'On the day when you find vour own
means ot expression, he assured that vou will rediscover
without etlort the means employed by the four or five
Fig, i
| ( lezanne's hi 'I istaqui temporarj phi itograph great ones of Venice.' The indecision as to the number
was perhaps that he did not know, any better than we
seeming inevitability (and familiarity to us) thai il is now know, whether to credit the Concert cbampttrt to one
difficull for us to recognise how unparalleled they were master or two.
in sheer self-evident, axiomatic grandeur (aside from the \s war was 0\ er and the restraint on his
soon as the
invention of the fugUC in music) in the whole art of the movements lifted, Cezanne seems to have begun a series
world. ot portraits of his friends which showed more social

The dramatic intensity oi the allegorical illustrations awareness than anything that he painted before or after.
ot emotional states, H noi oi the actual events, as well as They must have been begun after his return from L'Estaque
the frustrations of his erotic life, has escaped recent critii J in March and the) took up again the allium with Manet

accounts oi Cezanne's art, The present compiler, writing ot the pictures that he had been painting in 18-0. The
some months before anyone has ever seen as man} oi portraits gave his contemporaries a resolute bourgeois
Cezanne's early works as this together in one place, is air, as it the new generation was required to assume a

quite unable to foresee the effect of the experience on the more serious responsibility in the wake of the defeat. His
unified estimate ot the artist.As the work ot the young sitters included Boyer, an old school friend characterised
Cezanne emerges in its full complexity, becomes more it as .1 one of Cezanne's rhymes about the
valiant hunter in
and more difficull hut more and more rewarding to under- circle, lie sat (cat. 57) and without his hat. 26
both with
stand that the later painter, the classic formalist, that ( e/anne was alw a\ s sensitive to the connotations of head

veritable [ohann Sebastian oi painting, was the same gear, as later self-portraits show. There was a second
man. portrait ot' Yalabrcguc (cat. \6), to be followed by still
Perhaps not quite the same, hut with some ot the another in the iK-ros, in which the worldly stature of the
scholarl) and highly literate emotionalism of the younger man evaporated into a pattern of feckless charm. He
man shorn away? Hut no, it was still there; everything ot' painted Fortune Marion, one of the \i\ painters said to
the passionate, poetic youth was still there inside htm all have been following Cezanne's use of the palette-knife
his life. For example: in these pages we are concerned (who signed the picture of St Jean de Malte which was
with the young man to whom his unhappiK parted intimate. once ascribed to (e/anne in the Fitzwilliam Museum,

«7
LAWRENCE GOWING

Cambridge), with his head winninglv and weakly inclined. still to be incorporated in a conception of his genius that
The symbolic overtones of some still lifes in 1866 do is hardly wide enough to take them. When he felt like
not recur and the anticipations of Expressionism that hating the imaginative and I do not believe that was
were felt in them are missing from the still lifes of after one of Gasquet's literary interpolations - they must have
1870. These show a confidence and an inherent grandeur been among his pictures that he liked least. In 1872 he
that was essentially unprecedented even in Chardin. Before, turned to objectivity to sublimate both the love of violence
it had nearly always been possible to regard still lifes as and the violence of love, but he still faced issues of
the outcome of real domestic life, well-disciplined and extreme personal difficulty all his life. It was the fact that
not essentially surprising. With Cezanne's Black Clock. he looked so directly at a private dilemma that made him,
(cat. 49) and its successors (cat. 53, 54) there is no doubt as he claimed, a realist. Cezanne is found continually to
that the group and its picture were incidents in an exceptional be more complex than we thought. Coming to worship at
procedure ordained and enacted bv the painter himself. a classic shrine, we find that we are present at an apocalyptic
Even if we had not been told bv witnesses how solemnly culmination of Romanticism as well.
and with what moving delicacy Cezanne, at any rate in The inventive and controlled little landscape of the
later life, performed this ritual we could probably imagine chestnut avenue must have been one of Cezanne's last

it. These are pictures of a certain conception, possibly a pictures before he went north (cat. 60). The interplay of
conception of pictorial art, but we cannot be quite sure vertical trunks with diagonal planes of foliage discovered
because we notice in other pictures that the objects depicted a scheme that was to last him as long as he painted at the
here belonged in fact in Zola's house and may be that
it house. The design and the fat touch resemble both the
some tribute to Zola is celebrated in this embodiment of Overture to Tannbaiiser (cat. 44) and the Cutting (see fig.

domestic grandeur. Further, the pink recess of the shell is 1 3), vet the picture has almost equally clear links with the
more vivid than conchology usually supplies; is it possible next phase of his thought in Provence. The frontal design
that it between the
carries associations of an intimacy of the later pictures was waiting to be born.
friends? It is rather the gaunt impersonality that makes Bv the end of the year Cezanne was living opposite
the Black Clock so great and grand. We realise that the to the Halle aux Vins. Emperaire reported that the noise
absolute self-sufficiency of these rugged forms and surfaces was enough to waken the dead. In January there was a
was achieved without reduction in the emotional charge baby in the house. Cezanne borrowed the studio of Armand
that painting carried, at that moment particularly for Guillaumin, in which to paint the vehement Self-Portrait,
Zola. The momentum, the address were so powerful that formerly in the Laroche collection and now at the Musee
the pictorial presence was transformed. One thinks of d'Orsav (cat. 63); it is the last we see of the furious
this as painting to Zola. This is a factor in Cezanne's art passions that were forthwith to be sublimated into the
which we may have recognised without valuing it fully, harmonies of the art to come.
emotionally enough. Without loss of original individuality,
perhaps with a concentration of it, painting soon after
becomes painting to Pissarro, then to Chocquet, to Renoir. Notes

A great moment in Cezanne's art in the eighties was a Cezanne, Correspondance, 1978, pp. 48-50.
watercolour to Hortense with a hortensia beside her on The first letter in the correspondence, containing 104 lines of
verse and signed Paul Cezanne, Salve, carissime Zola, Cezanne,
the sheet. 2 " Only the painting to Fanny was rather colourless.
Correspondance, 1978, pp. 17-20.
Assembling the fruit, napkins, bottles and pitchers Cezanne, Correspondance, 1978, pp. 33-5.
which became his subjects, Cezanne was meditating on Quoted in full in the English edition, 1916, pp. 363-5.
the character of the private rite with which he was to Salvini, Botticelli (Milan, Rizzoli, 1965), vol. 4, pi. 137, 138.

replace domestic painting. The example now in the Musee Cezanne, Correspondance, 1978, pp. 66-9.
Cezanne, Correspondance, 1978, p. 87.
d'Orsav (cat. 55) convinced Roger Fry of Cezanne's genius
V. 24-
at a stroke and the Black Clock did somewhat the same for V. ,9.
Rilke. The Pots, Bottle, Cup and Fruit (cat. 54), now in A. 22.
Berlin, remained in Cezanne's studio and twenty-five years V.95.
2. V. 109.
later, as if to portray the kind of meditation that occupied
1

'3- i . Daulte, Augusts Reno/r, I, Figures 1860-1890, Lausanne, 1971, 20.

him, he painted a smoker in melancholy reflection in
'4- Yollard, 1919, p. 29 ff, recording information from (iuillemet.
front of the canvas. 28 There was never another picture 15. To Charles Camoin in a pregnant postscript, Cezanne,
like the Black Clock. It constitutes an unarguable presence ( omspondance, 1978, 22 lanuarv 1903. p. 29;.

with which no other picture or painter quite compares. 16. Yenturi - Pissarro.

These pictures have been understood, so far as master- 1

7. V.4J-
18. Musee du Louvre, Paris. K.E. Maison, Honore Daumier, Catalogue
pieces of the highest order ever are, and assimilated to London,
Raisonne of the Paintings, W'atercolours and Dranings,
our view of the painter. The emotional allegories, or 1968, 810.
however we agree to describe the twilight picnics, have 19. Gasquet, 1921, 1926^.94.

18
 THE EARLY WORK OF PAUL CEZANNE

20. Man Tompkins Lewis, 'Cezanne's "I [arrowing of lull and the I

Magdalen"', Gaqettt dei beaux Arts( \pnl 1981;, pp. l7, B > -

21. F. Burger, (.t\anm und I lodler: tin I Unfiihrung in die Probleme der
\ialerei dei Gegenwart (Munich, 1919), vol. 2, p!. 188.

22. V.64.
25. Usines a I'Ettaque, dated My 1 in an inscription by Madame Zola,
Rewald, 1948, fig. j6; R.WC. 24.
24. J. Rewald,
'L'n article incdn sur Paul Cezanne en 1870', Arts
(Pans), July 21 7, 1954; Rewald, 1973, pp. 246, 268; Rewald,
1986, pp. 84, 85. The caricature of the Emperaire portrait has been
tinted in watercolour by someone familiar with the original picture.
It may be that the copy which came to hj»ht in Aix was thai
transmitted bj Cezanne's uncle to hi friend Justin ( rabet, a joiner
in Aix, (,e\anne, Correspondence, 1978, 7 June 1870, p. [35.
25. La Tranchef, avec la montagm Saintt I "tctoire, Munich, Bayerische

Staatsgemaldesammlungen, V. 50.
id. V. 1 30.

27. Adrian 1, t98l.no. 85. Rewald. 1983,00

z8. V, 686, now in Leningrad,

19
Parisian Writers In a short story written in the late
art critic
1 86os,
and novelist of the realist movement, told of an
Edmund Duranty,

artist who was much discussed in Paris as being 'very

and the Early Work odd'. From pure inquisitiveness, yet with some
the narrator of the story paid a visit to this painter's studio.
trepidation,

of Cezanne 'Enter,' he heard, in a voice redolent of the south of

France. What he saw 7
there was the room of a rag picker,
a chiffonier. Dust, garbage, old clothes and pieces of broken
dishes were piled everywhere; a smell of mould permeated
Mary Louise Krumrine his nostrils. Then he saw the painter called Maillobert.
He was bald with a great beard, and gave the impression
of being both young and old at the same time, somehow
personifying the symbolic divinity of his own studio -
indescribable and sordid. He gave the visitor a grand salute
accompanied by a smile that was indefinable; it might have
been either bantering or idiotic. At that moment the
narrator's eyes were assailed by enormous canvases hung
in every direction, so horribly painted, so wildlv coloured,
that he stood petrified. 'Aah,' said Maillobert, with his
slow, exaggerated Marseillaise accent, 'Monsieur is a lover
of painting! Observe! These are merely the small scraps
from mv palette', and he pointed to the huge sketches
thrown about the room. 1

It was generallv understood then, as it is now, that

Duranty's somewhat harsh caricature represented Paul

Cezanne. 2 Duranty met regularly with the circle of artists
and writers known as 'Le Groupe des Batignolles', which
included the painters Manet, Renoir, Fantin-Latour, Degas
and Monet, and the writer Emile Zola, at the Cafe Guerbois
in Paris. It was there that he was surely witness, as were
the others, to the peculiar behaviour of the artist from
Aix. It was true that people heard more about Cezanne
than they saw, but much of the popular legend was ac-
curate: he was at once violent and gentle, timid and proud;
he did paint and exhibit 'odd' pictures; and, perhaps most
significant for the artistic circle, he was the old boyhood
friend of Emile Zola.
Cezanne, nearlv thirtv in 1867 - the time of Duranty's
story - was of average
height, thin and bearded. He had
knottv joints and
powerful
a forehead. He wore a battered
felt hat, an enormous overcoat which the rain had streaked

green, and below his short trousers bright blue stockings

could be seen protruding from huge laced boots. He had
a nervous shudder that was to become habitual. When
Cezanne did come to the Cafe Guerbois he seldom entered
into conversation with the group. His first glance was
usuallv mistrustful; then he would quickly shake hands
all round. But in the presence of the urbane Manet, he

would remove his hat, and apologise: 'I do not shake

your hand, M. Manet. have not washed for a week.'
I

Taking himself off to a corner, he would show little

concern with the conversation around him, but when he
heard an opinion different from his own, he would stomp
out of the cafe, not to be seen again for days.
Cezanne's ill-kempt exterior, crude language and

20
 PARISIAN WRITERS AND THE EARLY WORK OF CEZANNE

scowling face, although bold attempts to express his disdain reading, and writing their own poetry. 'Victor Hugo's
for convention, were little more than a thin veil which dramas haunted us, like magnificent visions. When we
covered great tenderness and insecurity. He had a keen were dismissed from classes, our memories frozen from
intellect; he was a scholar who knew Lucretius, Cicero the classical tirades we had to learn by heart, we experienced
and Apuleius, and called Plato the 'supreme philosopher'. an orgy replete with thrills and ecstasy, warmed by reciting
He wrote his own verse in Greek and Latin. Gauguin scenes from Hernani and Ruj Bias. Victor Hugo reigned
was him as 'a man of the south of France who
to speak of as monarch one morning we discovered Alfred de
until
passes entire days on the summit of the mountain, reading Musset. Reading de Musset was for us the awakening of
Virgil and looking at the sky.'' He avidly read the works our own hearts.'
of Victor 1 lugo, Alfred de Musset, Balzac, Stendahl, Each boy believed the other to have an extraordinary
Gustave Flaubert and the brothers Goncourt. 1 le was the destiny, particularly concerning artistic questions. In i860,
first to whom Zola presented copies of his criticism and Cezanne wrote to Zola that painting began to appeal to
his novels. Baudelaire was his favourite poet. Cezanne's him more and more; Zola longed to write. '" It was his
copy of Baudelaire's Les F/eurs du mal was worn to tatters, idea for a great artistic collaboration:
and from this volume he knew 'Une Charognc' from
'Ihad a dream had written a beautiful
the other day. I

memory, never missing a word. 4 Of all composers, he

book, a wonderful book, which you had illustrated with
particularly admired Beethoven and, like many artists in
beautiful, wonderful pictures. Both our names shown in
Paris, was enraptured by the music of Wagner, especially
letters of gold on the first page, and, inseparable in this
his opera, Tunnhauser.^
fraternity of genius, were passed on to posterity.' 11
Cezanne's so-called 'black' pictures, those early works
from the decade of the 1860s, were seldom appreciated and The group of voung artists who rallied around Manet
less understood, even by Ins friends and fellow artists. To after the Salon des Refuses in 1863 found in Zola a
shock and insult the august jury of the Salon, he submitted champion who expressed his opinions in plain, sincere

canvases for six consecutive years, [864 <;. Anticipating language. His publications on art gave him an important
rejection, he was never disappointed. A portrait of his place with the Batignolles artists. In a series of articles
friend Valabrcguc, entered in 1866 (cat. 16), was judged published in the newspaper UEvenement, he defended the
as having been painted not only with a knife but with a painters as the official Salon rejected them. But it is curious
pistol as well. ( )ther works elicited public jeers and laughter. that in all of Zola's reviews of works
his friends' rejected

Manet was said to find Cezanne's still lifes powerful, but those hi
Pissarro, Monet, and especially Manet whom
later mitigated his remark by noting that Cezanne was not he particularly admired he never once discussed any of
much more than an interesting colourtst." When he saw ( aa mnc's cam ases. It was apparent that he could better
1

Afternoon in Naples (cat. 27), also submitted to the Salon appreciate Manet's more naturalistic approach than the
that year, Manet's disdain was fully evident. le asked the I romantic, seemingly crude ami mood) scenes that Cezanne
painter Guillcmct, one of < ezanne's staunch supporters, was painting at the time. As such an outspoken proponent
'I low can you abide such foul painting?' 7 of this 'new art', Zola was severely criticised and was vir-
These paintings and drawings from the sixties are tualh forced to give Up his contributions to the newspaper,

usually considered only as the outpourings of the youthful but in the Spring of 1866, he immediately reprinted
artist's dark moods and impetuous nature, but the interested his articles in apamphlet entitled 'Mon Salon". Its long
observer is compelled to seek elsewhere the foundations dedication, to 'Mon Ami, Paul Cezanne', was a tribute to
of their eccentric and sensational subject matter. Among friendship, public avowal of Zola's affection for the
.1

the most fertile sources for clues to these troubled works arils'; u apparendy was //(/wan appreciation of the painter.

are Cezanne's letters and poems, written to bmile Zola These sentiments arc clear from the beginning where
when the future novelist left his boyhood home in Aix-cn- Zola wrote:
Provence to live in Pans. In romantic effusions to his
'I lapp\ arc they who have memories! 1 envisage your
1 1 iend we find ( lezanne's fond references to their youthful
role in m\ as that of the pale voung man of whom de
life
camaraderie, interspersed with descriptions of macabre
Musset speaks. You are m\ w hole youth; I find you
dreams and fantasies these centering, almost without
mingled with joys; with all my
all my Our sufferings.
exception, on his family and on women.
minds, in brotherhood, have developed side by side. W e
Cezanne's friendship with Zola began in 1 S s a when
ha\ e faith in ourseh es because we h.iv e penetrated each
the two met at the College Bourbon in Aix. Strong and
others hearts and flesh.' 13
burly, Cezanne took the puny, slightly younger Zola
under his protection. 'We were OppOSites b\ nature', In poignant terms. Zola seemed to express farewell to .1

Zola was to recall later, 'but we became united forever, Cezanne, an end to an era of fond happiness ne\ et hinted
attracted by secret affinities'. 8 When free from school, the at again.

boys roamed the countryside, hunting fishing, swimming, Even if Zola could never appreciate Cezanne's painting.

21
MARY LOUISE KRL'MRINE

it is apparent in his novels that he reveals a great deal about own presence in Preparation for the Funeral (cat. 3 s) where
his friend as an individual and as an artist. From his many he is recognisable bv his bald pate framed by hair that is

notes, beginning as earlv as 1868, for the construction of particularly long at the back, and by his revolutionary
themonumental Rougon-Macquart cycle, it becomes clear beard.
that Zola had Cezanne in mind as the central character, It seems that in such representations of the watchers

Claude Lantier. And it is from these sketches that we learn and the dead, Cezanne is never far from Zola's imagery.
of his conception of the 'intense psychological process of The artist, Laurent, in Zola's Therese Ran/tin, becomes
an artist's temperament and the terrible tragedy of an in- almost an inhabitant of the morgue, examining bodies
telligence which consumes itself.' 14 His setting for the daily, searching for Camille's corpse not yet recovered
novels was Aix (which he called Plassans); the patriarch from the river at the scene of the 'accident'. At last he
of the family was obviously based on Cezanne's father found him.
(mocking, bourgeois, cold, stingy). Thus from the mem-
ories of his youth, Zola made use of his friend, and in "... 1 lc saw Camille, stretched on his back, head
truth it is in this way that the two become inseparably elevated, eves half-open. Laurent, lost in unconscious
linked. 1 ^
contemplation, engraved on the depths of his memory all

It is not surprising, then, that even in the works the horrible lines, the dirty colours of the picture which
before the Rougon-Macquart series particularlv the he had under his eves.' ls
novels Tberese Raquin (1867) and Madeleine Ferat (1868) -
allusions to Cezanne and to Zola himself cannot but be The connections between painting and novel are even
acknowledged. When the so-called triangles in these stories more fascinating when we recall how closely Laurent's
are analvsed, it is clear that one of the young men is in- characteristics were based on Cezanne. 19 It seems to me
effectual, unattractive and effeminate. He lacks a parent, that similarities such as these not only indicate affinities in
as did Zola, and is usually dependent on a stronger, more the psychological make-up of the two friends at this time,
comrade who befriended him at a provincial school."'
virile but an obvious relationship in their artistic production as
Zola persists with realism and autobiography in Tberest well. Which came first - painting or novel, or why the
Raquin Therese, the desired object of both her lover artist played a pivotal role in either 'tableau' - can be only
"
and her husband. 1
She and the vigorous artist, Laurent, a matter of conjecture. 20
conspire to carrv out the murder of the pale, weak-willed In the most enigmatic of Cezanne's early, so-called
and mother-dominated Camille. The similarities between 'romantic' pieces, The Temptation of St Anthony (cat. 50),
Laurent and Cezanne are too marked to be merely coinci- the artist's overt participation is perhaps never ques-
dental: both are from Provence, both painters, both tioned. 21 Heboth actor, barely disguised as the bald
is

impoverished by wealthy fathers who disapprove of their saint at the left margin, and observer, joining our position
careers. as spectators of the scene. The theme of the painting
What was the nature of Cezanne's artistic production seems to have a spiritual link with Flaubert's novel, ha
during those years? Several of his paintings from the Tehtation de Saint Antoine, and it appears that the 'sub-
mid-sixties were gifts to Zola: the bizarre The Rape (cat. conscious and rebellious capacity for suffering' that
5 1), a scene of violation which appears to take place in the Baudelaire sensed in Flaubert's work was to permeate
shadow of the Mont Sainte Yictoire, near Aix; the enig- Cezanne's painting as well. 22 Only excerpts from Flaubert's
first version of La Tentation had appeared in L'Artiste,
matic Black Clock (cat. 49), where heavy geometric shapes 2i

contrast with sensuous, bright undulations. But several a journal with which Cezanne was very familiar. A
other of Cezanne's figure paintings and drawings reveal complete and revised version of the story was published
clear parallels to the violent themes which are explicit in in 1874, and Cezanne's return to the subject in the same
Zola's novels. These portray physical struggles with a year shows a more explicit depiction of the Saint beset by
cast of characters that is nearly always constant. As in a seductive woman. 24
Zola's work, there is again a threesome. But for Cezanne The often-noted peculiarities of Cezanne's composition
this trio consists of an attacker, always a male; a victim, are clearly calculated. Anthony, the subject of the
St
alwavs a female; and an observer-accomplice who may be painting, is relegated to the margin where he is confronted
either male or female. Only the woman-victim's part varies. bv his temptress. The three other starkly lit and isolated
At first she appears as seductress, but later relinquishes this nudes are unbalanced in arrangement. If we follow the
role as shebecomes progressively terrorised, unconscious, deliberate parallel vertical and diagonal directives, two
and ultimately killed. Throughout this development, the emphases are apparent: the standing frontal figure with
fate of the beleaguered heroine is brutally evident. We drapery and the opposing images of the Saint and the
wonder if she is meant to be getting her just desserts. fire. Although opposites in position, colour and intensity

The three actors differ slightly in paintings where of illumination, they are given equal space and like pro-
Cezanne dwells on death. The artist scarcely disguises his portions, thereby suggesting their thematic importance

22
 PARISIAN WRITERS AND THE EARLY WORK OF CEZANNE

There is a clue which may disclose the identity or

Emblima XXXIII. VefieretisNttHTA. meaning of the figure: the remarkable similarity of the
~
Hermaphroditic mortuo fimilis,intenebrisjacens,igneindiget. head with Cezanne's early portrait of Zola (fig. i6). 2
Both visages closely correspond to the description of a
studio photograph taken when the writer was about twenty:

'Thick dark hair and what used to be called a Newgate

frill a fringe of beard running from ear to car but

scraped awav from the cheeks and chin encircle a sad

little face, almost feminine in its wistfulness; the eyes gaze
soulful] v, the corners of the mouth are drawn down to
give an expression not so much ofgrimnessas of resigned
melancholy.' 28

As for the ambivalent physique, the brothers Goncourt,

never noted for their flattery, described Zola at twenty-
eight:

'I
had an| ambiguous, almost hermaphroditic
I le

appearance; at once burly and frail, he looked more

youthful than he was, with the delicate moulding of fine

porcelain in his features, in the arch of his eyebrows.
Rather like the weak-willed, easily dominated heroes of
EPIGRAMMA XXXIII.
some of his early novels, lie seemed like an amalgam ot
~\Lkbuepsgemmifixm,tn funeru infltr
•* apparel,pi/f/qujm el/ htimtdiuin inopt: male and female traits, with the latter dominant, ...'-'
Tiottetcnibroskficonditurjndiget tgnt^>.
Hunt iUipr*(tes,&modovitt rtdit. Why would Cezanne introduce Zola into the picture?
OmnUinigntLtttLptdu vu,omnis in wro
S»lfnru,*rgentQ Men urn vigor eft.

Fig, i
s Hermaphrodites mortuo . , ., illustration from Mi< hael Maier,

Ulanta Fugfens, boi est, Embiemata Novade recretii natural cbymica,

( )ppenheim, [618. (Facsimile ed., Kassel and Basel, 1964

in thecomposition. These too, the monk and the fire, are

the components winch separate the painting from repre-
sentations of the Judgement of Paris where there are
always three mules and a melancholic contemplative
figure. 25
Unlike older representations of Saint Anthony's
temptation, Cezanne's Saint is tempted not by demons
perse, bul by lour robust mules. The posts ot three may
be read as sensual and seductive, hut the figure resting
next tO the lire is obviously melancholic and contempla-
tive or saturnine.
The fire seems to allow further penetration into the

meaning of the corner figure. Its androgynous features

have led to many questions concerning its role in the

Temptation. If it were indeed a 'tempting' female, it would

serve- as part of the Saint's hallucination. 1 el in Cezanne's
other works, this contemplative posture is usually linked
with male figures. Were 11 not lor this nude's bulbous
breasts androunded abdomen, those characteristics delin
catetl by the lire, too would seem to exhibit onh
it

masculine traits. Essentially, then, we ma\ recognise here

an hermaphrodite, a figure with male ami female attributes,
one often seen in ancient art although never in this posture Fig. 16P01 ,'

1 86 j |.(V.i9). Present location

2" unknot n.
(fig- 'S).

-;
MARY LOl'ISE KRl'MRIM

. *a

Fig. i- Woman Batter drying herself, and Head of Mme Ce\anne, 187
iKX; < (Ch. 5 20). Collection Mme A. Chappuis. Tresserve.

Or (as Schapiro lias intimated) in the case of the novelist Cezanne seems to have summarised his own subconscious
whose invented characters seemed of
to portray facets feelings toward women, finding in each one, as perhaps
both himself and Cezanne, 30 could the painter have trans- did Zola, a terrifying masculinity scarcely disguised in
posed and or merged the two identities into one image? the voluptuous exterior of a courtesan or femme fatale. It
Discussion of their intimate relationship is beyond the is the reaction of painter and writer to the aggressor that
scope of this paper, but the consideration of Zola's sexual is different.
preferences and behaviour inevitably raises questions The motivation for Cezanne to paint this particular
about the nature of their friendship.' 1
scene ot Temptation is and no doubt correctly,
usually,
If we re-examine the painting in the light of Zola's attributed to his 'fear of women'. Nevertheless, an incident
'portrait', we rind a closer correspondence between Cezanne's central to Cezanne's personal life took place concurrently
St \nthonv and Zola's Madeleine Ferat. For if Cezanne with his work on this composition, and it max account in

\nthonv appears to be afraid of the seductive female, the some wavs for its puzzling imagery:
melancholy, androgynous nude Zola maintains a passive 1

'Cezanne returned to Paris at the beginning of 869. It is 1

role. Actually, the monk seems to turn his body, head

about this time that he met a young model, Hortense
and arm in order to shrink from even visual contact with
Ficjuet, who was then nineteen [She was] a tall and
. . .

his temptress.
handsome brunette with large black eves and sallow
Cezanne may have separated two
In this scene, then,
complexion. Cezanne, eleven years older than she, fell in
facetsof one character the fear and the ennui in response '33
love with her and persuaded her to live with him
to female flesh - and portraved each in two different
characters. This may be the first occasion which alludes Curiously, the central nude, actually the primary emphasis
to the artist's dual personality, or alter ego, described in of the composition, has great with several portraits
affinity

two forms: the hermit monk and the hermaphrodite. At of Hortense Fiquet Mme Cezanne in which her head is
the outer limit of interpretation, we might suggest that inclined toward the right and downward, and her hair
Cezanne had injected his own feelings into the image of pulled behind her ears to reveal a particular grace and
another person, in this case, Zola. Such an idea mav be elegance. 34
strengthened by Schapiro's observation of the conflated I would suggest
that the so-called Temptation oj St
name of Sandoz in L'Q-urre, bv Badt's comment on the Anthony - and the contemporary Dejeuner siir I'berbe (cat.
men's 'inter independence', bv Rewald who senses Zola's 5 1) to be discussed below
- are indeed manifestations of a
own blood flowing in the veins of Claude Lantier, and in remarkable emotional change which took place in Cez-
Zola's own words, '. nous avons penetre nos coeurs et nos
. . anne's life and his art. This was simply a physical attach-
chairs ment to a woman. His daydreams of beautiful women
If each of the central nudes in Cezanne's Temptation and of romantic encounters need not be reiterated here.
represents or prefigures - Zola's response to 'une belle Nevertheless, the impression which emerges from his
dame sans merci', their single effect on the two corner erotic verbiage is one of chasteness, even virginity (fig.
figures becomes apparent. One is intimidated, afraid; the 17).
other contemplative, unaroused. Thev manifest a complex Even as late as 1886, in UOeuvre, Zola was to recall

personal, psychological presentation in the painting. Claude Cezanne:

24
 PARISIAN WRITERS AND THE EARLY WORK OF CEZANNL

'This was his chaste passion tor the licsh ol a woman, a scenes of violent physical contact, lust and sensuality, this
foolish love of nudity desired and never possessed, an sedate, social occasion presents an abrupt change in mood
impotence to satisfj himself, to create this flesh so much but not, I believe, in the level of personal involvement.
that he dreamed of holding two bewildered arms.
it in Ins Cezanne's first letters to Zola tell of his fondness for
These women whom he dro\ e away from his atelier, he- clever word games and charades. He begged his friend to

adored in his paintings there he caressed them and rhyme evervthing, and he in turn would puzzle over
violated them, desperate that through his tears he would Zola's riddles. 4 " He would then rcplv with a rebus, which
not have the power to make them as beautiful and vibrant would require Zola to divine the mystery of its combination
as he desired.' 35 of letters (pronouns) and vignettes (portraits, a scythe,

buildings, etc.) 41 seems likely then, that Le Dc'/emier sitr

It
The hook was end heir friendship.
to I

Fherbe may be another of Cezanne's games of this sort

In fact, in The Temptation,Cezanne may have told lis
wherein he has indicated his intention with disparate-
a great deal about the emotional and psychological con-
people and things, but without words. The persons and
flicl thai his affair with lortense brought him, the conflict
I

objects may all serve as keys to the contrived arrangement

which achieved sublimation in the \ears to come.
of the picture.
About 1
869 same time that he conceived
70, at the ot Two isolated pieces of fruit, illuminated and em-
The Temptation, Cezanne painted what is now called he phasised by the circular sweep of the white cloth, locate
Dejeuner sur Fherbe (cat. 51). What ai first glance appi the exact left-right centre of the canvas. The relationship
lo be a group of friends casually gathered around a white of the other parrs is graphic. The actual convergence ot

cloth tor an afternoon's pleasure, upon closer scrutiny the action found at a point below the lower edge ot the
is

takes on a contrived, even sinister aspect. The food is canvas from which radiating lines indicate a gesture or
sparse - three pieces of fruit; the libation discarded a glance; i.e. Cezanne's pointing finger, the lighted face ot

bottle lying on the grass; the postures and gestures ol the the blond man and the standing woman's gaze. This

ligures calculated and emphasised a pointing linger, a construction sets up a 'tableau' which seems to involve
hand raised lo the lips, arms folded 10 the breast. the four (or five, if the observer in the rear is included)
That was( .(/.nine's
it intention to recall older pastoral central characters in a primary stor\ , and suggests that
scenes is obvious. Me sketched the Concert champetre the departing couple ma\ represent a subsequent action. 42
where he 34 two
then attributed 10 Giorgione, in the Louvre, If we have a part narrative, what has taken place
also no doubt encountered the amorous couplings and in the first instance to warrant the second? In Cezanne's
cosmic landscape ot' \\ atteau's Embarquement pour /'!/< tit arrangement of the four principal figures, we seem to have
CythereP Cezanne's debt 10 Manet's 'scandalous' /-< a confrontation, a game as it were, in which the ligures

Dejeuner sur Fherbe has always been acknowledged: the pi. ued across from each other are in opposition: male vs

group ol four in a wooded selling, the still life, the shed male; female VS female.

clothing. Monet's life-sized 'picnic' (1862/3), mtl Bazille's • Standing it the left and silhouetted against the dark
/ ,<i Famille tic f artiste a Montpelier, exhibited at the Salon forest, the blonde woman holds an apple; her race seems
of iSf>8, were undoubtedlj familiar. 38 But Cezanne denies to express perplexitj as if to determine whether to take a

the lyricism anil unitj "f the older works, isolating, even hue of the fruit or to offer it to the artist at whom she-

enclosing, each figure in its own space. The landscape is looks. If she were pondering either alternative, we could
imagined or artificial, unlike Monet's sensitive tendering see her role as a temptress, even as an Eve. Cezanne has
of the Forest of Fontainebleau. The fashionable display given her the air of an enticing female. She has strongb
of elegantly dressed men ami women in Monet's and modelled breasts, a small waist, and an elongated form
Bazille's paintings seemed not to capture ( ezanne's fancy. emphasized bj serpentine curves which accent the folds
Mis women are clad in simple, unadorned dresses, the and hem of her skirt. ler blonde hair is loose, unlike I

men while shirts excepl for the sell portrayed artist

in the more decorous chignons worn b\ women ot the
who is clothed in a coiitcmporar\ Iroek coat anil light daj actually recalling the unbound tresses ot the female

breeches (how different from the descriptions of his nor victims discussed earlier, as well as three ot the nudes 111
mal ait ire!). /'/<< Temptation of St \nthony). \\ e are reminded of Zola's
.

Because sombre, contemplative presence, we

ol his description o\ Thcrcse Raquin, distraught bj guilt and
sense a personal testimony to the weightmess ol the appearing as a degraded streetwalker:
Subject, somehow substituting a part of his imagination '. . . she was clothed like a girl, in a long trailing dress;
lor a puce of nature. 39 Comfortable in scale (and nearlj
she strutted on the sidewalk provocative fashion,
in a
identical in size to The Temptation oj St \nthony, Cezanne's
looking at the men; . . . she mo\ ed slow l\ her head ,

Dejeuner mas\ be realised within this intimate framework, down her back.' 43
slightb turned, her hair hanging
not as the monumental salon pieces oi which Monet s
and Bazille's works speak. C I rowing out ol his own earliet \n antithesis to the vertical figure is the crouching

25
 ^

MARY LOUISE KRUMRINE

woman whose neatlv coined head is outlined against the does so in a heightened expression of the artist's dual nature.
blue sky. She raises her left hand to her lips as it to stiHe a we could presume, then, that the blond man is
It

gasp or give a warning, possibly in response to her counter- Cezanne's alter ego, how can we account for the remaining
part's gesture. Her position near the artist may give a persons in the picture? Aside from his stoic posture, the
clue to her identity. She does bear a striking resemblance man in the distance has only one attribute
which lends
to Cezanne's elder sister, Marie, whom he portrayed seated him distinction: a clay pipe. Cezanne and Zola often
at the piano in Overture to Tannbauser 44 (cat. 44).
Cezanne mentioned smoking in their early letters; the latter was
lived with herand his mother even after his marriage. particularly fond of a pipe. For both young men it was a
The figure which must take precedence as the subject custom associated with relaxation and reverie. 4X The image
of the painting is, of course, that of the artist. Although ot a figure smoking and withdrawn from his companions
his back is turned to the observer, he is impressive on appears several times in other paintings contemporary
several counts: his bulk near the centre of the canvas; the with Le Dejeuner sur Fherbe.*^ Twenty years later, about
tact that he is framed by objects found on the grass; and 1890, the pipe-smoker is found in the series of foueurs de
the pointing gesture whose direction is reinforced by his cartes.

bent leg. From none of whose pose or activity

these figures,
Reclining with one knee drawn up toward his both', is their only common
bond, could we identify the smoker
a voting man faces the observer and the artist. Though in our picture. Like his role in some scenes of card-
no more handsome than the other figures, he seems, in pi. ners, the man stands in the distance, clearly not a
comparison, to be idealised, even set apart from his participant in the conflict, but one watching how the
companions because of his golden hair, luminous pink game is played. Kurt Badt has suggested that the contem-
complexion, and air of femininity. He rests his chin on plator in the Card Players is Zola, 50 and since we know
his right hand in the standard pose of the melancholic. him as Cezanne's confidant, his presence in Le Dejeuner
Who, then, is the young man directlv aligned with stir I'lierbe would not be unlikely.
the artist's left hand? Their opposing features are more Solitude, almost necessarily, became a way of life for
distinctive than those of the two women. Cezanne is Cezanne. If the smoking contemplator represents Zola,
sombre, his hair is dark and sparse, his complexion sallow, the concept of the artist's loneliness is reinforced bv his
his coat black. The other, his blond hair falling over his friend's distance.
forehead, smiles faintly; his skin is fair, his shirt white. In his 'picnic'Cezanne placed several diverse objects
Why would this figure be a pendant to the artist? When close to where he is seated on the grass. Near his right
Zola wrote about Cezanne in Won Salon (1866), . . .
'Je te hand are a top hat and folded parasol; both appear again
vols dans ma vie com nit ce pale jeune bomme don t park Mttsset,' at the far left of the canvas, the hat on the man's head, the
he an indication of the source not onlv for the man's
left parasol now open, carried by the woman. Lying near the
countenance and his posture, but for his melancholic pose artist's left foot is a chain, and on it a bottle whose neck

The 'pale young man' of whom Zola writes

as well. 4 " points toward the departing couple; both seem bizarre
comes from 'La Nuit de decembre' bv Alfred de Musset, accompaniments to a picnic. The thick black chain could
the poet who awakened the bovs' heart, who became hardly have a pleasant connotation; the bottle, lacking
their "religion'. the graceful shape of a wine carafe, resembles a whisky
Does the painting show a bisecting, or separation, flask or even a marked container of poison. Again we
of de Musset's character: smiling, melancholv, patient as must seek a covert, personal meaning that these things
well as gloomy, sombre, dressed in black? If this is his could have had for Cezanne.
mirror-image, as suggested in the poem, it must return The seated, fawn-coloured dog is different from
his likeness in spirit rather than in realitv. those in Cezanne's other pictures - from the comical petit
To suppose that Cezanne painted his 'double' is chien in A Modem Olympia (see fig. 18), the lunging black
further supported bv another storv written bv Durantv animal inLa Ltttte d' amour (see figs. 20, 28), and the one
about 1869, the date of our painting. La Double I 'lie de lying at the centre of the Barnes and London Bathers.^ 2
Louis Se'guin 46 concerns a group of artists who gather at Cezanne himself explained the presence of the barking
the Cafe Barboise (a thinlv veiled reference to the artists' black dog The Apotheosis of Delacroix as a sjmbole de
in

Cafe Guerbois) in Paris. In the manuscript of the storv, Fenvie, 53 but such an association seems at odds with his
the author forgetfully refers to his subject as Paul and not pleasant recollections 'd'etre nous trots et le chien, Id ou a
as the Louis Seguin of the title, a young artist who speaks peine qnelqnes annees aitpararant nous etions. ,:,A The dog in Le
of his concern about a rival for the favours of an attractive Dejeuner has no visual connection with the friends' 'Black',
shopgirl. If this anecdote refers to Paul Cezanne (and the but it may stand for faithfulness, sitting obediently and
phonetic similarity of the family name, the author's slip observing cautiously. It bars the artist's path of exit, at
as to the Christian name, and the turbulent personality of the same time pointing its nose at the pale young man
the protagonist leave little doubt that this is the case), 4 " it seated opposite.

26
 PARISIAN WRITERS AND THE EARLY WORK OF CEZANNE

our observations of this strange melange

Lei us review 'double' and his sister, a reminder of familial negative-
of performers and attempt to propose the main scenario sentiment and judgement/* Where Cezanne first put his
in which they act. The apples are both the subject, centrally fantasies into his own poetry, they are now gathered and
placed, and the object awaiting action. Cezanne is the placed on canvas, becoming even more vivid reminders

protagonist. The standing woman-temptress questions of guilt and indecision, or acting as a catharsis for them.
her own partaking, or proffering, of a piece of fruit. The philosophical examination of self, ot the question
Cezanne's sister watches him, si idling a sound of warning '/or/ 011 raison', seemed pervasive, even fashionable, in the
or surprise. The artist, who gestures toward his alter ego mid-nineteenth century. Numerous novels told ot the
as if seeking guidance, receives only a patient smile // (
/ 'good countrv who were in conflict
girl' vs the 'bad city girl'

me soiiris sans partager ma joie, In me plain suns me consoler!), in a young man's life. The judgement of Paris was the

no admonition or amelioration lor his difficult decision. theme of manv operas. A similar theme is explicit in
Another figure, detached and calmly smoking, observes Wagner's Tannhduser, so beloved by Cezanne. 59 It was in
the scene from a distance. this work, according to Baudelaire, that the hero must

Bui it is evidenl thai die protagonisi has made his choose between Satan anil God, 'a duality immediately
own decision, as the second, u\ scene lesiilies. Me lias indicated by the overture with incomparable skill'
succumbed to the young woman's enticement, they have Mauncr believes that Manet's Dejeuner sur I'herbe was
gathered their belongings and leave centre stage, lake the enigmatic for both his contemporaries and the public,
biblical Adam, Cezanne yields to temptation, and with and for this reason it is striking that Cezanne should
his Eve leaves the lighted garden for the darkness of the emulate the older painter's subject as well as his compo-
unknown wood. sition. But for all of their similarities, there is one distinct

Because the organisation of figures in Cezanne's difference: the singular gesture, the pointing hand. It

picnic reflects so closely its prototypes Giorgione's Manei's 1'ansian dandy distinguishes the upward-downward
Concert champitre and Manet'i I Dejeuner sur Fherbe we anil sacred profane dichotomy," Cezanne's own hand
might presume symbolic intention is the same.
thai its points toward the other parr of himself, thereby stressing
Receni interpretations of the Venetian work indicate its the personal aspect of his choice. We might reason that it

representation of an allegorical choice between \ ice and Manet's painting presents an abstract, philosophical choice,
the natural life of passion (depicted b) the woman at the Cezanne's intent and his images may not have been culti-
musician's left), and virtue and the control of reason vated in the same They were expressed
intellectual vein.

(depicted by Temperance al Ins righi \ similar analogy rather as a naturalpan of his innermost sensibilities, as
follows in George Maimer's stud) of Manet's painting. the feeling between painter and subject. By arranging a

By tracing the source of both the stan-d nymph and the 'game of life' in Dejeuner, where the ubiquitous apple-
/ .<

bathing figure to images b\ Raphael, we see thai they is a metaphor tor choice or chance, b\ standing lover

represenl respectivelj the profane and sacred attributes against sisier and self against inner-self |
\ ice against virtue,

of water. When the gesturing man directs the observer's as it were, in each case), Cezanne actually sets forth in this

attention to these two figures, he invites a moral choice picture off. 1869 70 his lifetime conflict. More than twentv
between the flesh and the spirit, the passionate and the \ ears later, die same opposition or dualitv ma\ be e\ oked
temperate. 56 In the progression ol the three works, it in the monumental Card Players whose serious purpose
becomes apparent thai the human dilemma of choosing likew isc seems concealed by the apparcntb casual subject
between evil and good exists on comparable levels ot matti

symbolic content.
Following the pattern of his own Temptation of St
the 'picnic' to represent In trfceing the chronology of Cezanne's earl) paintings,
l////Wy, many images converge in

for the artisi an intimate, secularised, and veiled analogy two narrative threads emerge: the repeated self-portrait
to the Garden of Eden. When taking into account the of the artisi (or a motif or literary allusion to him) and an
concurrent date of the two pictures, aboul [869 71 the .
evolution of relationships between the sexes, but more
likelihood of their being a pendani for one .mother seems explicitly, as the works develop, between Cezanne .uu\

very strong. I must point out again their coincidence 'woman'. The scenes move from those of violence to the
Willi die beginning ol ( v/annc's liaison with I loriciisc point ofbodil) injury {The Strangled Woman, Tbi Murder

Fiquet. Although in the picnic the blonde woman be. us cat to fear of eroticism (The Temptationof St Anth
.
1 I,

no particular resemblance 10 ( ezanne's mistress (and future to suppressed feeling in the guise of meditation, and

w ife), this is not the case in the scene of Saint \nthon\ 's eventuall) submission to woman ,/., Dejeuner sur Fherbe).

we have observed Could 57 the blonde In the last group of figure paintings before he begins the
temptation, as it.

woman in Le Dejeuner symbolise Cezanne's momentous seriesof bather pictures (c. s-2 until his death in 1906),
1

decision to take lortense into Ins lite as a sexual partner?

I
Cezanne removes himself from the primary narrative,
I le reinforces the difficult) of his choice by including his maintaining his presence in the picture but acting as an

-"
MARY LOUISE KRl'MRIM.

it. In this environment, the painting moves away from

the 'real' toward the abstract. Several aspects of A Modern
Olympia arc remarkably similar to Le Dejeuner snr I'berbe.
Cezanne's posture and his contemporary dress arc the
same; his black hat is in the same relative place behind
him; he is confronting a tempting woman. The object-
subject is centred and emphasised on white fabric. But
Olympia beyond the everyday
the artist seems to take his
world into an imaginary, dream-like environment seen
through his own eves.
This dreamy unreality reminds us of the artist Frenhofer
in Balzac's Chef-d'oeuvre inconnu who, at sea in creative
agitation, searches for the unearthly, spiritual model for
his imaginary work of art/' 4 Emile Bernard's well-known
anecdote tells of Cezanne's identification with Balzac's
legendary artist:

'One night, when I spoke to him about the Chef-d'aurre

inconnu and of Frenhofer ... he rose from the table,
Fig. is I Modern Olympia, is-; j V.225 1. Musee d'Orsay, Paris. stood in front of me, and, hitting his head with his index
finger, likened himself, without a word but with this
repeated gesture, to the person in the story. He was so
observer rather than The visible dread of
a participant.
overwhelmed that tears filled his eves.' 65
the temptation scene overcome or suppressed, and the
is

self-contemplation of the 'picnic' is transferred to a nude If Cezanne was so moved to enter the role of Frenhofer,
woman on whom he looks with apparent detachment. it may not be mere coincidence that A Modern Olympia is
She becomes an object seen intellectually and, seemingly, replete with the details of Frenhofer's own painting:
without lust. In her nudity, the woman might be a time-
'One sees a woman King
under curtains, on a couch of
less or universal symbol. But at this point in his artistic
velvet. Near her a three-footed stool of gold exudes
development, Cezanne never fails to leave clues to the
perfume. You are tempted to pull the tassels on the cords
origins of her suggestive posture, allowing no doubt that
which draw back the draperies, and it seems that you can
an inner turmoil still haunts the outwardly detached artist.
see the breast of Catherine Lescault, a beautiful courtesan
Possibly the most familiar scenes of 'woman observed'
called Le Belle Noiseuse, move as she breathes.' 66
are found in the A Modern Olympia (cat.
two versions of
40 and fig. one being shown at the first
18), the later Whereas the only recognisable part of Frenhofer's beautiful
Impressionist exhibition in 1874. 63 Much has been said Catherine that escaped his progressive destruction was
about this picture's relationship to Manet's Olympia, a a nude foot that emerged from a chaos of colours and
work which greatly affected Cezanne when it was hung obliterating brush strokes, Cezanne leaves us the allegorical
in theSalon of 1865. Their differences, I believe, are figure of a woman revealed, with the artist still searching for
more impressive than their affinities. Cezanne's heroine- her true identity. The perfect woman existed in Frenhofer's
courtesan appears drowsy, melancholv and introverted, a mind, but he never found his spiritual ideal in his painting.
sharp contrast to the tense, impertinent Olvmpia. Her In the end, the mad artist proclaimed that his painting
patron, in this case the artist himself, is introduced rather was life itself. Does Cezanne ponder two such questions here:
than intimated as in Manet's picture. This visitor serves a the real, his ability to paint, and the ideal, his ability to
double function. Because of his position in the pictorial fathom the 'efemel feminin}
scheme, he detains us, as viewers, from establishing a The formidable emasculating woman, portrayed in
rapport with the woman, and yet because of his presence, the early works of both Cezanne and Zola (and undoubtedly
affirms that we, with him a part of the outside world, can expressing their similar feelings toward her) may have
enter the habitat of the courtesan. been the catalyst that destroyed the men's long friendship.
Manet's Olympia, the woman, astonished and shocked An artist's seemingly hopeless struggles with his career in
her audiences for manv reasons, but most profoundly for painting, and his all-consuming attempts to represent his
the realism of her contemporaneitv and nudity. If Cezanne ideal woman on canvas, is the denouement in Zola's novel,
had been creating a 'modern' parody ot this prototype, he L'Onrre.''' In this story, the artist's passionate bouts with
has led us into a more 'modern' painting by denying both woman and art actually represented as one and the
scale, perspective and objectivity. It is not his thematic same were fatal.

interpretation that was new, but his artistic translation of Of course, Cezanne never succumbed to the central

28
 PARISIAN WRITERS AND THE EARLY WORK OF CEZANNE

of his thesis; Rewald. 1 936. Sec also Mack, 1935, p. 1 33.

5 Paul Gauguin, Letters de Gauguin, a sa femme et ses amis, anne >t.
Maurice Malingue (Paris, 1946) pp. -M ~6; letter to Emile
Schuffeneckcr, I4january 88 1 s

4. Mack, 1935, p. 240.

s. See particularl; Cezanne, Correspondence, 19—8. p.i jo; letter to

Heinrich Morstatt, 24 May 1X68.

6. Rewald, i9XC),pp. j6 12-. 7. The portrait of Valabregue is V.

c. 1870. All of Cezanne's works cited here are identified by numbers

(i.e. V. 2-, R\\ C. 36, Ch. 56) c;iven in one or'three publications:
1 1 1

I.ionello Vcnturi; |ohn Rewald, 1985; and Adrien Chappuis, 19-;.

7. Quoted in Vollard, 1914, p. ;<.

8. Zola's recollection of their friendship is in UOemre, 192- 1929.

XV, p. 34.
9. Ibid., XLV, pp. ^4 <.

10. Rewald, 1986, pp. 21 8.

1 1. Zola, ( orrespondance, 1978, vol. 1, p. 141: letter of 25 March i860:

'
|'ai fail un reve, I'autre |our. I'avaisecrit un beau livre, un livrc

sublime que tu avais illustrc de belles, ele sublimes urav urcs. Nos
deux noms en lettres el'or brillaient, unis s U r le premier feuillet. et,
dans cette t'ratcrnite du genie, passaient inseperables posterite.' .i

Fig. 19 UHternelfeminin, c. 1875 7(V.247 ["hi I Paul Gettj Museum, 12. It was not until 188cth.1t Zola again mentioned Cezanne in his
Malibu critical writings; 1966, XII. p. icix.

1 ;. Ibid., p. 785:

character's ultimate solution to his dual frustration

i leureux ecus i|ui out des souvenirs! |ete voisdans ma \ iecomme
works progress, he side-Steps fur
suicide. Instead, as lus ce pale jeune homme elont p.trle Musset. Tu es toute ma jeunesse;

ther confrontation with 'woman,' becoming more objec- je te retrou\ e mele a chacune de mes joies, .1 chacune ele mes
tive, apparentlj immersing his feelings in more subtle soufFrances, Nos
dans leur fratemite, se sont developpes
esprit s,

cote a cote. \ci|ourel'hui, au iour elu debut, nous a\ ons toi en

Story-telling, fewer autobiographical references. When
nous, parce c|ue nous a\ ons penetre nos coeurs et nos chairs.'
the Bather compositions begin, some concurrent with
The quotation is from Zola's manuscripts Tor La ortunedesR"
Modern Olympia and UEternel feminin (fig.19), ami 14. I
I

cited In Reve aid, 1936, p. 72, n. 3.

work their waj to the monumental conclusions thirtj seem to reveal \er\ clearly
is. The ebancbes for La C onqwete de Plassans
years later, his femme fatal becomes an artistic form, one that ( lezanne's mother and lather were the models tor the Mouret
used to build a composition. Hut the inheritance is from parents; Zola, 192- 1929, V, pp. ;-2. 381.
the early works, from the tempi ress ,wu\ the iternelfeminin. 16. \ relationship plainly like that of Cezanne anel Zola is tolel in

repeated Madeteim 927 1929, XXXIV, pp. 72 ; byGuilkume.

'The essence of her ungainl) , unattracth e form is
I

'.
ele longues journees ensemble' Nous courions les champs, la
. .

continuouslj in groups ol Baigneuses main elans la main. |c me souv iens el'un maun ou nous petitions
W
hen Cezanne chose structural blocks for the ulti- eles ccrcv is- es soeis les s.iules; il me ehs.ut: '"( lUillaume. il n\ a

mate figural work, The Great Batbers, 68 the forms came qu'une bonne chose id has. I'amitie. \1mons-noe1s hien, cela nous
from puces of sculpture or from other paintings, therein con solera plus tard.'" ( a impart, tor e sample, with Cezanne,
orrespondance, 1978, pp. 19, 31.
acquiring proportions of grace which wen ^ni.\ nobilit)
(

17. Zola, 1927 1929, X\\ l\

never found in the imaginary women. We maj sense that is. Zola, 1927 1929, XXXIV, pp. 81 <»:

the subjective and personal content of the firsi works,

". . . enune dalle, Camille It regardait, etendu sur
lace ele lui. seir le
found mirrored in the literature with which he was so elos, la icte levee, les ecus entr'ouvertS. ... II resta immobile.
familiar, become almost complctclv subsumed in the last mi cinq grandes minutes, perdu elans une contemplation
;

paintings. With his re\ olutionarj manipulation oi colour, inconsciente, gravam malgrc lui au fond ele sa memoire routes

volume and space, what Cezanne had experienced intern lignes horribles, tOUtes les couleurs sales du tableau qu'il av au
s. .lis les \ eux.'
alb found its translation into pamtcrb form.
ie>. Of chief concern here is the link between .//</;/ anel

/.'().7; re, as I aurent is the prototype for the artist. Claude Lander,
\l >l I S whom Zola considered 'plus pres de Cezanne', Zola, 1927 1

This paper v\ .is originall) presented in the lecture series 'Paris: < enter XV, p |i See John C. Lapp, Zoii mart

oi \nisiic 1 nlighti nment', .11 the- Pennsj Ivania State I niversitj in I 1 ironto, 191 !
1 1 her insight into this relationship,

April 1986. It will Ih' published in .1 longei version, in the collection anel particularl) into the similarities of males anel females in

a ess.n Pennsylvania State University, Cezanne's portraits, a 'weakness' w Inch also occurs in Laurent's
s, Papi 1 1 in \r! I listory from tin I

\ <
Jume i\ paintings.
1. Edmund Durantv,
,
'Le Peintre I ouis Martin*, in Pay 1 20. Rewald, 1936, pp. 1. <>9. associated their actual artistic output emlv
Paris, 188 1, pp.3 1 3 50 (published posthumouslj ). w hen he stated, about bi n n Raqmn, '( lette lecture ev oquera /

2. Excerpts from this storj are found in Rewald, 1986, p. 1

t-.
I "less plutot ces tableaux ele lezanne ou eles scenes etranges et erotiques (

otherwise noted, the aa its ' I 1 anne's life in drawn from sont rendues avec emphase.'
I'miessoi Rewald's book .is well as from the- original publication 21. ('onsult Rett. 1962.

29
MARY LOUISE KRUMRINE

Charles Baudelaire, Oeuvres completes, ed. Claude Pichois (rev. ed., Rewald, 1986, pp. -8, 164.
Paris, 1960), p. 657. J4- I think particularly ofV. 527 anil also of Y. 569. See Rewald, 1986,
Gustave Flaubert, 'La Tentation de Saint Antoine' (1856), p. 1 56 concerning the painting of a young woman (Hortcnse?)
L' Xrtiste (1856-7). whose figure becomes part of the compositions of the Ha/hers.
24' Idem, La Tentation de Saint Antoine (1874), (Pans, Edition Garnier- ,s. Zola, 192^ 29, XV, p, 50:
Flammarion, 1967). See V. 240, 241,1". 1875.
'. . . c'etait sa passion de chaste pour la chair de la femme, un
25- Reft, 962, pp. 117-19; and idem, 966, pp. 40-
1
discusses the 1 1 ,

amour fou des nuditcs desirees et jamais possedees, une

relationship of all four nudes to earlier depictions of the Judgment
impuissance ;i se satisfaire, a creer de cette chair autant qu'il revait
of Pans. See also Lewis, q.v., Adriani, q.v.
d'en eteindre, dans ses deux bras eperdus. Ces tilles qu'il chassait
lb. Regarding the 55 mbols of androgen} in philosophy and alchemy,
de son atelier, il les adorait dans ses tableaux, il les caressait et les
consult Marie Delcourt, Hermaphrodite, Myths and Rites of the
violentait, desespere jusqu'aux lames de ne pouvoir les faire usslv
Bisexual Figurt trans. |. Nicholson (London, 1961), pp. 67 84.
belles, asse/ \ i\ antes."
Rerl, 1962, p. 11-, n. 40. The painting is V. 19.

28. I \\\ lemmings. The Life and Times of Entile Zola (London,
. |. 1 Concerning the identity of Zola's Claude Lantier, see Robert ).

1977), p. 108, and rig. 42. Niess, Zola, Ce\anne and Monet ( Ann Arbor, 1 968), especially

-V- Idem. pp. S- S. Zola was thus portrayed in the Goncourts' chapters 1Y and V.
notations of 14 December 1868; Edmond and fules de Goncourt, j6. Rewald, 1983, no. 65, f. 1878.
Journal, vol. Ylll (Paris, 1956), pp. 54 6. See also Lapp, 1964, for 1
37. I lelene Adhcmar, Embarkationfor Cytbera (London, 1947).
his discussion, especially pp. 1 58 46, of Zola's 'autobiographical' ;8. Joel Isaacson, Monet: Le Dejeuner sur f'herbe (New York, 1972),
characters in his early novels - their ambivalent sexuality, their pis. 2-1, ;;. Rewald, 1973, p. 177; and Ibid., p. 595, documents
relationship to women, etc. Cezanne's visit in 1865 to the studio Bazille shared with Monet.
• Meyer Schapiro, 1968, p. }6, andn. 10. Lapp, 1964, pp. 139 41. 39. Fxpressed by Badt, 1965, p. 256.
refers to Zola's projection, into his novel La C wee, of his own 40. Cezanne, Correspondance, 1978, pp. 27, 29. Letters are of 29 . . .

early familiarity with sexual inversion. As an addendum to 1858 and 9 July 1858. The charade was in a letter of 29 December
Schapiro's notion thai Zola joined his name with his friend's in 1859. Ibid., p. 61.
UOiuvre, would point out what may be a similar
i.e. Sandoz, I 41. 21-2, Fig. 3; letter of 3 May 1858.
Ibid., pp.
'merger' on Cezanne's part. This occurs in La Lecture cbe% Zola 42. Suggested bv Schapiro, 1952, p. 54.
(cat. 43, V. 118, e. 1867— 9) which supposedly portrays the writer 43. Zola, 1927-29, XXX1Y, pp. 217-18:
Paul Alexis and Zola. It seems very clear to me that the man who
'. . . elle s'habillait comme une
rille, avec sa robe a longue traine:
faces us, although called Zola, may also be Cezanne. Although he
elle se dandinait sur le d'une facpn provocante, regardant
trottoir
obviously has Zola's nose, he is bearded, long haired, and has a
les hommes ... la jeune femme marchait lentement, la tete un peu
high forehead which suggests the premature balding. artist's
renversee, les cheveux dans le dos.'
Fascinating to note as well is that the position of his hands,
holding a book, so closely resembles Les Joueurs de cartes, 44. V. 90, 866-7; the likeness of the woman to Marie is also observed
1

particularly the preparatory sketch of a single figure (V. 568) who by Rewald, 1986, p. 63. About the identity of the figures and the
is frontall) posed. Compare the similar composition (cat. 47, V. date of this version of Overture to Tannhaust r, see Mack, 1935, p. 22,
11-), where the rendering of Zola's head is completely different. and Alfred Barr, |r. and M. Scolari, 'Cezanne in the Letters of
5 1 Lapp, 1964, p. 141, when speaking of letters Zola had received Marion to Morstatt, 1865 -1868', Magazine of Art (May 1938),
pertaining to the ambivalence of his characters, assesses the pp. 289-91. It is thought that Mane had considerable dominance
novelist's reaction: 'One reason why Zola mav have been disturbed over the artist. She was a spinster and, like her mother, was
by the revelations is that thev brought home to him
in these letters known for her nearly fanatical piety.
the personal factor in his literarv creations, revealing the close 45. Zola, 1966, XII, p. 785. In Zola's youth, his admiration for de
connection between the traditional "Byzantium" and the actual Musset was exceeded only bv the influence the poet had on him.
homosexual in a hostile world, a connection ot which he mav have Observe his frequent references to, and adaptations ot, de Musset's
been only subconsciously aware.' work in his Correspondance, passim. The feeling of ies plus chers
?*• See n. 1 ; above. In Madeleine Fe'rat, 1927-1929, XXXIV, souvenirs de ma jeunesse' permeates Zola's commemorative essay
pp. 1 13 — 14, Zola repeats an exactK similar phrase in an overtly on the poet (Idem, pp. 327-5 1). In 'Les Cimetieres - La Tombe de
sexual connotation. Musset', one of Les Nouveaux Contes a Xinon, Zola weighed the
strange power on his generation that came from de Musset:
'La jeune femme l'avait absorbe; elle le portait en elle maintenant.
Ainsi qu'il arrive dans toute union, l'etre fort avait pris fatalement "IIest peu de jeunes hommes qui, apres 1'avoir lu, n'ait garde au

possession de l'etre faible, et desormais Guillaume appartenait a coeur une douceur eternelle. Ft pourtant Musset ne nous a appris
celle qui le dominait. II lui appartenait d'une tacon etrange et ni a vivre ni a mourir; il est tombe a chaque pas; il n'a pu, dans son
profonde. II en recevait une influence continuelle, ayant ses agonie, que se relever sur les genoux, pour pleurer comme un
tristesses et ses joies, la suivant dans chaque changement de sa enfant. N'importe, nous 1'aimions; nous l'aimions d'amour, ainsi
nature. Lui, il disparaissait, il ne s'imposait jamais. 11 aurait voulu qu'une maitresse qui nous feconderait le coeur en le meurtrissant.
se revolter qu'il se serait trouve comme emporte dans la volonte C'est qu'il a jete le cri de desesperance du siecle; e'est qu'il a ete le
ile Madeleine. A l'avenir, sa tranquillite dependait de cette femme, plus jeune et le plus saignant de n«us.' S4
dont l'existence devait forcement devenir la sienne. Si elle gardait
According to Reft" ('Cezanne's "Dream of Hannibal'", Art Bulletin,
sa paix, il vivrait paisiblement de son cote; si elle s'affolait, il se
XLV (1963), pp. 148-52), some of Cezanne's own verses reveal
sentirait fou comme elle. C'etait une penetration complete de chair
the moods of de Musset's 'Rolla' and 'Les Contes d'Espagne et
et de coeur.'
He finds thematic, even personal, links with 'Le Songe
d'ltalie'.

Consult also n. 30 above and Rewald, 1936, p. 163. Badt, d'Annibal', written in 1858. The progression of Cezanne's images
pp. 108-9, proposes that Cezanne's compositions in Mardi Cras - from fantasy, to verse, to painting - when in a period ot ten
(V. 5 5 2) and Les Joueiirs de cartes (V. 559, 560) metaphorically fuse years 'Le Songe' moved toward The Orgy, have been noted. There
two figures into one person. are good reasons to believe, then, that Le Dejeuner, nearly

3°
 PARISIAN WRITERS AND THE EARLY WORK OF CEZANNE

contemporary with both The Orgy and Zola's 'Les Cimetieres' known 6 and remaining in the
picture, V. 87, painted about 1864

(published 868^, ;dso bears the mark of the romantic poet. To

1 1 1 i
|as double image of a man and
de Bouffan until 1956, shows a

Iois Boe lyslop owe thanks for many conversations about Zola
I I woman, he closely resembling Cezanne with dark hair and bushy
and Baudelaire. It was also she who knew of the Doppelganger in beard, she with light skin and shown in profile. F.ntitled Contrasts
de Musset's poetry. (cat. 42), we would wonder if they could be Paul and Marie

46. Petrone, pp. 255 9. The author suggests that the character may be (.ezanne.
Manet or Degas; bul the personality of Seguin, as Duranty <,<). Barr, Magazine of Art (May, 1938) (cited in note 44 above;
describes it, would seem to rule this out. On the other hand, since pp. 288 91. This popular theme was discussed by George Mauner
Manet was a member of the ( iiicrbois < ire :lc, 11 seems likely that in his lecture, "Manet and the Playing Card Principle', given at The
he, as Duranty, was fascinated by the notion "I the homo-duplex, National Gallery of Art, 4 March 1983.
a concept that he dealt with in his own art. See Mauner, 1975, 60. Baudelaire, (Quires completes, p. 1225.
particularly pp. 15 1 8. 61. See Mauner, [975, Fig. 7.

47. Rcwald, 1986,0. 142 and n. 1 2, refers to Duranty's frequent play 62. Schapiro, 1952, p. 88, notes that the two players in the later
on names. \ ersions are opposite tvpes left dark, right light; hat down, hat

48. See the friends' letters: Zola, Correspondence, 1978, vol. i,p. 126, up; face in shadow, face in light. Could both of these represent
li tterof January i860; Ibid., p. 142, letter of z; March i860.
5
Cezanne, alluding again to the homo-duplex?
\ 1872 j;cat. 40, V. 106 is a similar composition, usually
( ( valine would compliment his friend on his gift ofcigars: 'Par ma 63. '. 22s,

loi, mon \ ieu\, les cigares sont excellents, j'en fume un en •

t'ecrivant; . . . grace i ton cigare voila mon esprii qui se raflermit, 64. See Do re Ashton, A
Fabk 0/ Modern Art (London, 1980),
. .
.' Correspondence, 1978, p, 4^. pp. 50 47, concerning Cezanne's association with Frenhofer.

49. Pastoral (cat. <,i) and Tht Robbers and the I ca \\ ,V. 108. 65. Bernard, 1921, p. 44:

50. Badt, (965, p. 5.

du Chef-d'oeuvre inconnttet de Frenhofer,
1
1
'I n soir que je lui parlais
51 ( ezanne, in his early letters and notably in his poem 'Le Songe de table, se drcss.i dex ant moi, et, trappant sa poitrine
se le\ a
. . . il

d'AnnibaT, often alludes to drinl ing in < ncess. In Flaubert's

son index, il s'accusa sans un mot, mais par ce geste multiplie,
Salammbt ("well known to the artist), the broken chain is associated
meme du roman. en etah emu que des larmes
le personnage II si

with losi virginity.

cmplissaicnt ses vcux.'
52. V. 580, 1875 7; V. 720, 721, 1895 1906.
5j. V. 24;. The quotation is from Emili Bernard, Souvenirs sur Paul 66. I lonore de Balzac, Ourres completes, XIV (Paris, 1 B45), facsimile

ed. 1967), pp. i,o\ 2:

1 < ,11111, 1
1'.n is, 192^), p. 55.
54- Cezanne, ( orrespondana 1978, p. 3 1 Letter to Numa Coste, c. , 1 .
Qui le verrait, croirait apercevoir une femme couchee sur un lit de
beginning of |uly 1868. The three were < £zanne, Bailie and Zola. velours, sous des courtines. I'res d'elle un trepied d'or exhale des
( ezanni does call thi dog black'. Ibid., p. 109; letter to Coste, gland des cordons qui
parfums. Tu serais tente de prendre le

s January 1 86^.
retiennent les rideaux, el il te sembleraii voir le sein de Catherine
Si hapiro, 1968, p. 58, See also Eugenic Battisti, article in press.
J5- Lescault, une belle courlisane appclec l.i Belle Noiseuse, rendre le

56. Manner, 197s, pp. 7 s, d(

1
ipi this argument.
)
\ 1

mouvemeni de sa respiration.'
I 1 Inn I particularly of V. j 27, and also V. 569. See Rewald, 198'),

p. [36, com erning the painting of a 3 in (Hortensi 67. Zola, 1927 29, XV, pp. 380, 391. Concerning Zola's projecting
whose li- in. becomes part of the compositions ol Baign< himself into this conflict of passion and art, see Niess. 1968,

Theodore Reff, 'Cezanne; the severed head and the skull', \r, Chapter VII, especially, pp. 1J9 69. Rewald, 1986, pp. 171 84,
;8. 1

discusses the bleak With Zola.

Magazine, A II 178;), pp. 84 00, elaborates on Cezanne
I ( 1
guilts

and fears thai are so 1 loseh associated with his laniib \ link 68 V. 7 19, 1900 06.

$'
Literature, Music Several of Cezanne's early subject pictures betray an un-
restrained Romanticism that seems inexplicable when
placed within the context of his total oeuvre. This is
and Cezanne's notable in the case of four fantasy paintings dating from
<-. i8-?o: The Feast (The Orgy) (cat. 59), the Temptation of
St .Anthony (cat. ^o), a small Bathers (tig. 20), and the
early subjects Pastoral (Idyll) (cat. %z). In each, Cezanne's provocative
figures, distortions of space, imaginative palettes and
visionary settings suggest an emphasis upon subject matter
Mary Tompkins Lewis that unique to his early art. When seen as a group, an
is

understanding of their elusive content reveals the deep

significance he placed upon literarv themes in particular.
Moreover, the specific subjects of his fantasy paintings
show not only the breadth of Cezanne's sources, but his
repeated attempts to capture in his early art the most au
iOiirant themes of his day. Far more than private fantasies,
Cezanne's four canvases of f.1870 attest to his ability to
transform contemporary literary subjects into Romantic
vehicles of his own. Coming as they do at the end of his
first decade of painting, they are characteristic of both an
artistic era and a working method the artist would soon
leave behind.
Framed by columns on the left and a vaporous canopy
above, Cezanne's raucous scene of revellers at a banquet
table in the Orgy places him squarely within the Parisian
art world of his time. Along with so many of his contem-
poraries, Cezanne here took a traditional theme and re-
worked it in modern terms. Updated from Renaissance
bacchanals, Baroque love feasts and Rococo soitpers, the
popular orgy theme was being revived on a grand scale
in nineteenth-centurv France. Even without the pretext
1

of classical mythology or a moralising genre, the theme

demanded the presence of sensual nudes, elaborate still
lifes of food and drink, and as often as not, exotic or his-

torical settings. It thus held an obvious appeal for Salon

painters and popular artists who catered to a pleasure-
seeking public.
Descriptions of orgies, with strong undertones of
escapism and a libertine atmosphere of excess, figured
frequently in nineteenth-centurv literature as well. So
familiar, in fact, was the terrain among writers, that Gautier
had one of the protagonists in a tale from his satire, Les
Je/ines France (1833), proclaim solemnly: 'There is nothing

so up to date as an orgy. Every new novel that comes out

has an orgv; let us likewise have ours.' 2 Orgies were
appearing in the theatre as well. The success of Offenbach's
Orphe'e aux Enfers (1858), with its bacchanalic finale, ex-

tended the subject to the popular Paris stage where it

would evolve in countless forms. 3 Thus, the orgy theme,
so boldly transformed in Cezanne's painting, had long
since captured the imagination ot his generation.
In his own work, Cezanne would conjure up the
popular theme of orgies in several variations. It is reflected
in the scenes of debauchery in some of his early erotic

Fig. 20 Bathers, 1 87 Non-V.). Private collection. verses. 4 It would appear to be suggested, as well, by such
 Fig. 2, Two sketches; Women, c.\%%^ 6

Fig, 'i Preparation for a Banquet, i 1891 1.5.7 x 5.3 cm (18 x zzj in I'm ate Collection.
;

(V.586). Acquavella ( ralleries, ln< ., New Yorl

I I- i*2 Thomas ( outure, Romans of the Decadence, 184 I i" i 1

\ en mi m .
II edd, •
ana.
Musee d'< )rsay, Paris. Musee >lu I <hi\ re, Paris.

intimate compositions as his c. i 866 watercolour The Rum at the 1 S 5 s World's

Cezanne was one of Fair. Later,
Punch (cat . 67) and bj the series < >i paintings and drawings countless admirers to copj from the canvas (fig. a figure
emu led [fternoon in Naples from f.1870 5 (sec cat. 27). 23); he also kept a photograph of it in his studio. Thus,
7

The theme is even strangely recalled in a later fantasy, Couture's monumental Romans no\ onl) gave the subject
Cezanne's Preparation for a Banquet off.1890 5 (fig. 21). m of the orgy additional prominence but pro\ ided a standard
so mam ways reminiscent of the earlier Orgy. Cezanne's of opulence against which all later artists would judge
fascination with the orgy subjeci thus extends far beyond their treatment of the theme.
his Romantic first decade. lor
composition, ("outure had turned to a vast
his
Certainly thegrandesi restatemeni of the orgy theme array of pictorial sources, Inn perhaps most notabh to
in the nineteenth century, and a major reason for its Veronese's Wedding Feast at Cana in the Lou\ re (fig. 2
currency in Cezanne's time, was Couture's Romans of the While ("outure achieved a mood quite different from that
I decadence ( 1
847; Musee d'( )rsay, Paris) (fig. 22). ^massive oi Veronese, he borrowed from the Venetian's work the

scene oi Roman debaucherj in a shallow Corinthian vesti architectural setting of columns, the distant blue sky, and
bule, Couture's eroticallj suggestive painting received most of all, the shallow hort/ontalism of the table that, in his
more public when
was unveiled at the Salon
attention it own painting, was replaced h\ the low couch on which the
oi 847 than
1 any other painting of the decade. 6 lis eclectic Romans reclined. Although most orgy scenes up to this
forms, rich palette, and Romantic theme of decadence time had been presented in a similar horizontal fashion
brought it almost as much notice when it was re-exhibited perhaps the \er\ nature oi the subject encouraged it

53
MARY TOMPKINS LEWIS

common - most notably the diagonals of the central

shadows in the Delacroix which are echoed in Cezanne's
table. There are also the columns of colossal scale and
lustrous, flowing draperies in each. Yet on its own the
Delacroix mural does not explain the unique composition
and elusive imagery of Cezanne's painting.
Like Couture, Cezanne had also looked to Veronese's
Wedding Feast at Carta. Cezanne deeply admired the
Venetian work, which Gautier had called a 'most radiant'
masterpiece, and which Delacroix, Fantin-Latour and
others would copv endlesslv." Cezanne himself had
copied details from the painting in the 1860s, and as late
as the 1890s still spoke reverently of its composition and
colour. \n unusually complete study for the Orgy, dated
1 -"

c.1867 and only discovered by |ohn Rewald in 1978

(cat. 65), establishes Cezanne's debt to the Venetian
painting; yet, as his final version of the Orgy took shape,
that relationship subtly changed. Rewald has noted that
the study exhibits a number of elements that do not
figure in the later painting, or else appear quite differently
on canvas. 13 For example, in the background of the study,
vertical columns and amphora bearers create an architec-
tural screen that functions like the horizontal balustrade
in the Wedding Feast; this background screen is totally
absent from Cezanne's subsequent version in oil. By con-
trast, the sombre tones of the study, executed in pastel
and gouache, are replaced with a much brighter palette in

the later painting. Its coloration is now closer to the

Wedding Feast. What cannot be explained, however, by
Veronese's work or any other pictorial source are Cezanne's
fantastic imagery and dream-like space. Only an under-
standing of the Orgy's subject matter can account for its
Fig. is Eugene Delacroix, rleliodoros driven from the Temple, 1862.

St-Sulpicc, Paris.
unprecedented pictorial form.
Cezanne's Orgy has also been called The Feast, and
Couture's version made it the prevailing standard. More- was originally exhibited in 1895 under the title Le Festin.^
over, the shallow, stage-like quality of his Rowans, as Little wonder, then, that its specific subject matter has
well as its dramatically posed and outward-looking figures, remained problematic. Certainly, as Theodore Reff has
suggests the influence on Couture of nineteenth-century pointed out, the wild and erotic feeling of the Orgy makes
theatrical productions, in which the subject of orgies it consistent with Cezanne's other romantic statements

was becoming standard 1

This horizontal, stage-like

fare. '
both in paint and in poetry. 15 And Reff is correct to look in
setting is an important point of departure for discussing literature as well as in painting for the source of Cezanne's
Cezanne's Orgy. Although Cezanne would revive much fantastic scene. The numerous precedents in nineteenth-
of the imagery that had become the rule in such scenes - century writing for Cezanne's subject provided a strong
the drunken revellers, wanton women, the exquisite still literary context tor his image; the work ot de Musset,
lifes and the table his curiouslv deep perspective is quite Hugo, Gautier and, more locally, the Provencal poet,
foreign to the subject's standard depiction. Frederic Mistral, who describes a 'Sardanapalen feast' in
Scholars have long searched for possible visual sources his epic of 1866, the Calendau, were perhaps the most ac-
for Cezanne's unique perspective in the Org)' and also for cessible to Cezanne. 16 Yet Reff's contention that Cezanne
its brilliant colour. Sara Lichtenstein has suggested that is illustrating one of his own youthful poems, the Songe

Cezanne based both composition and colouring on Dela- d' Annibal, is not convincing in light of a much closer
croix's fresco at St Sulpice, Heliodorus driven from the literary source, a scene from Flaubert's Temptation of
Temple (fig. 25), of which the artist owned an etching. 10 St Anthony. An elaborate description of the exotic orgy
The Orgy does date from a period when Cezanne was at theBanquet of Nebuchadnezzar, in which the hermit
immersed in the study of Delacroix. A comparison of the St Anthony is tempted by visions of luxury and wealth,
painting and fresco reveals some pictorial elements in could hardly have failed to attract the romantic young

34
 LITERATURE, MUSIC AND CEZANNE S EARLY SUBJECT] S

< ezanne. Flaubert's passage, in fact, explains in detail Nebuchadnezzar's reign in the sixth and seventh cen-
Cezanne's transformation of the orgy motif: turies BC. 19 Both Flaubert and Cezanne could have been
aware of the account in Daniel of another exotic feast,
'Ranked columns half lost in the shadows, so great is their
that of Belshazzar. The latter was a popular subject among
height, stand beside tables which stretch to the horizon
Baroque artists, had been revived by Romantic painters,
where in a luminous vapour appear super-imposed flights
and may have had some influence on Cezanne's overall
of Steps. .fellow diners crowned with violets rest their
. .

scheme. 2 " However, the exactitude with which Cezanne-

elbows on very low couches. Wine is dispensed from
rendered the Flaubert passage, with such additional details
tilting amphorae. Running slaves carry dishes. Women
. . .

as the broken and scattered crockery on the banquet

come around with drinks. So fearful is the uproar that
. . .

table,which refer to a subsequent line from the text '"The

itmight be a storm, and a cloud floats above the feast,
" king eats from sacred vessels, then breaks them';, clearly
what with all the meats and steamy breath.' 1

establishes Cezanne's primarv debt to his literary con-

Cezanne's painting quite clearly denotes the Flaubert temporary.
passage. In the upper-left portion of the canvas, two Also like Flaubert, Cezanne seems to have deliberately
towering columns disappear, as Flaubert described, into emphasised the theme of temptation in his Org) scene. In
a shadowed mist. The distorted perspective of the com- Flaubert's storv, so enticing was the vision of Nebuchad-
position is heightened by the dramatically foreshortened nezzar's copious wealth that the envious saint took on
table, which stretches into a and distant space.
central the persona of the King, only to become "instantly sick'
Above the lavish banquet hovers the luminous vapour, and seized with a craving to 'wallow in tilth'. Finally, in
an element so critical to Flaubert's scene that vv hen it was Flaubert's version, the saint warded off the temptation
adapted for a shadow plav at a Parisian cabaret, great with a brutal, self-inflicted lashing. Cezanne augments
effort was expended, as Reft notes, to recreate this par- the theme of temptation in his painting of the Or^) bv
ticular effect. 18
Above the vapour, Cezanne superimposes manifesting Nebuchadnezzar's riches with frequent touches
a small flight of steps, a literal detail from llaubert and, old and by adding a sinister, undulating serpent in

without benefit most inexplicable

of the literary source, the the lower right corner. The serpent serves as .1 telling
element m the painting. The tilting amphorae, running footnote anil ominous mirror to the curves of the temp-
slavrs, and women bearing drinks have all been included ting female forms abov e.

by the artist. Even 'a cloud floats about the least', as \tter numerous emendations, the third and definitive
described b\ Flaubert. version of Flaubert's Temptation oj $7 \ntbonj was pub-
In his efforts to visualise his subject, llaubert hail lished in iK^j. As such, it helped create Cezanne's painting
been inspired bv the descriptions in the Book o/ Da/tie/ of of the Temptation of c. iK--j \, now in the collection of
Ilie epic towers ami palates of Babylon, built during the M usee d*< >rsa\ (fig. j<> , a watercolour of St Vnthony

I 1- m. rbi TtmptatioitofSl \nt i \.:.|i

1
Musee T( )rsav . I 11 is
MARY TOMPKINS LEWIS

of f.1877 and numerous related studies. 21 But three major strangely specific landscape, this Bathers painting (un-
fragments from Flaubert's second version of St Anthony, known to Yenturi) demands a thematic as well as a formal
a longer and more emotional text, had appeared serially reading. Similarlv, the problematic subject of Cezanne's
in the popular journal L' Artiste between Ss6 and 1857. 2 1 gloomy Idyll, which has long confounded scholars, merits
"
These excerpts described the monk's temptation by the further thematic attention. 2
Queen of Sheba, the visit of the heretic, Appolonious, and, The visionary imagery of these two works again
most notably, the extravagant feast of Nebuchadnezzar. suggests a literary source. The emphasis in both paintings
Giula Ballas has recently documented that during the upon voluptuous nudes in dark, restless settings lends
first two decades of his career, Cezanne frequently turned them an aura of troubled Romantic sensualitv so like
to the engraved reproductions of paintings published in Cezanne's Orgy and Temptation of St .Anthony. It was, in
L.' Artiste as sources of his art. 23 Ballas notes that it is fact, the story of another medieval hero, reborn in the

highly likelv that all of Cezanne's borrowings came from Romantic era, who inspired Cezanne's problematic Bathers
back issues of the journal, dating from 1858 to 1858. His and Idyll. This legendary hero, who struggles between
painting of the Orgy is proof that Cezanne found inspiration the conflicting realms of the senses and of the spirit, was
not )ust in the engraved reproductions, but in the literarv Tannhanser as he was portrayed by Wagner at the Paris
extracts which the journal published during these years as Opera in 1861.
well. 24 The production of Tannhanser at the Opera in the
The Orgy's abundance of tempting allurements makes spring of 1861 set off a controversy in Parisian circles
it a rich companion piece to Cezanne's more austere that needs onlv brief summary here. 30 In an attempt to
but equally fantastic painting of c. 1870, the Temptation of court Austria's favour and to woo liberal support at

St Anthony (cat. so). While less indebted, as Rett believes, home, Napoleon III had issued an order to the Imperial
to Flaubert's serialised Cezanne's Temp/a/ion also
text, Opera in i860 to perform the radical work. Manx of -

transforms an iconographic image that had long captured Wagner's supporters were outraged by an alliance they
the Romantic imagination. 2 " With the revival of religious regarded as a betrayal. The conservative upper classes
art in the mid-nineteenth centurv and the continuing and opera-goers, in particular members of the elite Jockey
Romantic interest in sensual and exotic themes, the endur- (dub, were equally incensed, though hardly for political
ing story of the Egyptian hermit had again become fashion- reasons. When they learned of the composer's plans to
able. In the second half of the century, there was even present a long, arduous production without the traditional
new academic interest in the life of the fifth-centurv saint, 'grand ballet for the second act', they indignantly de-
and many artists besides Cezanne, such as Fantin-Latour manded one. 31 Wagner finally relented, after nearly a year
and Isabev, took up the subject again. 26 Yet in many of pressure, but only by agreeing to expand the existing
Romantic versions, and in Cezanne's in particular, the ballet in the first act's realm of Venus which he felt had
saint's temptations are more sexual than phvsicallv tortur- been rather flat in an earlier production in Dresden. 32 His
ous. Nude temptresses replace the monsters who tormented concession, unfortunately, pleased no one. After the first

the saint in earlier representations. Cezanne even painted three performances had been disrupted by members of
additional nudes who confront the cowering monk and the Jockey Club, some even blowing dog whistles at the
fill gloomy landscape with their truly frightening
his stage, Wagner withdrew his score. A storm arose on all

forms. By comparison with his Flaubert-inspired Orgy, sides; aided by Baudelaire's eloquent defence of Wagner,
Cezanne's c. 1870 Temptation of St Anthony gives more Tannhanser quicklv achieved the mythic status it has re-

explicit and freer form to the artist's Romantic longings. tained in operatic circles. 33
Flaubert's involvement in his own temptation imagerv Baudelaire had called for 'well-bred, open-minded
was no less acute. Even from reading the published frag- and even gens dn monde' to encourage
litterateurs, artists,
ments, Baudelaire concluded that Flaubert's Temptation of Wagner Prominent among
'to persist in his destiny'.
34
"
St Anthony 'unveiled the author's secret chamber'. 2 those answering the call were the painters of the Cafe
Flaubert himself saw the capacity for self-revelation, Guerbois group who would come to be known as the
writing in a letter, 'In St Anthony, I was myself the Impressionists. Renoir, who would later paint a pair of
saint'. 2S
Likewise, Cezanne would see himself in the fan- overdoor panels inspired by Wagner, recalled going with
tasticimagery of c. 1870 and emphasise above all the Bazille to hear Wagner's music at the Concerts Popu/aires
theme of sensual temptation. in the 1 An accomplished pianist as well as a painter,
860s. 35
Bazille liked to plav Wagner with his friend and fellow
musician, Edmond Maitre. 3 Manet's wife, who was also
''

Closely related to Cezanne's Orgy and Temptation of a pianist, played Wagner's music for her husband and
St -Anthony are two other paintings off.1870 of an equallv their guests at home, and even for Baudelaire shortly
fantastic nature, a small Bathers (sec fig. 20) and the Idyll before his death in 1 867. 3 ~ And Cezanne, who with Zola
(cat. 52). With its sombre palette, impassioned style and would join the Wagner society in Marseille, mentions in a

36
 LITER \ It Kh, MUSIC AND CEZANNE S EARLY SUBJECTS

Fig. 27 H. Fantin Latour, Tannbaiuei 1 Los \

1
1
1
1 1 1 c \ Museum of \n. donation o( Mr and Mrs ( harlcs !<•

letter of 1
865 'the noble tones' of \\ agner's music he had a at Venus's side, anil sudden!) longs to leave her
reverie
enjoyed in a concert. 38 At the same time, he was working Sensual realm tor that of harsh reality. In his three depic-
on one of several versions of Ins Realist paintings of a Latour treats tin.- dilemma of the suffering
tions, Fantin
young woman at a piano, which would become a tribute Tannhauser and contrasts Ins dark melancholy with the
to the composer's controversial opera l>\ virtue of its pleasures of his surroundings.
id) lite
title. Overture i« Tannhauser (eat. 44). Thus, the \\ agnerisi Douglas Druick has noted how meaningful the
movement in Paris, which would grow in Strength until Tannhauser struggle was tor Tantm Latour. lie hail
the outbreak of the Franco Prussian war, became a true dreamt of being a great artist hut saw himself caught, like
bond for the group of young painters later called the \\ agner's hero, "in the agitations and follies of this era . . .

Impressionists, Cezanne among them. Looking back ai in the Struggle between lite and art'. The sensual side of 1 '

the i86os in UOeuvre, Zola would aptly describe Wagner's this dramatic context, or, in Baudelaire's words, Tann-
music of thai decade as having sounded the 'sublime h. nisei's 'psychic duality', had been intensified in the
hallelujah of the new century'. 39 opera with the enlargement of the danced
rc\ ised Parisian

Perhaps the most ardent Wagteriste among the afe < bacchanal. Like Flaubert's 57 Intbony, 'Tannhauser be-
Guerbois painters was Fantin Latour, whose tickets for came, in Wagner's hands, a typically Romantic hero.
the cancelled fourth performance of the Pans Tannbauser 'Torn by inner conflicts mm\ tortured by pangs of love, he
went unused. Fantin Latour has drawn lasting attention remained medieval enough to lie burdened b\ feelings of
hi the opera's Romantic theme in three major works guilt and to desire pain as well as pleasure.'" The theme
which are taken from the first act: a lithograph of 1862, a would hold .\n obvious and familiar appeal tor Cezanne
large oil painting which was shown al the Salon of 1864 as w ell.

(fig. 27), and transfer lithograph ot 1X^0. Set in the

.1 I ant in I. atom's \ cnusberg scenes had depended for
Venusberg, the opera's first act featured the elaborate authenticity, upon descriptions of the opera's elaborate
bacchic ballel Wagner sketched especially tor the Parisian staging in Paris. 43 \ small gouache attributed to Delacroix
production. With lovers both embracing and fleeing in the of \ct I. Scene ::, follows the scenographv even more
foreground, 'saurs and fauns appearing from the cliffs' closelv and confirms the accesstbihtv of written, if not
and forcing themselves upon the revellers, and through also illustrated descriptions." These w ere av a liable in the
out, 'a genera] frenzy' that 'gives way
maenadic fury', to wide!) lead prose translations of the composer's operas,
Wagner had envisioned .\\\ allegory in dance of rampant Quatre poem •, -\n<.\
•

in the Trench libretto, both

sexuality. "' Alter the bacchanal, Tannhauser aw kens from .1 published in 1861.*5 In addition, fragmentary accounts of

-
;
MARY TOMPKINS LEWIS

eve-witnesses and enthusiasts kept Wagner's extravagant Wagner's staging and storv of
spired, at least in part, by
vision before the public eve. Despite minor disagreements Tannhauser. More so than the small Bathers, however,
among translations and some last-minute emendations by Cezanne seems to have intended in the Idyll much more
the composer, a basic pictorial scheme of Tannhauser can than a gloomy Wagnerian vision. Coming at the end of

be derived that holds true even for later productions. his Romantic first decade, the Idyll presents a poignant
For his realm of Venus, Wagner had envisioned a image of both the artist and the fantasies and fears of his
dark subterranean grotto, representing the interior of the youth in a Romantic genre Cezanne would soon abandon.
Yenusbersr
O A wide,* shadowy cavern
4
at the front edge
O of As Fantin-Latour had done in all three of his Tann-
the Opera stage looked hack onto a deep landscape with hauser depictions, Cezanne omits the dark grotto in his
a blue lake and dramatic waterfall in the distance. The Idyll in favour of a more traditional open landscape. The

entire scene was 'framed by irregular rocky peaks' and troubled hero Tannhauser, in whom Cezanne saw himself,
the foreground lit bv a 'bewitching roseate light from lies in melancholic repose as both Wagner and Fantin-

below'. 4 " As the curtain rose, and thus before the ballet Latour pictured him, just after the uproarious bacchanal.
began, Venus was seen reclining in the foreground with The sensual reclining Venus is in the foreground. Between
the three graces at her feet. 4 " The Wagnerian staging must these two between the flesh
figures passes the 'struggle
have been known to Cezanne, as it is closely recalled in and the spirit'which forms the dramatic core of the
the imagery of his elusive Bat hers. opera. 50 At the left, two nudes flaunt their charms with
Although Cezanne may not have known the gouache pictorially the pose of the standing
familiar gestures:
attributed to Delacroix, he would have seen Fantin-Latour's nude one of Fantin's dancing graces of 1864, while
recalls
Tannbduser: I 'enusberg at the Salon of 1864 and doubtless the seated nude with upraised arm is found in the same
been attracted to it. Yet his Bathers suggests a familiarity position in Cezanne's related Bathers.
on his part with the published descriptions as well. The More had Fantin-Latour, Cezanne re-
closely than
mvsteriouslv black setting of his Bathers, so alien to even sponded Wagner's elaborate vision for the
in his Idyll to

his earliest depictionsof the Bathers theme, and here so Tannhauser stage. The tumultuous atmosphere of the realm
sensuous figures, is, in fact, the under-
ill-attuned to his of Venus is captured in the Idyll's turbulent skies and rest-
ground grotto where Venus dwells. Strong black verticals
4!;
less landscape, while the carnal pleasures of the goddess's
on the left side of his landscape denote the stalactite realm explain what Schapiro has described as the 'eroticised
formations that figure in the Delacroix gouache and be- thrust of the trees and clouds' and 'the suggestive coupling
came standard to Tannhauser stage sets. 49 The dim area of of a bottle and glass' in the foreground. 51 Although Cezanne
blue in the centre of Cezanne's painting is the lake, while would add two male figures in contemporary clothes,
shimmering strokes of blue, which plunge on a sharp who have been identified as his childhood friends Bailie
diagonal in the background, set forth the necessarv water- and Zola, his Idjll is saved from becoming a Manet-like
fall. A mountainous horizon and rocky terrain complete Dejeuner sur I'herbe by its dark mood and strikingly imagin-
the Wagnerian landscape. In the foreground, the goddess ative palette. 52 Despite the gloom created by its dark set-
reclines as Wagner pictured her, with the three graces at ting and troubled hero, the Idyll is warmed by the intense
her feet. Vibrant pink tones, which help to model the blues of the requisite lake and, above all, by the sensual
thickly painted nudes, allude to the first act's 'bewitching pink tones of the nudes and skies. This could only be the
roseate light'. Even the composition of the Bathers, with 'bewitching roseate light' which the libretto prescribes;
its figures carefullv stretched across a shallow foreground as Tannhauser confronts Venus in the second scene, this
plane, suggests a frieze-like, staged tableau. becomes an 'even denser rosv mist' that 'veils the whole
The mood and imagery of Cezanne's small Bathers is background'. 53 So essential was this warmly coloured
closely related to his other fantasy paintings of c. 1870. It atmosphere to Wagner's vision that for the elaborate
shares with his Temptation of St Anthony, especially, its Parisian production he ordered rose-toned curtains ot
dark Romantic mood, as well as a number of expressive gauze to be lowered over the entire stage as the dialogue
forms. The standing nude at the centre of his St Anthony between Tannhauser and Venus begins. 54 In his painting,
closely recalls a figure in a similar position in the Bathers. Cezanne confronts his own sensual fantasies in the same
The nude with upraised arm, who aggressively confronts heated environment.
the frightenedmonk, has turned in the Bathers to face the Cezanne's goes beyond a simple reading of the
Idyll
viewer. Most striking, however, is the figure set at the far Tannhauser text to become a poignant self-portrait of the
leftedge of the Bathers. Like the terrified St Anthony, this artist's youth that was inspired by Wagner's Romantic
mysterious figure peers out onto a scene of voluptuous vision. Like Flaubert, Cezanne transformed a literary image
temptation. As much as Cezanne's swirling, impassioned into a uniquely personal vehicle and himself became the
strokes, this figure embodies the unrestrained Romanticism tormented hero. Emile Bernard, Cezanne's disciple, may-
the artist reveals in so many of his early fantasy images. have recognised the Wagnerian imagery of the Idyll when
Finally, Cezanne's painting, Idyll, of c. 1870 was in- he saw it in the collection of Dr Gachet in Auvers years

$8
 LITERATURE, MUSIC AND CEZANNE s LARLY SUBJECTS

later. Bernard would likewise give a melancholic \ annbduser Johnson, 'he Paintings of
l Lugene Delacroix (Oxford, 1981), VOL 1,

his own features in a fantasy of Wagner's opera that p. 180. For Fantin-Latour's copies, see Douglas Druick and Michel
Hoog, Fantiu-Latour ("Ottawa, National Gallery of Canada, 19-
echoes Cezanne's Idyll?* And when, in a letter of 1904,
pp. 164-6.
the aged Cezanne warned Bernard about 'the literary spirit
1 2. Gasc|uet, 1926, pp. 165, i66ff.
which so often causes the painter from his true to deviate '3- Rewald, 1985.no. 25, pp. 8^ X. Rewald also notes that two pieces

path the concrete study of nature', he must have seen in of paper, bottom centre and a strip along the top. were
at the
pasted on to the original sheet to afford revisions. This would also
the younger artist's work the same propensity tor Romantic-
suggest the artist gradually altered his scheme to depict a specific
excess that characterised his own early efforts. 56
setting.
A closer reading of the Idyll, and of Cezanne's other
14 Vol lard, 1914, pp. } 1, 58.
three fantasy paintings of c. 1870, reveals much more than Theodore Rcff, "Cezanne's Dream of Hannibal' first published , in

the artist's youthful longings. At the same time that Art Bulletin, XLV '1965;, pp. 148 12; re\iscd for Ce\anne in
Perspective,^. Judith \\ echsler (Knglewood Cliffs. -
Flaubert and Wagner gave form to the private passions
1

pp. 148 59.

of his youth, they also provided Cezanne with avant-garde-
16. See, for example, de Musset's Ro/la (1855) or Im \mt de decembre
subjects for compositions in which he could rival the
(1845J, Hugo's 'Noces et testing' from l^es Chants du crepuscult
painting of the old masters. Like them, Cezanne trans- (1833), cited by Boime, p. 166, or Cautier's Les feunes-tranct
formed themes by giving them a new Romantic-
earlier discussed above. < )n the orgy in Mistral's ( alendau, see
R. Lj Mistral (Nttv Haven, 1933), p. 26.
le.
context. But he stubbornly clung to a traditional notion
Gustave Flaubert, The Temptation 0/ St Anthony, trans. Kitty
of the role of subject matter in his early art. Thus, the
Mrosovsk) (Ithaca, 1981), pp. 8 1 2.

sensual nudes, imaginary landscapes, rich palettes and 18 On the shadow pla\ s produced b\ I lenn Riviere at the Chat Noir.
narrative gestures in his four pictures off.1870 link them sec \\ ilham Rater, 'I lenn Ri\ lere'. Die orapbiscben Kunste, XXII
more closely to the traditional pastoral than to the paint (1899), pp. 112 id; cited by Theodore Rerf. 'Cezanne, Flaubert,
Si Anthonv and the Queen ofSheba', Art Bulletin XL1V 1962),
ings of his contemporaries, and tell us more about the
|

n. 97.
artist than do all of his self tormented imagi of sensuality. \lroso\ sk\ Notes to the Translation', Haubert. Temptation,
'V .

The raw which lurks so

intensity of his fantasy paintings, pp.248 S2.

powerfully beneath their elusive forms, reveals above all sample, |ohn Martin's least of Btlsha^ar, illus. in \\ ilham
Feaver, li« Irt ofJohn Martin (London, Hi-Mj.pl. III. See also
the passionate determination of Cezanne to become pan
\ Pigler, liirmkthemen (Budapest, 1936), I. pp. 21 t 16.
of a tradition he would soon after transform.
For the fullest discussion of Flaubert's role in Cezanne's later
Temptation 0/ \t \ntbeny paintings, see Rerf. *Cezanne, 1 laubert'.

p. 1 191I

Through his friend, Theophile Gautier. The enure second version

Notes was published in 1908 by Louis Bertram! under the title \m Premiere
I delivered .1 Bhort version "i this essay as a papei .11 the annual < lollege Tentation de Samle Antome. ( )n the three \ crsic MIS, sec M r. >s, .\ sk\
Art Association Confereno in Philadelphia, Februarj 1983 V slightly introduction to 1 laubert, / emptation, pp. 1 2 18.

revised version of this essaj 1 omprises one chapter in mj forthcoming CI 111 la Ball as, 'Paul < c/anne et la Re\ ue . i~ette des
book, ('.c~aiiiic' \ I:, irly Imagery. 'December, 1981), pp. 22;
Beaux I, vol. 98 ;
-•

1. For the fullest discussion ol 1

1" theme's revival, see A. Boime, ^4
Thomas (. outurt and tbt \ ,la tit I ;j«a/i(New Haven, 1980), aj. in Seznec, 'The / 1 mptation 0)'Saint .
IntBOUJ in Alt',

pp.143 5*i i<>j x. 93-

2. Theophile Gautier, 'Bowl oi Punch', /A II orksoj Tbeopbile Gautitr, 26. MroSOVsky, p. J. OnFantln 1. .Hour's interest in the theme, which
us. and ed. F.< '..
de Sumichrasi New
York, 1902), vol. 22, p. \i(*.
1
began in [he 1 B60S and continued throughout his life, see Druick.

3. Gustave Don , who designed the costumes for Offenbach's Orpbie p. 333. For Isabey's painting at the Salon < v sale catalogue.

dux in In Hi I 1, I. 1recorded he I111.1l orgy on cam as. Sit \li xander

I I lotel Drouot, Paris, 2 Ma) 1909, no. 26, 1 ilN , cited in Reff,
ha ns, j, a. /in- 1
(
)ffenbaeb (London and Boston, 1980), p. 65, fig. 6 foi •it . I laubert, 11.

an engraving after Dore's painting. For a discussion of the 27. plites, ed. N .G. Le Dantec and Claude Pichois
operetta's orgy and its popular success, sic pp. 63 ( iatlimand, 1961 1, p. 637.
.). I
;
or example, ( e/anne's \imoi
//////W, published in Cezanne, «/'
I ( orrespondanct, vol. II. p. 462. letter to Louise ( olet, <> |ul\ . 1

Correspondence, 1976, p. 331 lor the best ilisi ussion oi ezanne's *. < special!] SylvieGache Patin, 'Douze ceuvres de ( ezanne de
Tbi K«w V nihh ami related works, sec Rewald, 198 ;, pp, yo 1. I'ancienne collection PeUerin', / ..-
Rent du Yxuire , \ie

i. V. 586. . no. 2 ^ 1984), pp. 1 -

6. Boime, p. mi. to. 1 best study of Wagner's I in Paris, see Carolyn

7. See Wayne lndersen,'A< ezanne Drawing after Couture', Waster Abbati isian Ta/mbaustr (Ph D. dissertation, Princeton
Drawings, I, no. 4 (Winter, 1963), pp. 44 6. University, 1984) For a broader stud) of Wagner's reception in
8. ( )n ( auiturc's numerous pictorial sources lor his Romans, sci France, see Gerald urbow, \rt and Politics: \\ agnerism in 1 '

Boime, pp. 1 <, 2 60. France', ag rismin European Culture ana' Polities, eds David Large
II

9. Boime, p. 1 39. and William Weber (Ithaca and London, 1984), pp 134 66.
10. Sara I achlcnsiein, '( c/anne anil Delacroix', \rt Bulletin (March, ; 1
Abbate, pp rhe ballet was desired in the second act to
io<>.|),pp. 57 8. ensure thai u would be performed onh after everyone h.ul arrived
11. Theophile Gautier, 'Les Noeesd < mm de Paul Veronese', 1852, at the ( Ipera he custom h.ul c\ olved in deference to |ocke] Club
I

Souvenirs tic theatre, d'art ci de critique ( 1'ans 1883), pp. 20s 1 4. ( )n members, W ho. after a leisure!) dinner, expected to be entertained
Delacroix's lost copies aftei details in \ eronese's painting, see 1 ,ee with dance upon their arm al. For \\ agner's account, see his letter
 .

MARY TOMPKINS LEWIS

to Liszt, 29 March i860 in Briefvecbsel ~nischen Warner imii Lis~t, 4s. Fantin-Latour, pp. 1 s 2 3.

ed. Erich Kloss (Leipzig, 1910), vol. 2, p. 279. 46. Wagner, Tannbauser and the Minstrels, trs. Mrs |ohn P. Morgan
R.
j2. See W agner's letter to Mathilde Wesendonck, Paris, 10 April (Berlin, 1891), pp. 6. See also Antonio Livio, Richard Wagner,
5

i860, published in I lerhert B.irth, eta/., Wagner, A Documentary L'Qtuvre Lyrique (Paris, 198^), pp. 2(18 -9, and for a discussion of
Study (New York, 1975 ,pp. 193 4. the first act, pp. 26; 5. The Tannhauser's frenetic bacchanale, which
; ;. Charles Baudelaire, 'Richard W agner et Tannbauser* I'.ins', 111 Oeuvres is choreographed on the banks ofa lake, provides a fascinating

completes de (. barks Baudelaire, 15 \ols., |acques Crepet, ed. (Paris analogy to Cezanne's later scenes of riotous love in his La Ltitte
192; 48), vol. 2: l.'tirt romantic/lie ( 192s ); first published M.iv, 1861. if \mour paintings off. 880. 1

34. pp. :s 1 2. 4-. some versions, Tannbauser is asleep at the side or knees of
In
, s. Barbara I .. \\ hue. Renoir (New York, 19X4), pp. 94 6; lean Renoir, Venus throughout the first scene of the bacchanal; in others, he
Renoir: My Father, trans. Rudolph .md Doroth) \\ eaver (London, arrives onlv after the more raucous sections of the ballet, which
1 962), pp. 169 70. ibis setting precedes. See Abbate, pp. 280, 291.
36. See Francois Daultre, Frederic Basilic et son temps (Geneva, 19^2), 4S. The subject of Bathers had held onlv a minor place in his teuvre up
pp. 4-, -8, 94 5 ; John Re w a Id, The History oj Impressionism (New to this date, but Cezanne's dark palette here separates this painting
York, 1976), p. 1 16. from such wi irks is Y. 1 1 ^ (cat. 38).
.- Manet's painting, Mme Manet at the Piano oi 86^ 1 S, is in the 49- See, for example, Michael Lchter's illustration of the bacchanal
collection of the Musee d'( )rsay. On her admiration of W agner's setting from the Munich production of 1867 (Bauer, p. 68), which
music, see Francoise ( achin and Charles Morten, Manet (New also had pink and blue lighting.
York, 19S; 1. pp. 286 7. so. Baudelaire, The Painter oj Modern Life, ed. J. Mavne (London,
;8. ( )n the \\ agner society in Marseille, see ( ).G. Bauer, Richard 1970), p. 126; cited in Druick, p. is The pose of Cezanne's
1.

Wagner, The Stage Designs and Product ions from the Premieres to the central figure, who bears his own likeness, may have also been
Present (New York, 1982), p. 147. Correspondence, 2; December, inspired by Delacroix's meditative hero in his Death of Sardanapalus
186s; cited b\ Rew.tld, History of Impressionism, p. 16. ( )n Cezanne's 1
t
Salon of 827). The Assyrian king is likewise surrounded by
1

appreciation of Wagner, see \ltred H. Barr, |r., 'Cezanne: In the voluptuous nudes and confronted with his own gloomy fate.
Letters of Marion to Morstatt, 1865 1 868: Chapter III, Cezanne 51. Meyer Schapiro, "The \pples of Cezanne: An Lssav on the Meaning
and \\ agner", trans. Margaret Scolari, Magazine of 4rt, ; 1
( 1958), of Still Life', Modem Art, 19th and 20th Centuries (New York,
pp. 288 91. 1978), p. 8, first published in Art News Animal, XXXIY (1968),
59. L'Qtuvre (Paris, 1928), p. 218. pp. 34-53-
40. Quoted in Bauer, Wagner, The Stage Designs, p. 79- 80. 52. So identified bv Guv Cogeval, From Courbet to Cezanne, .1 New
41. / 'antin-Latour, p. 152. 19th Century (Paris, 1986), p. 4s
42. \\ agner's 1 ipera made the legend very popular and it became the 5 3. W agner, Tannbauser, p. 6.

subject of countless lyric poems, verse epics, short stories, novels 54. Noted in 1 3th episode of Wagner's plan for the Opera scenario.
and drama. On Tannhauser's transformation by Wagner into a See Abbate, The Parisian Tannbauser, p. 291.
popular nineteenth-centurj hero, see SAY. Thomas, Tannbauser: 55. Lor Bernard's painting (1906), see Jean-Jacques Luthi, .mile I

Poet and Legend (Chapel Mill, 19-14), p. 8; if. Bernard, catalogue raisonne (Paris, 1982), p. 104 and fig. 700; coll.
4,. Fantin-Latour, pp. isi 5. Mme L. Horowitz, Paris.
44. Herbert Barth </<;/., Wagner, A Documentary Study, fig. 128. The 56. Correspondance, to Lmile Bernard, 26 Mav, 1904; p. 503.
gouache, which is signed 'Lug. Delacroix", is in the collection of
\\ . Coninx, Zurich.

40
'La lutte d'amour' When the twenty-one-year-old Paul Cezanne arrived in
Paris in the spring of i S 6 1
, he felt that he had achieved
everything he desired. His father's autocratic domination
Notes on Cezanne's early figure scenes
seemed to have been broken and the way was clear tor
the realisation of all the strokes of genius that he had
Gotz Adriani planned for years with .mile Zola, the closest friend
I

from his childhood and youth in Atx-cn-Provcncc. In the

conviction that 'there will never be any dreams or any
philosophy comparable with ours', the two young heroes 1

resolved to put the world, that is to say Pans, in its place.

Vet neither the emancipation from paternal authority, 2
nor the hoped for career as a celebrated artist was to be
fulfilled. lather's domination proved too strong and the

hopes invested in the metropolis too unrealistic. Both

these factors, however, stimulated the development ot an
artistic consciousness and a body of works that won
recognition against all expectations, and against the
mechanisms would normalK have brought success.
that

No detailed account has survived ot how the in-

experienced provincial from Provence responded to the
fashionable exhibitions of Parisian life/ There are, how-
ever, paintings which reveal the assertive, profoundly
existential reaction of a young man in revolt against the
dictatorial taste of this gilded age, who was searching for
a provocative response to the glib illusionism that then
prevailed in painting.
1
anni's earl) figure scenes, whose originality and
fascinating powers of suggestion have been unjustifiably
overshadowed In the later work, bear witness to a per
sonahtv that was described bv a friend in iSsS as 'poetic,
fantastic, j< >v ial, erotic, antique, phv sical, geometrical'; as
/' »la commented in 86 1 'To prove something to( e/anne
1 :

would be like living to persuade the towers of \otte

Dame to dance a quadrille. ... le is made of one single I

piece, obstinate ami hard in the hand; nothing cm bend

him, nothing can wring a concession from him. ... So he

Fig. 2tf /.,; hatted" \mour, iS-< 6(RW( .60). Private Collection.

4'
GOTZ ADRIANI

ments of man, entirely isolated as an artist, who was

a

never to escape from the control of his family, and even

as an old man in his native Aix-en-Provencc suffered
under the bigotted benevolence of his sister. 5 In Cezanne's
early work it is particularly clear that the choice and
transformation of the subject was related directly to his
personality and its attendant problems. For in the aliena-
tion of the sexes is revealed nothing less than Cezanne's
own lack of human relationships. His tumultuous com-
positions derived their authenticity from an expressive
volition born of torment and repression. They reveal
very strikingly the profusion of emotions that provoked
their creation. At this point the artist had not yet acquired
Fig. 29 Page from an unpublished sketchbook {recto), Sam from the the patience necessary for the careful study of nature; he
Tannbauser Saga, 8; 8 9, 12.; x 20.9 cm. Kunsthalle, Hamburg.
1
also used portraits, still lifes and landscapes as vehicles
for the dramatic struggle for self-expression.
Two main reasons can be given for this most private
iconography and its vehement implementation. First, it
offered the young painter an expressive plane appropriate
to a repressed emotional life, which had been thrust into
the subconscious by paternal authoritarianism and pro-
vincial conventions. Even the schoolboy letters and poetic
outpourings of the young Cezanne treat themes that would
today be categorised as sublimation. In them, the mood
of the author swings constantly between apathetic dejec-
tion and youthful exuberance, between facetious sarcasm
and an existential fear and despair, 'suffused with melan-
choly sadness'. Perplexity over the opposite sex is a recur-
ring theme in the ironic and macabre dream visions ad-
Fig. 50 Page from .m unpublished sketchbook [persd), Seem oj Rape, dressed to Zola. The nineteen-vear-old Cezanne feared
Study of a Hand, 1 866 S. 1 2. , x ^0.9 cm. Kunsthalle, Hamburg. that his 'smitten sighs' might 'betray themselves out-
wardly', and hoped that the 'inner sadness' and a 'certain
ennui' might be redressed through drink. 'Vaporous ele-
has beenthrown into life with definite ideas, unwilling to gies' swirled around the yearned-for loved one, who
change them except when following his own judgement.' 4 sometimes appeared within grasp, only to turn into a
In contrast to Cezanne's later practice, the first figure vision of deathly coldness, into 'a pale, angular corpse
compositions often depict thrilling, climactic action, with with rattling bones and empty eyes'. 6 Decades later, in

reckless clashes of form and colour. They can be subsumed the preparatory notes to the novel L'Qw'tr, Zola w rote
7

under the following, admittedly rather schematic theme: of Cezanne: 'He mistrusted women. He never brought . . .

the antipodal relationship of man and woman, and the women to his room; he always treated them like a youth
diverse forms of their confrontation. This theme, which who ignored them in an agony of shyness, hidden under
can be sharpened into a L/tffe d' amour (fig. 28), has arche- brutal boastfulness. ... "I don't need women", he said,
typal qualities. It can portray the coquette as an all- "itwould be too much of a nuisance. I don't even know
dominating female power, courted by male society (fig. what their use is; I've always been afraid to find out".'
29); the penitent Mary Magdalen (cat. 33); or the temptress, Underlined in the margin beside this comment are the
the incarnation of evil, avenging herself for past humilia- words 'very important'. The novel itself, whose publica-
tions (fig. 30). The theme extends from apparently insig- tion in 1886 led to a rupture between the two friends,"
nificant dialogues in the open air (cat. 26), via orgiastic contains the following remark about sensual desire lurk-
festivities (cat. 39) to scenes of abduction (cat. 31), rape ing behind a mask of contempt: 'It was a chaste man's
and murder (cat. 34). Between these poles moves the passion for the flesh of women, a mad love of nudity
thematic material, some of which occupied Cezanne into desired and never possessed, an impossibility of satisfying
the 870s, in which sexuality and death appear directly
1 himself, of creating as much of this flesh as he dreamed to
related. hold in his frantic arms. Those girls whom he chased out
Such projections reflect with absolute clarity the of his studio he adored in his paintings; he caressed or
personality, the sensibility and the compulsive entangle- attacked them, in tears of despair at not being able to

4^
 LA LLTTL D AMOLR

make them sufficiently beautiful, sufficiently alive.'** \<> ness. Cezanne set about the revaluation of current aesthetic
wonder that the suppressed desires of a personality char- and moral standards with great vigour, intentionally re-
acterised in these terms should have poured out in pictures jecting the received notions of painterlv deftness and
portraying both the merciless violation and the sarcastic formal perfection. Disfiguring dissonances were left un-
deification of womanhood. touched; diversities in form and colour were openly dis-
The second impulse behind these works was Ce- played. The self-confident artistic expectations of the
zanne's search for a provocative answer to the aesthetic bourgeoisie, gratified by prettincss and technical tine^e.
irrelevance of the manner of painting
was the domi- that were cjucstioned by the accord that Cezanne achieved
nant force at where he lived
the time in the Salon in Paris, between object and execution, between offensive content,
more or less constantly after 1861. Established on an improper form and suggestive coloration. Breaking tree
annual basis in 1863, the Salon exhibition, housed in the from the academic tradition, he pursued a personal vision,
Palais de Plndustric, represented an incontestible authority, recklessly employing his own methods and techniques.
established lo pass rigorous judgement on the artistic Bv coarsening form to the point of disintegration, Cezanne
success or failure of the debutantes. Only those who ventured to challenge taboos on subject matter. The genre
submitted to the academic demands of the Salon jury themes and quasi-religious allegories favoured by the
could hope to join the circle of successful new arrivals. Salon painters were ruthlessly taken apart. \ deeply felt
( e hopes of exhibiting regularly in the Salon
/antic's initial discord between his personal volition anel an cxtcrnallv
were thwarted in 1865, when his still life was consigned imposed sense of what was expected drove Cc/annc
to the Salon des Refuses. The following year he was who still regarded scandal as a measure of success to
disappointed again, and in March 1865 wrote to Pissarro give free rem to his neurosis laden fantasies as a protest
of his intention to submit pictures that year, in front of against the hated art world ofthegrande bourgeoisie.
which, in his own words, 'the Institute will blush with Zola, who had become editor of the Parisian d.ulv
rage and despair'. In 1861 the newly-arrived Cezanne still paper UEvenement in the spring of i8<V>, supported his
found the salon worthwhile: 'I have also seen the Salon. friend in this trulv ami authoritarian position. Their dis-
For a young heart, tor a child borne lor art, who sa\s cussions on this theme were soon put onto paper in
what he thinks, believe that is what is realb best,
I Zola's stinging review of the Salon, which appeared in
because all tastes, all st\les nuet there and clash there.' seven articles published between if \pril and .k Mav
Five years later, in 1866, he demanded a jury-free exhibi 1865. In these pieces Zola savaged the 'little tricks of the
tion. This hardening of attitudes reflected tin decisive hand', 'theatrical effects' and 'perfumed dreams' favoured
process of self realisation that had been accomplished bv the |urors, who, according to their own judgement,
over this period. This pnxess reached culmination in
.1 had mixed together 'a sort of mush of Consensus', and
the sentence: 'I wish lo appeal to the public and to be were responsible for the 'long, cold, bloodless halls', in
exhibited at all costs."' A/an in :'s claim to be following m
( which 'are spread out even sort of timid mediocrity,
the footsteps of Courbet who had finall) isolated the ever) sort of stolen celebrity', lbs demand for the artist
a\ ant -garde by questioning the absolute authority of the 10 be the creator of ineliv idual v a lues vv as published on 4
Salon cannot disguise the fact, however, that right into May: 'I want people to be alive, want them to create 1

his olel age, ami with the' same' vigour with which he- something new, tree ol everything else, following the
at tac keel the trite con v cut ions of the Salon, he sought (he individual eye and the individual temperament." With 1 '

appn iv al c >i just tin >se' s.ili >n painters who 1 perated success out 'c/a rim's prompting, Zola would not hav e supported
(

full) within these conventions. 10 For the role of the declasse, so uncompromisingly Manet's 'simple, honest talent,'
operating on the fringes of societv anel trusting onlj in which 'takes hold of nature directl) and tries to create . . .

his own authority was not one particularb well suit eel to direct!) from nature, without concealing anything of the
an excessivelj vulnerable provincial like Cezanne. He had artist's own character'.' Vs Manet's masterpiece, Zola
neither the- robust constitution of ( ourbet, who even hailed the- Dejeuner sur t'berth of ist>; dig. ;i described .

Baudelaire had praised as an murderous iconoclast, nor bv the Emperor as obscene, anel the Olympia from the
the temperameni of Manet, applauded In Zola for 'shal same- year (fig. ;: . Whereas the Dejeuner sur tberbt was
tering the dreadful mediocrities that surround him.'" shown 111 the- Salon eles Refuses, where was thorough!) it

Cezanne, in tact, would have fell most at home in discussed by ( ezanne .\\u\ Zola, the Olympia managed,
the hcautific womb of the Salon. Hut as this was denied against all expectations, to satisfv the selection criteria of
him, he saw an attack <>n theendorsed cultural
officially the Salon jury in tS(>\. Zola overstepped the limits of
dictatorship .is the- onlj of asserting his
opportunity public tolerance when he attacked the hypocrites who
originality anel of generating the publicity that might had mocked the two paintings, or professed themselves
even persuade his father m distant \i\ of the significance shocked bv the naked Olympia. According to Zola, she
ot his work. The 'artistic' ov crpamt ing ot realttv by the had simply 'made the gra\ e mistake ot' looking like man)
Salon painter was to be countered b) 'artless' expressive other women' that mi^ knew , and was accompanied bv .1
GOTZ ADRIAN!

Fig. ji Edouard Manet, Dejeuner sur l' herbs, 1862. Musee d'Orsay, Paris.

black cat, which had provoked frivolous thoughts among Sesame has sent to the exhibition two compositions that,
'simple-minded people'. 14 The editor's was inun-
office though less queer, are nevertheless just as worthy of
dated with letters of protest. They reviled Manet as a exclusion from the Salon. These compositions are
"vulgar and grotesque' dauber, and demanded that Zola entitled: The Rum Punch. One of them depicts a man to
should be censured for his 'spiritual shamelessness, for whom a verv dressed-up woman has just brought a rum
his lack of faith and atheism.' The subject of the criticism, punch; the other portravs a nude woman and a man
whose support for Courbet and Manet carried an implicit dressed up as a lazzarone: in this one the punch is spilt.'
attack on imperial taste, drew the consequences and
Zola, who was never able to appreciate the full significance
brought the series of articles to a premature close. The
of his friend's work, did, nevertheless, point out the
final promise, that he would 'always stand on the side of
inadequacv of this account. On 12 April 1867 he wrote in
the underdog' was broken over thirty vears later when
Ee Figaro:
Zola bravelv stood up for Captain Drevfus, but not for
his friend Cezanne. 'My dear good enough, I beg you, to insert
colleague, be
Zola's only comprehensive, if generalised judgement these few lines of correction. Thev concern one of my
on the work of Cezanne appeared in 1867. In spite of, or childhood friends, a voung painter whose strong and
perhaps directlv because of, Zola's devastating critique of individual talent I respect extremelv. You reprinted a
1866, the unvickling position of the Salon jury remained clipping from E' Europe dealing with a Monsieur Sesame
unchanged in 1867. A Arnold Mortier found the
certain who was supposed to have exhibited at the Salon des
ritual of the annual rejection of Cezanne's work worthy Refuses in 1863 'two pig's feet in the form of a cross'
of a sarcastic comment in the magazine L' Europe, extracts and who, had another canvas rejected, entitled
this year,
of which were subsequentlv printed in Le Figaro: The Kkdi Punch, must say that I had some difficulty
I

recognising under the mask stuck to his face one ot my

'Ihave heard of two rejected paintings done bv Monsieur
former schoolmates Paul Cesanne [sic], who has not the
Sesame [sic] (nothing to do with the Arabian Nights), the
slightest pig's foot in his artistic equipment, at least not
same man who, in 1865, caused general mirth in the
so far. I make this reservation because Ido not see why
Salon des Refuses always! bv a canvas depicting two
one should not paint pig's feet just the same as one paints
pig's feet in the form of a cross. This time Monsieur
melons and carrots. Monsieur Paul Cesanne, in excellent

44
 LA LITTE D AMOUR'

" 2 Edouard M ;

Tibia, i
sr,; Musee d*< trsav, Paris.

and numerous company , has indeed had two canvases soon attracted the desired publicity. Cezanne worked on
rejected this year: The Rum Punchzad Drunkenness. the assumption that he could only achieve a comparable
Monsieur Arnold Mortier has seen in i<> be amused by succis (h scandah In developing Manet's technical and

these pictures and to describe them with flights of the iconographical innovations even more uncompromisingly,
imagination thai do him greai credit. know all thai is I creating examples even more banal sensuality with
ot"

just a pleasanl joke, which one must noi worry about. which to confront the public. \ml what better to build
Bui 1 have never been able t<> understand this particular on than Olympia, that Salon outrage, which upset the
kind of criticism, which consists of ridiculing and public and the press .is no painting had done before. It
condemning whai one has noi even sun. insisl al leasi I was obviously not too difficult tor ( ezanne to surpass
on saying that Monsieur Arnold Mortier's descriptions Manet's scandalous t ruum crate of nude, servant anil cat,
arc inaccurate.' 1 '
and in / A Rum Punch lie achieved both in his expres
this

sive intensity .m>.\ in the unmistakable directness of the

The grounds for this public dispute were two paint-
message. The notion ot the female nude as an image ot'
ings, since lost, whose theme reappears in a gouache with
ideal beauty, on whose will attested coquetry the Salon
the title The \Kh»i Punch (cat. 67). This composition, which
lions had banked tor \ears with their armies of \ enuses
convinces through the intensity of its colour and the
and Odalisques, was suddenly twisted into a grotesque
power ot its forms, is a surviving example ot a series ol
caricature. Olympian lack of naturalness ami the angular
sketches, watcrct >lours .\w\ paintings ot the same or similar
exaggerations ot the form support Baudelaire's thesis on
themes, which played an important part in Cezanne's
the indecency of thin, ungainly female nudes. 18 In addition
early work."' Even under the title [fternoon in Naples
10 exposing a female bodj that is undressed rather than
(cat. 17), they wen.- all inspired In Manet's Olympia, com
nude in a pose reminiscent ot contemporary erotic
mended by Zola as 'the painter's real llesh anil blood",
daguerreotypes the attitude of Olympia creates a sense
and damned by the critics as a portrait ol a courtesan as
' of distance. This is achieved almost in spite of the painting's
an entirely scandalous picture. 1
'To take' a strong stance
intentionally vulgar aspects, die inexact proportions and
in support ol the much abused Manet .\\\<\ his pro\ oc.u i\ c
the planar composition, which suggest a mocking com-
work meant taking on public ignorance, both Cezanne
parison with Images d'Epinal (broadsheets from I pinal).
and Zola did this in their own way s, and the gifted writer
What Manet had devalued into the profane pose of an

4S
GOTZ ADRIAN!

intentionally provincial beauty was completely trivialised in the former Rue

happy arrangement was
Soufflot. This
by Cezanne through the introduction of a man into the shortlived, however, and Zola wrote to Cezanne in Aix
figure group taken over from Olympia. Manet's figure in early February 1861 that he had just been through the

was the last branch of a genealogy of female nudes that hard lessons of true love, with all its 'painful and sweet
ran from Titian's celebrated I 'enus of Urbino (c.\ 5 58; Flor- sensation', adding that with this experience behind him,
ence, Uffizi), via Goya's Naked Ma/a (1802/1805; Madrid, he now knew how to guide his friend wisely in Paris. 23
Prado) and the odalisques of Ingres and Delacroix, in This autobiographical novel, whose supposed immorality
which the partner of the reclining beauty remains undis- attracted the attention of the State Prosecutor, is dedicated
closed. In these cases, the partner is assumed to be the to Cezanne and Bailie, the friends of Zola's youth, in the
viewer, on whose arrival the reclining beauty is obviously following words:
waiting. Suddenly Cezanne introduced a lover into this
'Brothers, can you remember the days when life was a
scene, comfortably settled on the divan
had previously
that
dream We were friends, we dreamed of love and
tor me?
been reserved for the female nude. The tryst of the naked
tame. But Provence is no more, my fears and joy, my
. . .

couple, intentionally conceived as an outrage to polite

dreams and hopes. What has taken its place? Paris, the
morality, left no doubt over the profession of the hostess
dirt, the room, Laurence, the shame of my tenderness for
or the intentions of the guest over the relationship
this woman. ... I live in ecstasy, screaming with pain,
between consumer and commodity. 19 Neither the bustling
stammering with rapture, in heaven and in the sewer,
activity of the procuress, a figure that had already appeared
more devastated after each new advance, more radiant
as a ministering spirit in Baroque iconography, nor the
after each new reverse.' 24
indiscretion of the viewer disturbs the suggestive repose
of the protagonists. An essential inclusion in this glimpse Zola's second novel, Therese Raquin, was completed in
behind the scenes of philistine respectability is the black December 1867 and is concerned with the murder of a
cat with its tail held erect, 20 an incarnation of the devil husband by an adulterous couple. It provoked the wrath
and of sexual aggression since time immemorial. The of Louis Ulbach, who described the book in he Figaro as
symbol had gained in potency around the mid-nineteenth 'a pool of blood and dirt'. Among the painters, Cezanne

century, when L.T.A. Hoffmann's Tebensansichten des alone took up the garish themes of this shady, dubious
Raters Murr and Edgar Allan Poe's The Black Cat were milieu - the world of brothels, rapes, abduction and
essential reading for Parisian aesthetes. Champfleury's murder. Perhaps Zola had Cezanne's work in mind when
cultural history of the cat, with illustrations by Manet, he referred in Therese Raquin to an artist whose studies:
and Zola's novel Therese Raquin (1867) further served to
'were painted with real energy, thick and solid in
reinforce the demonic image of the cat as the embodiment
appearance, each part standing out in magnificent strokes.
of both evil and sensuality; and Charles Baudelaire, who
. Of course they had a strangeness and character so
. .

was much admired by Cezanne, actually identified the cat

powerful that they proclaimed a highly developed artistic
with the ruinous woman in his poem he chat.
sense. It might be called painting that had been lived.' 25
In Manet's Olympia Cezanne sought out much deeper
layers of meaning than did his friend Zola, who stressed Years before Manet's infamous Nana (1877; Kunst-
the painterly qualities of the work and even claimed that halle,Hamburg) and the related innovations of Degas,
the painting was conceived quite simply as 'a pretext for Cezanne had unashamedly introduced in the various ver-
analysis'.Anyone, he felt, who looked in Olympia for 'a sions of The Rum Punch the rude directness of the pro-
philosophical meaning', or who was inclined 'to discover fessional prostitute. 26 Abandoning the romantically-tinted,
obscene intentions in it' would be disappointed. In the 21
literary tradition of the elegant, bohemian courtesan, Cez-
case of Cezanne's Rum Punch, Zola also warned the viewer anne offered not erotic dreams, but sarcastically distorted
against looking for 'philosophical ideas', since his friend sexual fantasies. The lack of any hint of visual prettiness
belonged to that group of 'analytical painters' who 'are removes any possibility of escape from Cezanne's scenario
satisfied with the great realities of nature.' 22 Such a one- into the realm of moralising allegory. Any hint of polite
sided approach is especially surprising from Zola, since compromise was rejected. The pharisees in the temple of
he knew these painters well, and could hardly have been art could and would not allow fantasies like these, which
unaware of the deeper significance of their work. He had offended all prevailing moral and aesthetic standards, to

also employed similarly risque themes himself in his early have their claims to the status of art endorsed by con-
novels and short stories. An example is his very first secration in the Salon. The jury, on principle, continued
publication, La Confession de Claude (1865). This is an to reject Cezanne's submissions.
account of a relationship set up by an aged procuress, It was inevitable that the creator of such provocative

involving the hero, Claude, and a prostitute named Bertha. outrages, which were clad neither in historical nor in
Bertha was an alias for Laurence, a girl who Zola had religious disguise, should become the target of the Parisian
sheltered during the winter of 1860-1 in seedy lodgings caricaturists, who had previously revelled in the nudes of

46
 LA LUTTE D AMOl'R

(ourbcr and Manet. In the spring of 1S70, Cezanne had reason for producing this painting may have been his

the seal of disapproval hung around his neck in the form desire to push beyond Manet's compositional techniques.
of a disgusting drawing of a reclining nude by a cartoonist This would also explain the title of the painting, A

called Stock (fig. 1 1).

21
The drawing, which was used as Modern Olympia, which was unveiled at the first group
the cover illustration for a weekly magazine edited by exhibition of the Impressionists, as they called themselves,
Stock, referred to two paintings that had just been rejected held in the spring of 18-74 in the studios of the photographer
by the Salon, and presented Cezanne to the public as the Nadar. In spite of its small format, Cezanne's painting
archetypal refuse, as a risible revolutionary. Armed with more than any other attracted the mockery and derision
shieldand broken-off lance in place of palette and maulstick, of the and exhibition
critics visitors. In lu Charivari of 25
the champion of his art presents the laws of 'naturalistic' April, Louis Leroy jibed:
painting, with the bony nude hanging from his ear and
'Alas, go and look at it! A woman folded in two, from
the monumental portrait of his friend, the crippled painter
whom a negro girl is removing the last veil in order to
Achillc bmperaire, in his hand.
offer her in all her ugliness to the charmed gaze of a
In the early 1870s Cezanne created a very singular
brown puppet. Do you remember the Olympia of
double-portrait by confronting his own image with that
M. Manet? Well, was a masterpiece of drawing,
that
of a 'modern' Olympia (cat. 40J. The bald head with the
accuracy, finish, compared to the one by M. Cezanne.'25
dark surround of hair, the full beard, the generous planes
of the face and the striking profile of the nose all lead one In a similar vein, Marc de Montifaut reported in the May
.'
to conclude that this painting combines a self-portrait of 874 edition of .Artiste:
'

1 /

the artist and the object of his desire. It is the work of a

'This apparition of rather rosy, naked flesh, which swells
painter- voyeur, whose relationship with the opposite sex
up in front of him out of a of celestial cloud a sort
was made up of both fascination and animosity the
demon voluptuous dream, this phonv
or incubus, like a
work of a painter habit uc, who claimed to frequent the
corner of paradise has silenced even the bravest, and
dazzling, voluptuous boudoirs ol Parisian high life. 28
Monsieur Cezanne seems no more than a madman, driven
Symbolising the artist's alienation, the two pictorial /ones
to painting by delirium tremens.'
are demonstratively separated from each other. The first
contains the essential props and the elegantly clad guest, Even the worthy Castagnary could not conceal his in-
with his top hat laid explicitly to one side. Facing this comprehension when he protested in Stick on 29 / .-.

scene, and bathed in a radiant light is the goddess ol love, \pril against the unrestrained subjectivism proposed bv
whose rosy flesh tones are emphasised l>\ the brown of the pamu 1:

her hair, the dark skin ol her servant, and b) the white of
'(
ezanne 1 cautionan example of the fate awaiting
'tiers .1
her couch. The divide is unbridgeable, the tWO areas
precisely defined. Only the inevitable lap dog moves in
those who do ponder and learn, but merely exaggerate
not
the external impressions. Vfter an idealistic beginning
the no-man'sdand between the two protagonists. The
thev will lapse into an unbridled romanticism, in which
exact spatial disposition, however, remains unclear. One
nature isonlv the pretext for dav dreams; and power of
might almost think that the artist, dressed as salon lion, .1

imagination will no longer be able to express .mv thing

is looking at an enormous tableau vivant or at an imaginary
other than personal, subjective fantasies with no relation
stage, on which he discovers the femme fatale. Through
to general truths, since thev are remov ed from all controls
the use of Specific props and repoussoirs, ( iczannc exact 1\
or comparisons w ith reali:
recreates the particularatmosphere of dignified ostentation
of Second Empire boudoir, the golden age of the demi
a Yet was exactly this much-maligned subjectivism
it

mondaine, supported In pan enu nobility. .1 that underpinned Cezanne's generally overlooked contri-
Although Cezanne presents himself here as .111 habitue bullous to the portrayal of conflict and to questions of
in this world of grand sensualil \ w e can assume that this
, discord and alienation. Even today, when judged accord-
type of salon too, in which (he most celebrated courtesans in- to a more tolerant definition of art, his work still

received their patrons, remained an unattainable object of retains certain questionable and offensive qualities. \t
his desires. The onl\ link between the avant garde and the time, the subjectivity of Cezanne's visions must have
the great courtesans, who were dubbed /../ Garde, was been highlv suspect. Ik could not be classified either
1 v

created by the bourgeois role hierarchy, which consigned formall) or generically, and corresponded neither to the
to both the bohemian and the prostitute a verj similar fatuous platitudes of the Salon nor to the new tenets o\
status as outsiders, with .1 certain potential for advam Impressionism.
ment an artist-prince ot grande horizontals respectively.
as Bv reviving Manet's provocative title a decade later,
Paraphrasing the old motif" of artist .\\\A model, Cezanne .\\\^\ brazenly gi\ ing a new actualuv through the attribute
it

was the first to portraj this community of outsiders. 'modern', ezanne, on his first public appearance, activ elj
<

Besides developing the \K11m Punch theme, Cezanne's aliened himself with Courbet .\nd Manet in the ranks of
GOTZ ADRIAN I

the provocateurs. This was emphasised b\ the picture large scale design, which transforms Manet's Dejeuner
itself, which he did not recoil from equating himself
in into a picnic (two surviving fragments are to be found in
with the coquette, and employed almost satirical coarse- the Musee d'Orsav, Paris).
ness to distance his work as much as possible from the Both Manet and Monet, however, were bound to a
contemporary norms. Nevertheless, it is still surprising perception of modern life and manners which Cezanne
that the combination of exposed woman and male observer, firmly rejected. He left the observer unclear as to what
however profane, should have so incensed the public, was actually taking place. The significance of this strange,
since comparable themes are to be found
in French festive meeting of seven people cannot be explained with
graphic art it" not "high" art from the seventeenth certainty, especially as there is no trace of the usual eating
centurv on. An example is an amorous scene from [686 utensils. The scenery, unlike Manet's, is not distinguished
(fig. 53), which, right down to the details of the lighting, by a mythological precedent, and gives barely a hint of
the cast-aside hat, the theatrical draperies and the formality the jolly, carefree occasions celebrated bv the Impression-
of the servant, already illustrates a disrobing ritual involving ists. Without atmosphere, and therefore more tensely,
the drawing back of the curtains and the inviting ribbons and light colours contrasted
large areas of form, with dark
of the corset. in the early Baroque manner, define a composition that is

In addition to Olympia, Cezanne was drawn to Manet's strikingly disjointed. Although the rather grave protag-
monumental Dejeuner stir Fherbe as an inspiration for his onists wear modern dress, there is nothing contemporary
own, highly on the Dejeuner theme. 31
original variations about them. They appear to take no part in the elegant
Cezanne's first si), however, docs
painted version (cat. conventions of the social occasion. Are they talking, or
not adopt Manet's provocative mixture of a naked woman concentrating on a game, in which the centrally placed
accompanied by fully-dressed men. Furthermore, the com- fruit has some significance? A dialogue, indicated by
position lacks all those qualities that both Manet and restrained gestures, is conducted along a receding diagonal.
Monet, who took up the theme in 1865 -6, brought to Only the two main figures take part the bending girl
their rustic idylls in terms of pastorale atmosphere, natural- meaningfully holding a piece of fruit in her hand, and the
ness and ioie de vivre. These can all be found in Monet's seated figure in the foreground, whose features point to

i ig. ;; [ean de Dieu called Saint lean. Amorous Scene, 1686.

48
 LA I. IT 1 E D'AMOl'R'

•
— v
I ig (4 L'l tertulj '.nun, ix->< 7, watercolour (RW< •- Private Collection

another sell portrait of Cezanne, who had [osl his hail at In them one might recognise echoes of the ludgcmcnt ot*

an early age. The couple disappearing into the darkness mythological correlation to the Temptation. 34
Paris, the
on the left hand side mighl also give souk- indication oi The combination of religious and mythological theme
the idea behind the meeting, and the ultimate desire to also touched on in the three prmcip.il female figures, who
make a discrete exit a dais. This is surel) a secularised embod) of contemplative, active ami
the classical tri.nl

image oi temptation, in which a victorious Venus Eve sensuous existence. The monstrous ugliness of the Megaera
figure offers the forbidden fruit to her chosen partner as on the right-hand side creates a counterbalance to the
a pledge <>i her talents as seductress and lover. Saint and to the graceful actt\ tties of her \ oungcr colleagues.
Such an interpretation is supported bj a roughlj con The Megaera hersell abstains rather apathetically from
temporaneous composition, The Temptation of Si \nthony an) hint of suggestiveness.
(cat. 50). This subject, which was often exploited in the I ezanne ultimatel) extended the realm of the temp
nineteenth centur) as m\ excuse for religiously tinged tress in a savage allegor) ot homage, apotheosising 'J /

pornography, 32 offered Cezanne, too, -\^ outlet for Ins feminin (tig. $4),
3S
in which the male world worships the
sexual obsessions and for his resulting av kv ardness with 'eternal feminine'. The unnamed representatives of the
all things feminine. He was not alone, as Flaubert also sacred and secular world pa\ tribute to the fair sex.
identified with the hallucinations ol the Saint in his own Vbove the pa rod \ ot a devotional parade, the triumphant
version oi /.</ Tentation de Siiiui [ntoine. For the young female power is elevated to a cult object, set on a moun-
painter whose ascetic existence closel) paralleled that of tainous bed. There she receives the ovations of those
the reclusive StAnthony, the erotic aspects of the scene who submit to her caprice. Focused on the realm of
were paramount importance. This explains the careful
oi collective desire, the travest) is given brilliance anil
modelling oi the naked bodies, as the) swell palel) out of splendour In a regal canop) anil li\ the pompous colour
the darkness. The compositional emphases are unusual. harmonies of blue, scarlet .uu\ gold.'"' \s the focus of the
In >w c\ er, with the Saint forced int< 1 .\n insignificant position unflinching gaze of the surrounding males, the abused
at the hand edge of the painting. There is no indication
left and therefore despised woman encourages the Grand
that Si Anihoin will rebuff the temptress, as he did in rtipteurs, who exploit her and the social class to which she

later versions of the subject. 33 While the mam character is belongs. B\ idolising .\n<.\ damning the woman in her
displaced from the central locus, the three figures lacing rex ersible role as exploiter and exploited, Cezanne mirrored
each other in a foreground group are Strongl) accentuated. his ow n problematic response to women, which \ acillated

49
GOTZ ADRIANI

between fascination and animosity. It was not by chance plex enquiry can be gained from some notes made bv
that he portraved the image of the woman with the Zola at roughly
while working on the novel
this time,
power to enrapture men as an unholy idol. The panorama Nana, published in 1879-80. "Nana", Zola wrote,
of male society, linked by a mutual purpose, is ordered
'will be an elemental force, a ferment of destruction.
according to class and occupation. The key figure linking
Without wishing it, she will destroy everything that
the divergent social groupings the artists on the right
comes near her through her sexuality and her female
and the established professions on the left - is a figure
aroma The derrierc in all its power. The backside on
. . .

towards the bottom of the canvas, set on the same vertical

the altar, before which everyone makes sacrifice. The
axis as the female nude, with his back to the viewer. The
book must be a poem to the posterior, and the moral will
powerful, partly bald skull, framed by dark hair and a full
be the posterior, which lets everyone dance around it. . . .

beard, suggests that this, yet again, is a self-portrait.

This is the philosophical theme: a complete society throws
Around this central personage are assembled the perma-
itself at the posterior. A mob after a bitch that isn't on
nent representati\es of male society. From the top right,
heat, and makes fun of the dogs that follow her. A poem
they arc led by a painter, brush and palette in hand,
ot male carnality, the great lever that sets the world in
standing in front of his easel.He is joined bv a group of
motion. There are only buttocks and religion. I must,
musicians blowing a fanfare. A gourmand, carrying a
therefore, exhibit Nana: the focus of interest like the idol,
tray laden with drink and golden-yellow fruit, caters for
at whose feet all men fling themselves, for various reasons
the woman's physical well-being. Simply through their
and with differing attitudes. ... shall assemble I a
actions, the members of this group the heirs of the artes
multitude of men, embodying all of societ\
liberates pay tribute through their various arts to the
ample, egalitarian figure of the woman. Opposing this Among the precedents for the painterly reproach is

group, however, stands the camp of the bourgeoisie, led an etching bv an Antwerp Mannerist (fig. 35), who depicts
by a bishop in magnificent vestments. Apparently uncon- his artists as clowns, and has them dance around woman-
cerned for her spiritual well-being, he thrusts his mitre and kind, replete with allthe requisites of vanitas. Other in-
staff, the symbols of his power, towards the lost sheep

reclining on her bed. The semi-circle of adorants is com-

pleted by the secular dignitaries, the representatives of
legal, military and financial power. They are personified
bv the devoted civil servant in his grev frock-coat, bv a
helmeted officer, and by the indispensible financier, com-
plete with his money-bags. Cezanne himself, who had once
been forced to choose between the advocate's chambers
and the artist's studio, between security and risk, 3" appears
in the painting as a passive observer, keeping his distance
from the surrounding melee. He identifies with neither
side, but has come to terms with the fact that he, in
contrast to all those with more to offer, is destined for a
role as a spectator on the fringes of society. The world of
the conquering courtesan is out of his reach, and there is
no hope of bridging the divide. Like the courtesan, the
artist only appears to be at the centre of society. In

reality, however, both the artist and the courtesan, as Fig. ;s After Pieter Baltens, Dame of Lad) World Engraving, c. 1600
'homme' and 'femme fatale', are kept outside society, as
social dynamite. In its transcience, the cult of the artist- fluences on Cezanne's composition include the popular
prince is similar to that of the grande courtesane, for both nineteenth-centurv French illustrations, which often dif-
can only function in their respective occupations as long ferentiatedbetween an overscale individual and the
as they are willing to satisfy the demands of their rich swarming masses. This technique served, for example, to
patrons. glorify the Republique francaise in the naive pictorial
This manv-lavercd exposition of the man-woman language of political agitation, or, in caricature, to stress
dialectic considers not only the direct relationship of the ironically the omnipotence of the journalist. 3 One further ''

two sexes, but also such questions as the position of the source for Cezanne's formal and iconographic innovations
artist within the wider society, the conflicting demands must be added - the epochal allegory of the Atelier bv
ot state control and artistic freedom and the role of the Gustave Courbet (18^4 s: Musec d'Orsay, Paris). This
boudoir as a meeting point for the otherwise divorced *
allegoric reelW combines a self-portrait and a female nude
realms of power and creativity. An insight into this com- in the midst of a figure group, which is split into two

so
 LA LL'TTE D AMOUR'

camps an anticipation of Cezanne's composition. Cour- A presupposition for these images of the unitv of
bet's cosmos, in own
words, has 'on the right-hand
his man and nature was the neutralisation of all conflict in
side the friends, collaborators and lovers of art', while the both subject matter and form. The move from the sexual
left-hand side is given over to 'the everyday world, the confrontation and sensationalist iconographv of the earlv
people, the misery, the poverty, the wealth, the exploited, period to the sexually isolated, formal lv disciplined bathers
the exploiter, the people who live off death.' 40 of the later yearsone of fundamental importance. Bv
is

Around the mid-i870s, Cezanne pushed the theme definitively separating the male and female figures, the
of opposing sexes even further with his Ln/te d' amour artist resolved his own, very problematic perception of

(fig. 28), set in an arcadian landscape." What is striking here the polarisation of the sexes. In the paintings of male and
is Cezanne made to achicv e the assimilation
the effort that female liatbers, conflict-laden situations are transformed
of man and nature. The powerful interplay of the figures is
'
1
into hermetically conceived images of an introspective,
located on a river bank, flanked by high trees, which falls unquestioning sensuality, following the precedents estab-
steeply from the right towards the centre of the picture. lished by Giorgione, Titian, Poussin and Rulxns. Removed
The intensity of the action is softened In the loose distri- from the hierarchies and conflicts of real life, the bathers
bution of the groups. The short, mainly diagonal brush offer the visionary construction of a classless, totally
strokes running from top right to bottom left, which are anonymous existence. The naked figures become part of
typical of this period, produce a scintillating harmony the natural environment, freed from all spatial or temporal
that gains expansiveness from the atmospheric sk) blue. connection with the present, be it clothing, objects or
Both the interlocking of the ecstatically agitated bodies location. The rhythm of these archetypal communities, in
and the cloud formations, with contrasting areas of white their uniquely unselfconscious grace and beauty, is one of
and colour, are carefull) thought out. Reinforced by his timeless permanence. While the critically dissonant earlv
great admiration for Titian, the painter was clcarlj aiming works documented Cezanne's break-out from the
in a smaller formal to capture the mythical spirii of joy confines of his childhood anel vouth, the self-sufficient
and exaltation thai the masters of" the Venetian High forms of the bathers in his later works reveal a longing
Renaissance were so skilled at portraj ing. for the protection of a community demonstratively bound
The specific inconography of the early figure scenes, together b\ nature. Their existence represents neither a
which were repeatedly set in interior spaces, was finally contemporary bathing scene, nor an escape into the fondlv -

superseded m the mid 1870s by a theme that occupied nurtured image of a lost idyll. Although he dedicated
Cezanne right up to his death m 1906: male and female himsell to landscape painting, especially in the first anel
bathers. The conllict ami confrontation of" the earlier last decades of his creative life, Cezanne sought to define
works were resolved in these- later compositions, and the his idyll not, significantly, in terms of landscape, but
alienation of man and woman formalised, in the literal through his figure compositions. \s social outsider, he- .1

sense ol the word. In accord with the intention to neutral gave form to the hopes of his century for reconciliation.
ise subjectivism in favour oi formal analysis, the dissonant In the male anel female bather compositions he succeeded,
elements in the means of representation were abandoned. as the Renaissance masters had done before him, in giv ing
In their incontrovertible existences, the male and female convincing form to the primeval elesire for the fusion of
bathers, freed from complex interrelationships, express the real anel the ideal, of man anel nature.
exact l\ a elcsire- for object ific.it ion and a release from In contrast to his motif-orientated landscapes, still

emotionalism. The formally conceived and executed figures lifes anel portraits, the conflict-laden figure scenes of
of the bathers allow one to forget the provocative gestures Cezanne's earlv years anel the bathers of the late period
with which the painter had previously confronted the were based on perceptions anel convictions that existed
problems ol his age. Although not yearning for the past exclusively in the artist's imagination. Courbet, Daumier
in a romantic sense, Cezanne nevertheless sought to re- and Manet, Baudelaire, Flaubert anel Zola had all taught
establish contact with the mainstream historical tradition. the young Cezanne to regard man as the product of his
Mis vehicle was the' bathers, who were- based on a verj surroundings. In his later years he rejected this position
heterogeneous repertoire of figures, developed from anel sought to reassert, through the metaphysical vttalnv
graphic rather than painterly premises. Cezanne was in- of his bathers, the self-evident unity of idea, scenery and
tensely aware of the conflici between his fascination with purpose, of experienced reality and pictorial conception
tradition on the' one- hand, and his urge to break with the historical components of monumental figure com-
tradition on the other. He saw tradition as a responsibility position. I mploying the same radical fervour with which
as something that had to be re animated through the act he had initially sought to master his age through an
of creative appropriation. By incorporating tr.ielition.il entirely subjective, self-referential definition of art, Cezanne
forms and motif's into eompleteh new configurations, later came to resist the implications of his age. The vehicles
and by investing them with new meanings, Cezanne restored tor tins resistance w ere the figure groups, set in .\n agelc SS,

a validity that had been thought lost. primeval landscape. They bear witness to the gradual

\"
1
 . .

GOTZ ADRIAN I

development of self-awareness in a man with little com- youthful years that the two had shared. When the novel appeared,
hardly anybody in Paris couldremember the Provencal painter
prehension of the banal certainties of self-assurance.
who had attempted to provoke the art world a few vears earlier,
Translated from the German by Iain Boyd Whyte. and hardly anyone knew of the shared past of the best-selling
This text is based, in a slightly modified form, on the following author and the unsuccessful painter, who had disappeared from
publications: Gotz Adriani, Pcinl Cc~amie 'Der Ldebeskampf' , Munich, the memory of a fickle public. See: Gotz Adriani, Paul Ce\anne:

1980, Got? Adriani, Paul Cezanne , Aquarelle, Cologne, 1981. Paul Zeicbnungen (Cologne, 1978), pp. (>s ff.

Cezanne, Watercolours, New York, 1983.

8. Rewald, 1986, p. 78.

9. Cezanne, Correspondance, 1976, pp. 102,84 6, 105-4. According to

Zola, Cezanne 'now maintained that one should always present

\oi v
something to the jurv, if only to put it in the wrong; moreover, he
I

recognised the usefulness of the Salon, the only battlefield on

1 Ce\ant, •
ndance, 1976, p. 5 4. This comment by Cezanne
w Inch an artist could reveal himself at one stroke.' Quoted:
was quoted by Zola March
in a letter to Baptistin Bailie, dated 7
Rewald, 1986, p. 16. As Marion noted in 1866: 'Cezanne hopes to
1

i860. Eight days later Zola wrote to Cezanne: "I hail a dream the
be turned down bv the exhibition, and the painters in his circle are
Other day. had written a beautiful book, a magnificent book tor
1
alreadv preparing an ovation. Guillemet is plaving the hunting
which you had done beautiful, magnificent illustrations. ( )ur two
horn." Marion assessed the situation realistically when he wrote to
names shone together in gold letters on the title page and, in this
Morstatt in the same year: 'Cezanne will not, for a long time, be
brotherhood of genius, went inseparably on to posterity.
approved and
able to take part in the exhibition of officially
I nfortunately, this is as yet only a dream.' Ibid., p. 1.

patronised works. His name is alreadv too well known and too
|
j j

2. On between father and son, see: Kurt

the difficult relationship
manv artistically revolutionarv ideas are linked to him for the
Badt, Die Kmist Ce\annes (Munich, 9s 6), pp. ->itt.\ Theodore Rcff. 1
painters who make up the jurv to weaken for a moment. And I

'Cezanne's Dream of Hannibal', The Art Bulletin, 45 (2 June 1965),

admire the persistence and sang-froid with which Paul writes to
pp. i4Sff.; and |ohn Rewald, "Cezanne and his bather". National me: "Well! Thev will be offered something like this with even
(.ti/Ury o/ Art, Washington, Studies in the History oj Art, 1971 1972,
greater persistence for all eternity".' Marion, op. cit., pp. 45, 48.
pp. ;Srt".
10. Cf. Ce\anne, Correspondance, 1979, pp. 126-7, !44~5> 160-1, 174-5,
;. Cezanne reported despondentlv to a friend in Aix: "I thought
\s -s 1-12, 315.
1 9, 21
thatwhen left Aix should leave behind the boredom that
1 I

1 1. F.mile Zola, Malerei (Berlin, 1903), p. 69.

pursues me. ha\ e only changed place and the boredom has
I
2. Ibid., pp. 49tT. Zola wrote the essay to prevent 'the artists
1 3 3fT.,
followed me. 1 have left my parents, my friends, some of m\ who will be the masters of tomorrow' from being 'the persecuted
all. Yet
habits, that's admit that 1 roam about aimlessly nearlyI all
Hi today'.
day. have seen, naive thing to say, the Louvre and the
I
Ibid., pp. 64, 61.
1 ;.
Luxembourg and Versailles. You know them, the pot-boilers Ibid., pp. 6
14. 5 ff.

which these admirable monuments enclose, :t is stunning,

{tartines)
Rewald, 1986, p. 69. Zola continued: 'Even vou, my dear colleague,
1 5.
shocking, knocks you over. Do you not think that am becoming
add your opinion: vou are 'convinced that the artist may have put
1

Parisian.' C e\anm Correspondance,

. 1 976, p. s s
a philosophical idea into his paintings'. That is an inappropriate
4. Ibid., pp. 29. S- s
conviction. If vou want to find philosophical artists, look for them
n. In 1 866 Cezanne wrote to Pissarro: "Here I am with m\ family,
among the Germans, or even among our prettv French dreamers;
with the most disgusting people in the world, those who compose but know that analvtical painters, the young school whose cause I

my family stinking more than anv.' Ibid., p. 1 14. In a letter to Zola

have the honour to defend, are satisfied with the great realities of
of S6S, Cezanne's friend Fortune Marion added: 'What a
1
nature.'
generation of suffering, Zola, my dear friend. We two and so 16. See, for example, the following works: V. 112,225,224:
manv others. Among us sufferers are some with fewer worries R\\ C. Ch. 86, 180, 236, 275-80, 283-6, 291, 460,
55, 155, 137;
who are just as unhappv as we are. Cezanne, for example, with his
461.
secure existence and his dark attacks of spiritual despair.' Extracts May
17. See Jules Claretie, 'Deux heures au Salon', L' Artiste (1 \

from Marion's letters to Heinrich Morstatt, who belonged briefly

Theodore Reff, Manet: Olympia (London, 1976),
1 869), p. 226;
to the circle of friends in Aix,were published bv Alfred Barr in: ff.; and George Mauner, .Manet: Peintre-Pbilosophe
pp. 1 1 1

'Cezanne d'apres les lettres de Marion a Morstatt', Gazelle des

(Pennsvlvaniaand London, 1975), pp. 79fF.
Beans- Arts, r.no. - -
.pp. 37—5 8. (The surviving ; i 18. Reff, 1976, p. 57.
which are in a private collection in Stuttgart, are quoted
letters,
Thomas
19. The pairing is reminiscent of the central group in
here from the originals, paving attention to previously unpublished
Couture's Romans of the Decadence (1874; Musee d'Orsay, Paris), and
passages.) See also, Ce\anne. Correspondance, 1976, pp. 138, 157-8,
also of Courbet's Les Demoiselles des bords de la Seine (1856,1857;
161-2,16; \. 16- 8, 172. A letter written to Zola in 1885 noted:
Musee du Petit Palais, Paris), which, when exhibited at the 1857
'. . . me, there is complete isolation. The brothel in
besides, for
Salon, had provoked the headline 'Odalisques in the shape of
town, or something like that, but nothing more. I pay, the word is
shop-girls'. The picture was exhibited again in 1 867.
dim, but need rest, and at that price ought to get it.' Ibid,
I I
20. See Reff, 1976, pp. 96ft".; and Mauner, 1975, pp. 94ft".
p. 221.
21. Zola, 1903, p. 39. 1

6. Ibid., pp. 21. ;4 6,57,365. 22. See above, note 1 5.

-. The friendship between Cezanne and Zola was based on a mutual
23 Ce\anne, Correspondance, 979, pp. 78-81. 1

affection as friends, rather than a mutual respect and

as artists,
(Frankfurt,
24. Karl Korn, Zola in seiner Zeit 1 980), p. 42.
each saw the incarnation of his youth in own the other. Although
25. Rewald, 1986, Cezanne's efforts to transform subjective
p. 78.
alienated bv success or the lack of it, and bv the conviction that the
confessions into subjective perceptions were noted by Marion in
other was unable to fulfil the ideals of their youth, thev were
the spring and autumn of 868: 'He has now achieved a truly 1

bound throughout their lives bv their shared memories. The

remarkable degree of insight. All the excessive wildness has been
decisive factor in the formal split between the two may have been
calmed down, and I believe that the time has come when the
the unique position of Cezanne, which enabled him more than any
means and the opportunity will offer themselves for a rich
other to recognise in Zola's novel details and episodes from the
creativity. Cezanne is striving with all his strength to learn
. . .

52
 I A LUTTE D AMOUR'

how to control his temperament and to impose on it the discipline by painters like Tassaert, Delaroche, Rops and many others
ofani acti a Whenhi achieves this goal, we shall have belonged to the standard repertoire of themes that successfully
powerful and accomplished works to admire.' Sec above, note s, combined demonic and satirical elements, and prospered not only
PP. l
H . 57- in painting, but also in graphic art, folk songs and street ballads.

26. See also Ins painting / .« courtisanes, V. 1 22. See: Claude Roger- Marx, 'l.es tentations de Saint Antoine
27. Tin caricatun was accompanied by the following, ironic text: Renaissance (January February, 1936), pp. 3 if.; Theodore RerT.

'Incident ol 20 March in the Palais de ('Industrie, or success in 'Cezanne, Flaubert, St Anthony, and the Queen ofSheba", Tbt \ri

vestibule prior to the opening of the Salon: Before we begin our 44 (June 1962), pp.
bulletin, ; ff. 1 1

tour through this year's Salon, we wish to show the public two S3 See V. 240, 241; R\\ (.. 40, 41: Rewald illustrates as no. 6l the
paintings the forbidden fruit, as it were belonging to the unpublished nnn side, but does not recognise it as a figure Study
rejt 1 ted 1 ategory. The artists and t ritics who assembled at the for the upper half of the painting 1 be Temptation oj W Intbcnj
Palais de 1'Industrie on 21 March, the last day tor submitting it. 50); Ch. 444 ! 3-

paintings, will remember the sensation 1 au 1 d by two paintings of ezanne also treated the mythological theme, see: V. i<>,
a new genre. As we believe our readers will approve, we have Ch. 638,639.
til 1 11 the necessary steps to secure the iirsi accurate reproductions ; v. See the painting V. 24^, and also the other versions, •,<). RWC 1

of these canvases, as well as a portrait of th< painter. Lumen lucit ;Xv, and Ch. tp, 2vX.
the light illuminates;! ourbet, Manet, Monet and all of you painters 36. ( .e/anne repeated the compositional structure shortly afterwards

broom and 01 her utensils, you've all

with the scraper, toothbrush, on another level of meaning in his \potl uroix, V. 243,
been outdone. have the honour ol pres< nting to ou out master:
I and Rewald. 19X;. no. (>x.
Monsieur Cezannes [sit ezannes! Who? What?? Who's that??? |
'
37 \s a young man, Cezanne had occupied himself with the lercules I

Monsieui ezannt comes from Aix-en Provence, and is a realistic

< theme, see: C efanne, ( orrt rpondanee, 19^'). pp. ;2 4, -2 <. 76, and
painter, and, what is more, a painter of com iction. Listen to what Theodore Ret), '( e/anne mm\ lercules', h, \rt Huitetn; I I

In has said, 111 Ins marked soul hern accent: 'Indeed, mv dear ( March 1966 pp.
1 ff. , ; j

Monsieur-Stock, I paint as I set and 1 I feel ... my feelings are 38 Werner Hofmann, Nana, Mytbos und Wirk
verj strong. The others, Courbet, Ma net, Monet and soon also p. j8.

feel and see as I do, but havi nocouragi ["hi do paintings for 39 See Vdriani, 1981, pp. 262 ff.
1 he Salon, [n contrast, Monsieur Stock, I dare, I lake the risk. I
i Klaus Herding, Kealismusals Witkrsprmeb: Die U • tin
have the courage ol mj convictions, and who laughs last laughs ( oki nkfurt, 19-x j. p. 24.

best.' Quoted: [ohn Rewald, 'Un articli inedit sur Paul Cezanne 1 See also the painted versions, V. 379,
en 1X70', 473, no. 21 (Julj iv
Iris, 1 1- W hen. in 878, Zola sent ( lezanne a copy of his
1 latest mm
28. On the theme of sell representation in thi earlj works, see Vdriani complete w nli a dedication, ( e/anne replied thai he
a"amour,

H;X 1
, pp. 50 II. found thai the developing passions of the two main characters had
29. ohn Rewald, The History of Impressionism 1 |.thed .
I ondon, tg been vcrv tineb graded le added: \ not her observ at ion that
I
'

p. 324. seems to me |ust, is that the places, through their descriptions,

50. Ibid., p. j ;
impregnated with the passion that moves the characters, and
i 1. See also the compositions on the same or similar subjects: V. i\i, through this, torn) more of a unit] vv it li the actors and arc less
234, 23X, 577; Rewald, 198}, noS45, |<\ p. v<>, < happuis, 197$, dissociated from the whole. They seem to become animated, to
nos us JO, 2^6, ) 1 X. participate as it « ere in the sufferings of the li\ ing beings
1,1. [n the France of Napoleon III, the fashionabl j romantii / emptations I '.,/,;</.( . lv~'). P I
J7-

5 5
The Collectors / am
must work
beginning to think myself abler than those around me
all the time . . . And believe me, there always comes
. . . I

themoment when one makes one's mark, and one has admirers
of Cezanne's who are far more fervent more convinced, than those who take
,

pleasure merely in vain appearances.

Early Works Cezanne,

Paris, 26
letter to his
September 1874.
mother,
1

Sylvie Patin To investigate the provenance of the paintings of Cezanne's

early period is to discover the names, which are often

famous ones, of the owners who form successive links in

the chain of 'fervent admirers' of these often rather un-
approachable compositions. Valued from the outset by a
prescient few, these are the works of a genius who was
simultaneously a lover of tradition and a herald of twentieth-
century modernism.
It is only fair to pay tribute to the intelligence shown

by these people in acquiring the paintings; after all, it is

thanks to them - the artist's friends, together with a few
dedicated collectors and some perceptive dealers - and to
their descendants that these works have survived to be
assembled in this exhibition. Some of the works have
come down to us positively enriched by the personalities
of their owners: think of the great Portrait of Achille
Emperaire (cat. 46), rejected at the 1870 Salon, which was
bought from the Impressionists' colourman, Pere Tanguy,
by the painter Emile Schuffenecker, who passed it on to
another painter, Eugene Boch, before it entered the col-
lection of Auguste Pellerin and passed to the French
nation in 1964; it is now in the Musee d'Orsay, Paris.
To trace the ownership of these first paintings is

also to follow the course of Cezanne's artistic career.

Successively, we encounter the names of those who crossed
his path: the friends of his youth in Aix; his new Parisian
friends, the future Impressionists and their first champions;
his dealers and his collectors. Finally, in the years that
immediately preceded the artist's death, the record shows
something of the ways in which his work was received,
both in France and elsewhere.
I shall restrict this enquiry to the 132 paintings listed

by the Italian art historian Lionello Venturi at the beginning

of his 1936 book Cezanne, son art, son ceuvre (Paris, 2 vols),
under the heading 'Academic and Romantic Period
(1858-71)'. These are the works, painted before Cezanne's
move to the area round Pontoise and Auvers-sur-Oise,
that form the subject of this exhibition. I shall trace the

record of their ownership beyond the artist's death in

1906; but I have come up against insuperable difficulties
in pinning down all the changes of location and the date
and manner of every successive change of ownership. In
addition, a number of early works have disappeared,
either destroyed by the artist or simply lost (such as Nu a
la puce submitted to the Salon in 1870; see fig. 12). This

study is therefore not an exhaustive one.

54
 THK COLLECTORS OF CEZANNE S EARLY' WORKS

(Jose Relatives |ohn Rewald has traced the relationship between the
painter and the writer in detail, up to the moment when
In his youth Cezanne painted a number of pictures 2 to they parted company after the publication of Zola's I .'(liar?
decorate the family house, the )as de Bouffan, near his in 1 8 86. Cezanne, who felt that he recognised himself in
native city of Aix-en-Provence. These included four panels the character of the failed painter created by Zola, never
of The Seasons (cat. ia d); the Portrait oj L,ouis- August \ isited the writer's house in Medan again.
Ci%anne, Father oj the \rtist (cat. 4); the Christ in Umbo owned a
Nevertheless, to the end of his davs Zola
(cat. 32); and Sorrow Mary Magdalen (cat. 33). They
or number of works painted by his friend before 1871,7 and
remained in the large drawing-room at the )as de Bouffan most of them were in the posthumous sale of his collec-
when the estate' was sold in 1899, some years after the tion (9 3 March 1903). Those sold then were The Rapt
1

death of Cezanne's father (23 October 1HH6). After the (cat. 3 i),
H
which was painted in Zola's apartment in the rue
painter's death they were taken oil the walls and sold to de la Condamine and given to him by the artist in iX' -

the dealer |os I lessel (see below, p.6l). Study oj a Woman;'' a landscape painted at L'Estaque, near
About twenty other works are said by Ycnturi to 1
where Cezanne and I lortense liquet had taken refuge in
have first belonged to Paul Cezanne fils, the artist's son 1870, entitled The Fishing I Wage; 10 an interior. The Store
by lortense Fiquel (with whom he lived, anil who became
I in theStudio?* the very fine Black Clock (cat. 49), 12 painted
his wife in 1HS6). These were probably given by the artist in Zola's dining-room; a Portrait (of Cezanne himself?); 13

as presents to his own mother or to his son (born 4 and finally Paul Alexis reading to Emile Zola (cat. 47),
M
January 1K72), or else found by the son in his father's showing Paul which the same black clock
Alexis, in is

studio. They include a number works of deep emotional 1 it jusi \ isible in the background (it is still in Zola's house at

significance, including portraits of members of the la mi I \ Medan).

(the artist's sisters), and the first t wo self portraits. Unlike The Zola sale vicious article by Henri
gave rise to a
\l. Cezanne pire, the artist's mother always believed in Rochefort, in UIntransigeant
' of 9 March 190;, in which,
her son's vocation and held high hopes lor his future as a under the title of "The Love of Ugliness', the journalist
painter. According to the dealer Ambroise Vollard: gave free rein to his loathing of both the painter and the
writer:
T'Jisabcth Aubert, ( e/aune's mother, born in Aix ol a

family with remote ( a cole ancestry, was livelj and '. . . the modern paintings thai [Zola] hail lumped in with
romantically inclined, quick and spontaneous but with an these lumber room scourings |prc\ iousl) described]
uneasy, irascible temperament. It was from her that Paul stirred the crowd to unalloyed mirth. There are ten or s,.
derived his imagination and his \ ision of life.'
1

works, landscapes and portraits, that bear the signature

ot in ultra Impressionist In the name of ( lezanne.
At the end ol his hie, Cezanne once more turned lor
. .

Piss. u id, Claude Monet and the most eccentric of

support and comfort to a relative: this was his son, to
the other painters of le plein-air and le pointille' itc mere
whom he had always been close. A month before he died,
academics b\ comparison with this extraordinary ( e/anne,
he wrote:
whose pn iductions Zola was at such pains to garner.
'My dear Paul All see is gloom, .wn\ so musi
. . . I I lean Even the experts in charge ot the sale w ere embarrassed
m< >re and more on you, and find m\ sunrise in you . . .
b\ ha\ ing to catalogue these fantastic objects and
Iam so slow to achieve am thing thai makes me 11 \ er\ u i 1 unp. mud each one with a meaningful little note:
'^
sail. ( )nly you can console me in my melancholy state. \ \ 1 r\ earlj work".
It \I. ( e/anne w as still with his wet nurse when he
p< petrated these daubs, then w e ha\ e no cause for
Classmates and Friends from Aix
1

.'
complaint. . .

The most famous of A'/a tine's school friends at the College

( (
'fins article was tin- signal tor a virulent anti-Cezanne
Bourbon in Aix en Provence, Emile Zola, moved to Pans campaign, onlj three ears before his death. \

and persuaded Cezanne to join him. Me wrote of' their It was another of < iezanne's boj hood friends, slightl)

friendship in the dedication, 'To M\ Friend Paul ezanne', (

younger than himself, \ntoine-Fortune Marion S44 i, 1

with which he prefaced his book Mon Salon, published in 1900), who introduced him to a German musician, leinrich 1

[866: Morstatt S.44 1925). In a letter of 23 December 1865,

t^ 1

'It is a profound me, m\ dear ( lezanne, when we

joy to ( e/anne wrote to Morstatt: 'I beg you to accept fortune's

talk alone. ...We have been discussing .\n .\w.\ literature invitation; you shall set our acoustic nerves atmglc with
for ten yearsnow. You are all my outh; 011 are
. . . \ \ the noble strains ot" Richard Wagner.' 15 Morstatt owned
involved in each and every one oi m\ joys and mj sorrows. iwo Cezannes painted in iS(>s 7: Still Lift.- Skull and
Our minds, in their brotherly closeness, have dc\ eloped Candlestick (cat. 12) .\nd Portrait ot {'•nit Dominiam .

side by side.' 6 Monk (see p. 104). 1 "

$5
SYLVIE PATIN

was probably through the young poet Joachim

It . . . has a high opinion of me, and I have a high opinion
Gasquet whose father Henri had been at school with of myself.' 18 In 1902 he reportedly acknowledged his
Cezanne at the Pensionnat Saint-Joseph in Aix that debt to 'humble, colossal Pissarro' in the following terms:
"
Cezanne met the Marseille lawyer Xavier de Magallon 1
'As tor old Pissarro, he was a father to me. He was a man
(born 1866). Magallon, an old boy of the College Bourbon to turn to, something like God Himself.' 19
in Aix, owned Cezanne's copy of Delacroix's The Barque The collaboration between the two artists at Pontoise
of Dante (cat. 5); he was among the artist's last admirers. and Auvers-sur-Oise in 1872- 4 is well known, but Pissarro
took an interest in Cezanne's work long before 1870, and
Painters in Paris, and the said of himself in 1896: 'I who have been defending him
tor thirty years with such force and such conviction. .' 20
. .

First Defenders of Impressionism He had underlined the disconcerting character of Cezanne's

Cezanne's first stay in Paris (April to September 1861), early work when he replied to Theodore Duret's wish in
and his move to Paris in November 1862, gave the
young 1872 to see some original works from that period: 'the
artist the number of
opportunity to exchange ideas with a moment that you start looking for five-legged sheep,
his painter contemporaries, some of whom were to become Cezanne will be able to oblige, since he has some extra-
friends. ordinarily strange pieces seen in a unique way'. 21 Pissarro
At the 'free studio' of the Academic Suisse, Cezanne told his son in a letter in 1884: 'As for Cezanne, I have
met Antoine Guillemet, Francisco Oiler and above all treated myself to four highly curious studies of his' - prob-
Armand Guillaumin, who became a particular friend. ably at Pere Tanguv's shop, according to John Rewald. 22
Guillaumin owned just one early Cezanne: The Kite des no surprise, therefore, to find Pissarro listed as
It is

Saules, Montmartre (cat. 29). the owner of three works painted by Cezanne before 1871,
Guillaumin is said to have introduced Pissarro (fig. 36) namely the very Parisian view of the Paris: Qitai de Bercy
to Cezanne. The understanding between thetwo men was (cat. 62) (which recalls Pissarro's own fascination, at the
to be adeep and lasting one, and the influence was to be end of his with the 'urban landscape'), Women Dressing
life,
23
mutual. In 1874 Cezanne wrote to his mother: 'Pissarro (cat. 28) and The Angler. 1 *
Cezanne often met Guillaumin and Pissarro at the
house of Dr Paul Gachet (1828 -1909) (fig. 37), whose face
is familiar to us from his portrait by Van Gogh. A good

friend to many painters, 25 he welcomed them to his house

at Auvers-sur-Oise, and its walls were hung with their
works. Dr Gachet's magnificent collection thus came to
include four works of Cezanne's youth: the Pastoral (Idyll)
(cat. 52), now in the Musee d'Orsay in Paris, and three

still lifes,
26 two of which, Green Apples and The Artist's

Accessories, are also in the Musee d'Orsay as part of the

collection donated to the French national museums by
Dr Gachet's son.
Another owner of a still-life painted by Cezanne in
1864-6 was Dr Gachet's friend Eugene Meunier, known
as Murer 27 (1 846-1906), an amateur painter who ran a
restaurant in Paris - and later in Rouen where Cezanne
and other artists used to congregate. Murer often gave
them meals in exchange for works, and consequently built
up a sizeable collection.
In Paris in the 1860s, Cezanne made friends with a
number of other painters besides those who were working
at the Academic Suisse; and these were to be among those
who joined with him in the first Impressionist exhibitions.
In them he found not only friendship and encouragement
but a sense of respect for his art. In 1895 Cezanne wrote
to Monet: I'll tell you how glad I have been of the
'. . .

moral support have received from you, and which acts

I

on me as a stimulus to paint.' 28 Monet owned two early

Fig. j6 Portrait ofCamille Pissarro, f.1875 (Ch. 298). Cabinet des DessiiT-.
works bv his friend, 2 one of which was the oil painting
''

Musee du Louvre, Paris. The Negro Scipion (cat. 30), a study of one of the models at

56
 THE COLLECTORS OF CEZANNE S EARLY WORKS

for agood mam vcars, in comes Renoir. But my enthusiasm

is mere John the Baptist by comparison with Renoir's.
a
Degas himself, who is under the spell of this sophisticated
savage, and Monet, and all of us - are we all wrong? I

don't think so. The only people immune to the spell are
precisely those artists, or collectors, who make it clear
to us by their errors that they have a sense missing
somewhere. . . . Degas and Monet bought some stunning
things |bv Cezanne]. You'd never credit how hard a
. . .

time have in getting certain collectors, otherwise well-

I

disposed to the Impressionists, to understand what great

and rare qualities there are in Cezanne. Degas and . . .

Renoir are enthusiastic about Cezanne's work. IX . . . _

so wild about Cezanne's sketches, what do you think of

that? Wasn't right in 861 when ( )ller and
1 went to see 1 , I

this curious Provencal where Cezanne at the Atelier Suisse,

was doing academic life drawing and being hooted at by
all the incompetents in the school. It's a funny . . .

business, reliving long-past battles like tin

In the Degas sale of 2('> 7 March 1918 there was one

youthful work by Cezanne, enus and Cupid.*3 At the sale I

of the Henri Rouart collection on 9 11 December 1912

there was a small earl) cam as, the Woman at a Mirror'"4
(now in the Musee (iranct, \i\ en Prov ence). lake his
ti u iid
)< gas, lenri Rouart (1833
I 191 2) took part in the
I

[874 Impressionist exhibition, anil helped to organise the

exhibitions 1h.1t followed. Both possessed a number of
paintings In ezanne.
<

As tor Renoir, his Cezannes were all later works. The

same was irue ol the collector Victor Oioccjuet, a senior
customs official, whom Renoir introduced to Cezanne.
Fig. 37 Portrait oj Dr Gachtt, i hjz 4 (Ch. 295) ( abinet dcs I >essins. Chocquel seems 10 have bought Ins nrst ( ezanne in it
Musn- (In Louvre, Paris. when Renoir took him to Pere Tanguv 's shop.
Tanguv (182s 94), known familiarh as Pere
Julien
the Academic Novembei 89 Monel expressed
Suisse. In 1
1 anguy,
I was the Impressionists' colourman, and because
his admiration tor Cezanne: 'How sad thai tins man lias he put their works on show in his shop in the rue Clauzel
not found more support in Ins life! He is a true artist, he became, tor several ot them (including Cezanne), their
who has been brought to the point where he doubts him- first 'dealer'. It was from Tanguy's shop that the p.imurs
,(
self too much, lie needs cheering up. " Monet was . . .
I mill. Schuffenecker (1851 1934) ami Eugene Boch
writing to Gustave come and be
Geffroy to ask him 10 s i
1941) bought the great Portrait of AcbilU Emperaire
s s

introduced to Cezanne over a meal at Givernj attended (cat. 46). Boch, incidentally, was a friend of Van Gogh,

by Monet, Cezanne, Geffroy, A.uguste Rodin and the who painted his portrait 1
Musee d'( )rsaj . Paris) as well as
writer ( )ctave Mirheau. three portraits "t Tanguj one of which is in the \l

Mirheau (1848 1917) was a close friend of Zola and Rodin, Paris). mperaire himself (18 29 98) was a painter
I

an old acquaintance ol Cezanne, several oi whose works from Ai\ en Provence who also made use of the colour-
he owned. One work
ezanne prior to 1870,
painted In ( man's good offices in selling Ins works. ezanne mentions
(

The Angler^ (which had previously belonged to Pissarro), 'the good Tanguv ' se\ eral times in his letters; he wrote to
was in the sale ot Mirheau's collection mi 2 4 February Zola on 28 \ugust 1877: 'Yesterdaj evening, walking into
1919. mv colourman's shop in the rue Clauzel, came across I

( )n the occasion of the ( ezanne exhibition mounted dear old Emperaire.'35

In Ambroisc Yollard in [895, Pissarro's letters to his son The young ezanne was also championed by a number (

reveal how Cezanne was seen by his friends: ofart critics: Theodore Duret (1838 1927), a close friend
of Zola, who was to devote a chapter of his Histoirt
'. . . while
was engaged in admiring that curious,
I

des peintres impressionnist -

to l
1 :anne; Vdolphe
disconcerting side ol Cezanne that have been aware I oi

57
SYLVIE PATIN

Tavernier, who possessed a still life of Cezanne's first works of his first period did find their way into the
period; 36 and Georges Riviere (185 5-1943), who dared to possession of famous collectors; but Cezanne was never
say as early as 1877, on the occasion of the third Im- as close to group of friends who had shared
them as to the
pressionist exhibition, the last in which Cezanne took with him the adventure of the birth of Impressionism.
part:

'The artist who has been most attacked, most abused bv

the press and bv the public for fifteen years past, is
The First Collectors
M. Cezanne M. Cezanne is a painter, a great painter.
. . . Georges Charpentier (i846-ic)05), w who was a close friend
Those who have never held a brush or a pencil have said ot a number ot leading writers, including Zola, Gustave
that he does not know how to draw and have blamed him Flaubert, Alphonse Daudet and J.-K. Huvsmans, offered
for alleged imperfections which are in fact no more than his support to the Impressionists immediately after the
the subtlety that springs from immense skill.'" first Impressionist exhibition in 1874. His name is most

often mentioned in connection with Renoir and Monet,

And in months before he first met Cezanne at
1894, a few
to whom he devoted one-man exhibitions in the gallery
Monet's house, Gustave Geffroy took the occasion of the
that he ran in conjunction with his artistic periodical Ea
posthumous sale of Pere Tanguv's collection to devote
I moderne, founded in 879. But he also took an interest
'ie 1

an article to Cezanne in which he emphasised 'the rarity

in Degas, Boudin, Sisley, Pissarro and Cezanne. When
of one's encounters with Cezanne's paintings':
his collection was disposed of on 11 April 1907, one of
'Paul Cezanne's fate as an artist has lony been a curious the paintings on sale was Marion and \'alabregue setting out
one.He might be defined as a figure who is both for the Motif (cat. 25), 40 depicting Cezanne's boyhood
unknown and famous: rarely in contact with the public friends from Aix.
and yet cherished as an influence bv all the restless, A Portrait of I 'alabregue (cat. 6) was in the collection
5

questing spirits of painting; known only to a few; living of Count Doria (1 824-96) at the Chateau d'Orrouv. 'Count
in obstinate seclusion; abruptly reappearing and Doria was one of the first collectors to appreciate [Cezanne]',
disappearing from the ken of those closest to him. From wrote Theodore Duret in 1906. 41 Doria's claim to fame is
the obscurity of his life-story, from the almost secret that he acquired, very early on, The House of the Hanged
nature of his work, from the rarity of his paintings, Man*2 exhibited in 1874; this is the work that opens the
which seemed to have been shielded from publicity in all section entitled 'Impressionist Period' in Venturi's cata-
its accepted forms, he derived a remote, bizarre sort of logue. It also introduces the names of two great collectors
fame; a mystery came to enshroud him and his work. of Cezanne's works, neither of whom ever owned an
Those who hankered after all that was new and unheard- early one: Victor Chocquet and Count Isaac de Camondo.
of, those who liked to unearth things never seen before, Another Portrait of \'alabr~egne (cat. 16) belonged to
used to speak ot Cezanne's paintings with a knowing air, Baron Denvs Cochin 43 (1851-1922), who had a particular
dropping hints as if they were passwords. Those who had appreciation of Cezanne; he is said to have met the painter
the curiosity and the enthusiasm to set out upon the when he was working at Montgeroult in 1898.
untrodden ways of modern art used to ask their elders
. . . A curious painting, E 'Estaque ', Evening Effect,*
4

about this shadowy Cezanne, who lived thus on the which has been variously dated 1870 and much later, was
fringes of life, taking no thought for his role or for self- first owned bv the collector Maurice Leclanche 43 (who

presentation. What did his paintings look like? Where died in 1921); then it went to Eugene Blot, 46 a collector
could they be seen? The answer came that there was one and dealer who was a friend of Guillaumin. It appeared
portrait at Emile Zola's house, two trees at Theodore in the Blot sale on 2 June 1933. In 1900, in his preface to
Duret's and four apples at Paul Alexis'; or perhaps that a the catalogue of the Blot collection, Georges Lecomte
picture had been seen the week before at Pere Tanguv's, recalled, as GefTrov had done, the long interval during
the colourman's shop in the rue Clauzel, but that one had which Cezanne's works remained unseen bv the public:
to look sharp if one wanted to see it, because there were
'Until 1894 it was only by chance, and in the houses of a
always collectors quick to pounce on so rare a treasure as
very few friends, that one could still see paintings by
a Cezanne painting. There was talk, too, of extensive
Cezanne. ... A
landscape by him was known to be in
collections, containing a considerable quantity and variety
M. Zola's house, a fruit piece at M. Paul Alexis', a study
of paintings, which could be seen only by gaining access
at M. Duret's and another at M. Huvsmans'. It was said
to the house of M. Cho|c|quet in Paris, or that of
that once in a verv long while a painting passed through
M. Murer in Rouen, or that of Dr Gachet at Auvers, near "
the good Pere Tanguy's shop.' 4
Pontoise.' 38

Painters, and the firstchampions of Impressionism, formed

the daily milieu in which the young Cezanne lived. Some

>S
 THE COLLECTORS OF CEZANNE S EARLY WORK -5

Over Thirty Early Works in the Collection

of Auguste Pellerin
Pride of place among all the collectors of Cezanne's early
works must surely go to Augustc Pellerin (1852 929). 48 1

Paris-horn, Pellerin was a major industrialist who built

factories in France and elsewhere, notably in Scandinavia;
from 1906 to 1929 he was Norwegian consul-general in
Paris. Ic was remembered as a man with a passion for art
I

who began his collection of paintings and objets d'arl long

before 1900. Me was clear sighted and intuitive enough,
very early on, to sill his collection of works by Vollon,
Ilenner and even Corot and buy the works of Manet and
the Impressionists (Cezanne, Renoir, Monet, Pissarro,
Sisley, Degas and Berthe Morisot). Later, he bought such
'modern' artists as Bdouard Yuillard, Maurice Denis,
(harks (iamoin, Andre Dentin and Henri Matisse. In
1916 Matisse accepted a commission to paint Pellenn's
portrait, at a time when he was painting major portraits
of his wife and of collectors such as Michael and Sarah
Sunt. The tWO versions ol Matisse's I'nrlra/t oj AugUSte
l'i l/rrin one is an official, commissioned
are juxtaposed here:
work j8) and the
(lig. other oilers a more personal inter
pretation of the siller based on the artist's spontaneous
vision (lig. 59).

Fig. 39 Henri Matisse, Portrait *, 1916. Centre National

il' An el clc < ulture ( lei irges Pompidou, Musee National il* \rc

Mi 'iK i in . Paris.

Pellerin look a particular interest in Manet, and

above all in Cezanne, over ninet) of whose paintings he
owned. 49 \ number ol authors ha\ e followed mile Bernard I

and Roger Fry 50 in emphasising the importance of the

Pellerin collection for the stuck of the successive phases
of the evolution of Cezanne's an. In its richness and

di\ ersity, the extraordinary group of masterpieces assembled

by this gnat collector in his passion for Cezanne's art
aroused the admiration oi contemporarj connoisseurs
when was placed on public view in 1907, the year after
it

death. Twentj five paintings, catalogued under

the- artist's

the heading oi 'The Collection oi M. Pellerin". appeared

in the Cezanne retrospective oi that year at the Salon

d' \uiomne. \\ hen Pellerin died (on iS October 1929, at

Fig 18 Henri Matisse, Portrait oj \aguste Pellerin, 1916. Neuilly), he left three of Cezanne's finest still lifes to the
I'm ,iu ( collection. Louvre: 51 the\ arc now in the Musee d'Orsav. Pellenn's
 :

SYLVIE PATIN

collection was then split between his daughter Juliette Doria. A Modern Olympia seems to have been acquired
and his son |ean-Yictor, a playwright. Over the vears through the Bernheim-Jeune gallery.
that followed several more works from the collection Of these thirty-two early paintings by Cezanne, five
found their way into museums in France 52 and abroad, 53 arc now in French museums. The Portrait of Achille
where they continue to evoke the memory of one of the Emperaire and the Pastoral (Idyll) are in the Musee d'Orsay
finest private collections ever assembled. in Paris; The Poet's Dream, Still life: Sugarpot, Pears and

Of the ninety-odd paintings by Cezanne that Pellerin Blue Cup and Woman at a Mirror are on permanent loan to
owned, about belonged to the artist's first
a third (32) the Musee Granet in Aix-en-Provence.
period, 'Academic and Romantic Period
Yenturi's On the occasion of this exhibition devoted to
(1858 71)', which itself covers 132 paintings in all. These Cezanne's early period, it seems entirely opportune to
32 paintings 54 collected by one man thus represent a pay tribute, once more, to the memory of Auguste Pellerin,
quarter of the artist's entire surviving youthful output - who was so quick to take the full measure of Cezanne's
an indication in itself of Pellcrin's particular love for genius and to include in his choice these complex, difficult
Cezanne's early work. and even forbidding early works. The dealer Ambroise
It isworth stressing the harmonious way in
also Yollard recalled that Pellerin was the first collector who
which Pellerin built up his collection, not only as a whole ever bought a Cezanne nude from him. This was during
but in the balance between the painter's various themes: the painter's lifetime, at the exhibition Vollard held at his
eleven portraits, thirteen miscellaneous figure compositions, gallery in 1 895
five landscapes, one still life, one interior. Among the
'Several people who were among those most interested in
portraits were two Portraits of the Artist, a Portrait of Louis-
the exhibition had urged me to take the nudes out of the
Auguste Ce\anne, Father of the Artist reading TEvencment'
window, telling me that the public was not yet ready. . - .

(cat. 21), four Portraits of Uncle Dominique including cat. 20

1gave in eventually, rather against my will, and turned
and 23," and finally the celebrated Achille Emperaire
the nudes to face the wall; but one visitor, turning the
(cat. 46) which was rejected at the 1870 Salon. Among
paintings round, discovered the Leda and the Swan and
the figure compositions were the Christ in Limbo (cat. 32)
bought it on the spot. And so the first nude painting to
from the drawing-room at Jas de Bouffan, The Preparation
be sold during the exhibition was acquired by M. Auguste
for the Funeral (cat. 35), A
Modern Olympia (cat. 40), The
Pellerin.' 58
Orgy (cat. 39) Le Dejeuner sur I'herbe (cat. 51), Marion and
r
I alabregue setting out for the Motif (cat. 25), The Walk
(cat. 26), Paul Alexis reading at Zola's House (cat. 43) and
the lovely Pastoral (Idyll) (cat. 52). Among the landscapes
The Paris Dealers
were The Fishing I 'Mage at L'Estaque, Melting Snow at Ambroise Vollard (1868-1939) is said to have seen his
E' Estaque^' and Paris: Ouai de Berry (cat. 62). The still life first Cezannes at Pere Tanguy's. When Tanguy died in
was Sugarpot, Pears and Blue Cup (cat. 14). 1894, Vollard persuaded the painter to let him be his
The provenance of these thirty-two paintings, up to dealer. The exhibition he organised in his gallery in the
the point where they entered the Pellerin collection, makes rue Laffitte in 1895 enabled the younger generation of
an interesting study. For sixteen of them, the first owner painters to discover Cezanne's work, and it was Vollard's
listed by Yenturi is Pellerin himself, implying that he gallery that Maurice Denis chose as the setting for his
acquired them direct from the painter; 57 another, one of Homage to Ce\anne, painted in 1900 (Centre national d'Art
the two Portraits of the Artist (cat. 2), had apparently etde Culture Georges Pompidou, Musee national d'Art
belonged to Cezanne's son. Four works had been in Zola's moderne, Paris). Yollard also wrote a monograph on
collection and had been sold off in March 1903: The Fishing Cezanne, published in 1914, and a number of subsequent
I 'Mage at L' Estaque, The Store in the Studio, the other books.
and Paul Alexis reading at Zola's House
Portrait of the Artist As early as 1894, Pissarro sensed Vollard's future
(which had then passed through the hands of the dealer importance. He wrote to his son:
Hessel, as had Christ in Limbo). The Paris: Quai de Bercy
'A young man . . . has set up shop in the rue Laffitte. He
had belonged to Pissarro, the Portrait of Achille Emperaire
has nothing but pictures by young painters. When . . .

to Eugene Boch at Monthyon, and the Woman at a Mirror

you have something, you must send it to him. I think this
to Henri Rouart, the Pastoral to Dr Cachet at Auvers-sur-
little dealer will be just what is needed; he likes only the
Oise. Marion and \'alabregue setting out for the Motif had
things of our school, or those that approach it by virtue
been in the Georges Charpentier sale of April 1907 1 1

of the artist's talent. He is full of enthusiasm, and he

and had then passed to Eugene Druet before coming to
knows what he is doing. He already has a few collectors
Pellerin.
interested, and they are starting to ferret around.' 59
Finally, one of the two Portraits of I 'alabrigue had
belonged to Baron Denys Cochin and the other to Count Cezanne too, in his letters, is full of praise for him:

60
 THE COLLECTORS OF CEZANNE S EARLY WORKS

through his hands before being sold on. In all, Vollard

had in his possession, at one time or another, twenty-four
of the works of Cezanne's first period: 03 these included
the Head of an Old Man CM usee d'Orsay, Paris) (cat. 6), the
Boj "Leaning on his Elbows (Private Collection, Switzerland), 64
and Afternoon in Naples ot The Rum Punch (cat. 2- .

Vollard conducted some business with Paul Rosenberg,

;
who is listed as having owned ten early Cezannes.' Three
of these came to him direct from Vollard: The Man with
the Cotton Cap (otherwise known as Uncle Dominique) (cat.
22), The Courtesans'' 1
-
and The Strangled Woman (Paris,
Musee d'( )rsay)/'~

The dealer Hticnnc Bignou (1891-19S0) owned

three early works 68 which had previously passed through
Vollard's hands: The 1 no Children, a Portrait of Marie
Cezanne, Sister of the Art/st (cat. 24a) and The Rape (cat. 31),

once in Zola's collection.

The family firm of Bernheim, and in particular the
two sons of Alexandre Bernheim- |eune, |oseph ('known
as |osse, iS-7c 1941) and Ciaston (the painter Gaston

Bernheim de Villers, 1 x^c 19s had in their hands eight

}),

earh Cc/anncs in all."" The artist wrote to Gaston Bernheim

de Villers in 1904: *I am deeply touched by the marks of
esteem and the words of praise contained in your letter."
\ relative of the Bernheims", Joseph Jos or J0SSC
I[esse! (died 1941 ), who worked as director of the Galerie
Bernheim- |eune before setting up in business on his own,
is listed as the owner of ten or so early period painting
Fig, 40 Portrait oj Ambroist I oliard, 1X99 (V.696), Musee du Peril It was he who bought the wall paintings from the Jas de
Palais, Pans.
Bouffan. ezanne had sold the house to one Louis Grand
(

in 1899; and Grand's son-in-law, Dr Cors\ retained ,

three other youthful works b\ Cezanne that were still in

'. . . Vollard, who is a sincere man and serious too, . . .

situ
I no doubt, will continue to be the intermediary
Iv.u e
I ugene Druet, who ran a gallery in the rue Royale,
between myself and the public. le is man of great tlair, I .1
is listed as ha\ ing owned two painting:
well-mannered, who know S how to bch.i\ 1

name of the Impressionists" great dealer

Finally, the

In [903 Cezanne wrote to Vollard from \i\: 'I regret the and friend, Paul Durand Ruel (1831 1922), appears only

distance thai comes between us; more than once would I

once in this connection, Tbt Rape
as the possessor ot

have turned to you for a little moral support. 61 (cat. 31) was owned b\ Zola and Vollard, anil
alter it

In 1906 Theodore Duret mentioned Vollard in the before it went to the United States, where the role played
chapter of his Histoire des peintres impressionnistes devoted bv dealers in artistic lite was to become such a vital one.
to Cezanne:

'Cezanne, the most despised of all, lagged behind the

others le still pcrcctx ed himself as
Foreign Collectors
in public favour, I

ignored by an uncomprehending public, and \ el he did 'The number of studies of mine to which you have extended
have a growing nucleus oi admirers, made up ot artists, your hospitality is confirmation in itself of the great
connoisseurs and collectors. ... was now possible to
It feeling tor mj art which you are kind enough to express',
find buyers for his works, and a man had appeared, in the wrote Cezanne on ;i Mav 1S99 to an Italian collector
person of Vollard, who was to undertake their sale and
4
living in Florence, EgistO Paolo I'abbri" (1866 1933 .

make a success of it.'''

2 who bail written him a letter of praise three days previously
Vollard, who had commissioned Cezanne to paint his '1 am the fortunate possessor of sixteen of your works. I

was a collector in his own right,

portrait in 1899 (fig. 40), know them in all their austere, aristocratic beaut) to me
and it is hard, as so often with dealers, to distinguish thej are all that is noblest in modern art. \ml often,
between his private collection and the works that passed looking at them, 1 ha\ e wanted to tell you in person ot

61
SYLVIE PATIN

the emotion that I feel. . . . Please accept this expression Bather and Rocks and Sorrow, or Mary Magdalen (cat. 3 3)

of my profound admiration." 5 (which were among the decorative paintings bought from
the Jas de Bouffan by Hessel), the artist's first Temptation
The Store in the Studiowhich had belonged to Auguste
of St Anthony (cat. 50) and Afternoon in Naples or The Rum
Pellerin and before that to Zola, was one of the four early
Punch (cat. 27).
works by Cezanne that Fabbri owned.
Jacques Laroche acquired The Angler, which had
Other lovers of Cezanne's early works included a
belonged to Pissarro before passing to Octave Mirbeau
number of dealers and collectors outside France whose
and being included in the sale of his collection on 24
names are familiar to historians of modern art: they include
February 1919. In 1947 Laroche gave a group of Impres-
Paul Cassirer (1871-1926) in Berlin"" and the Thannhauser
sionist paintings to the French national museums, subject
family in Germain and Switzerland.
to a lifetime retention in favour of his son, who handed
It was thanks to the efforts of Mary Cassatt, of
the works over in 1969. It was thus that the Jeu de
Durand-Ruel, and later of Bignou and other dealers, that
Paume came to house the fine Self-Portrait, painted by
the works of the Impressionists came to be shown in the
Cezanne in 872 and now in the Musee d'Orsay (cat. 63).
1

United States; and the provenance of a number of early

Yictor Lyon 86 (1878-1963) presented the major part
works by Cezanne includes the names of some famous
of his collection to the Louvre in 1961, again with a
transatlantic collectors. Man Cassatt's faithful friend
lifetime retention for himself and his son. Since the death
Louisine Waldron-Elder (1855-1929) and her husband
of Edouard Lyon in 1977, and in accordance with the
Henry O. Havemeyer77 (1847-1907) owned two major
donor's wishes, two rooms of the Louvre are set aside for
works of Cezanne's first period: The Rape (cat. 31), once
-
the Helene and Yictor Lyon Donation; this includes the
in Zola's collection, and The Man with the Straw Hat
painting E'Estaque, Evening Effect, which had previously
Gustave Boyer (cat. 7), which entered the
5
Metropolitan
belonged to Maurice Leclanche and then to Eugene Blot.
Museum of Art in New York as part of the important Georges Renand (1 879-1968), who was successively
bequest passed on by the widow after Havemeyer's death.
secretary-general of the Credit Lyonnais and co-director
The collection of Lillie P. Bliss (died 1951), another New
of the Samaritaine store group, was a client of the dealers
Yorker, went to The Museum of Modern Art; it included
a landscape by the young Cezanne." 8 John Quinn acquired
the Portrait of Louis- Auguste Ce\anne, Tother of the Artist
(cat. 4), which had formerly adorned the drawing-room
of the )as de Bouffan; on his death in 1925 it was sold to
Raymond Pitcairn of Brvn Athyn. Two celebrated New
York collections, those of Harry Bakwin and Adolph
Lewisohn, each possessed a Portrait of Uncle Dominique
(see cat. 19)."'' The Van Horn collection in Montreal included
one youthful Provencal landscape by Cezanne (cat.36). 80
Finally, the Russian collections of Sergei
great
Shchukin 81
(1854-1936) and the brothers Ivan (1871-
1921) and Mikhail (1870-1904) Morozov 82 were rich in
works by Cezanne, including early ones: the Black and
White Still life belonged to Shchukin, and two early works
- one of which is The Overture to Tannhduser (cat. 44) -
were in the Morozov collection before being placed in
museums in Moscow and Leningrad. 83

Some Great Twentieth-Century Collectors

The works of Cezanne's
history of the ownership of the
names of five individuals born
early period reveals the
between 1870 and 1890 who became known for a highly
personal style of collecting.
Related on his father's side to a family of notable
collectors, Alphonse Kann (1868-1948), 84 who was of
British nationality although he spent almost all his life in
France, had four early Cezannes 85 in the collection he
assembled in his house at Saint-Germain-en-Laye: the Fig. 41 Max Kaganovitch in bis Parisian apartment.

62
 THE COLLECTORS OE CEZANNE S EARLY WORKS

the hands of Vollard and Rosenberg, and which was in a

<v-m
Charpentier on 23 February 1954: The
sale at the Galerie

*'
Strangled Woman
In 1973, Helene Adhemar, (fig.42). 8 J
'

then Chief Curator of the Museum of Impressionism at

the Jeu de Paume, was particularly anxious to have this
small work for her museum, which had not previously
held any of the dramatic compositions that are so numerous
in Cezanne's early work.
The paintings of the artist's first period have thus
always had a place in the affections of his collectors. Not
always as attractive to look at as those painted at Auvers-
sur ( )ise or in the last years of the artist's life around
Aix-en-Provence, thev show the artist torn between the
art of the past and the artistic uphcav als of the present,
but already conveying his own v ision of the world.

X
iJpF
1
! '
inspiration:
Maurice Denis emphasised this dual nature of Cezanne's

/
v irtuc of an underlying Latin culture and
*B) instinct, by
temperament, he unites in his work the
a classical

chromaticism of the moderns ami the robustness of the

old masters.
The conflict, the drama, the mystery of Cezanne
reside in just this half deliberate, half-spontaneous
combination of a style and a sensibility; utterly
characteristic of his genius, this was his torment and his
greatness. \\ hat others have sought in the imitation of
the artists of the past, he ultimate!) found within
Fig. 42 The Strangled Woman, c.yiio 72. Musee d'Orsay, 1

himself."" 1

(Donation M. ami K. Kaganovitch, 1971 1

I Ik interest of the earlv works lies in the way in which

Vollard, Rosenberg and I lessel; he acquired from the lasl they help us to appreciate all Cezanne's painting tells
that

named (Ik- Pans view, painted l>\ ' ezanne before 1S70 us of the man himself, his profound nature, the complexity
ami first owned by Guillaumin, which shows the Rue of his character. Ills collectors seem to have been able to
des Saules in Montmartre (cat. 29). After Renand's death, discern this unique dimension within these youthful works.

his importanl collection of old masters, Impressionists Picasso made the point with tv p1c.1I sensitivity: 'Cezanne
and moderns remained in Ins apartment until his widow would never have interested me if he had lived and
died. The Rue des Saules, Montmartre was in the recent sale thought like |acques I mile Blanche. . . . What interests

of part of the Georges Renand collect ion on 20 November us is 1 he unease of < iezanne . . . that is to saj the drama ol

1987. 87 the man.""

Max Kaganovitch ( 1 s9 1 k;7S)'ss who was I Ikrainian
Translated from the French In Dai id Britt
In origin, left Russia about 1920 ami sctilcil in Pans for
good a lew years later (fig.41). There this former sculptor
mounted numerous exhibitions, mostly at the Galerie e I

Portique (99, boulevard Raspail), where he started trading

in 19V}. In 1 9 ^ S , lor the first lime, he showed works
\(1| s
from his own personal collection. In 197;, thanks to Max
I

Kaganovitch's generosity, twenty or so works enured

1. ( f~.;wii ( urresftoiuianct
.
1937, pp. 122 , ;.

2. V. 4, j,6, 7, aj, 84, 86; the Batber mitb R • \ 8)) also has as its
the Musee du |cu de Paume, where, in accordance with
firsi entrv under 'provenance' t lie l.is de Bouffan. Sec also Rewald,
this great benefactor's wishes, a room was set aside lor photograph of the drawing-room the [as de Boufian,
1 986, p. 4<>: .u

the Max and Rosy kaganovitch Donation (he had added I

I <)00.

the name of his wife, who died in 1901). Since the Musee j V. i, 2, 3, 8, 9, 13, 15, 16, 18, 21, 26, 27, 29, 30, 51, 32, 35, 51

yS, Y. 28 gives 'P. Cezanne fits' as the second owner, after

d'Orsay opened in December i<)S<>, Max Kaganovitch's
1 11);

Vmbroise \ ollard.
wish has continued to he respected. Vollard, n; 2 .4 p
4. ,

In the room devoted to his collection there is a work s. ( (--iinik . ( orrespondanct, 1937, p|
i j, letters of za and 18
by Cezanne, painted in 1S70 1, which passed through September 19

6<
SYLVIE PATIN

Emile Zola, Mon Salon, Manet, Ecrits sur I'art, with preface bj and Yenturi refer wrongly to No. 94 in the sale, which is a Still
A. Ehrard (Paris, 1970), p. 45; also quoted by )ohn Rewald in Life; for Rouart, see also Distel, in Renoir, 1985-6, p. 30.
Rewald, 1956, pp. 35-6. 3 5 . Ce\anne s Correspondance, 937, p. 157, letter to Chocquet of
1

V. 22, 55, 64, 69, 81, 101, 18. Y. 17 was not in the Zola sale of
1 1 28 January 1879; p. 132, letter to Zola of 28 August 1877, and n. 1,

9-13 March 190*; it was found at Medan later. reference to the article bv Emile Bernard in Le Mercure de France,
Zola 9—13 March 1903, No. 115.
sale, 26 December 1908. See also Pissarro, 1943, p. 339 n. 1: 'After the
Y. 22, Zola sale, 9-1 3 March 1903, No. 7; in Yenturi's entry the 1 1 death of Pere Tanguy was auctioned off. The
[1894], his collection
date of the sale is wrongly given as May. bidding was very low. The paintings by Cezanne fetched between
10. V. s; Zola sale, 9-13 March 1903, No.
s 1. 1 1 4s and 215 francs.' See also Monneret, 1978-80, vol. 2, pp. 291-3,
1 1. V. 64; Zola sale, 9-13 March 1905, No. 112. and Le Petit Larousse, 1979, vol. 2, p. 1790.
12. Zola sale, 9-1 3 March 1903, No. 14. 1 36. V. 12 {Peaches in a Dish).
'3- Zola sale, 9— 13 March 1903, No. 116. 57- Georges Riviere, 'L'Exposition des Impressionnistes',
14. Zola sale, 9— 1 3 March 1903, No. ;; for the Zola sale see Rewald, 1 1 L'Impressionniste, Journal a" Art, 14 April 1877, pp. 2-3.

[937, pp. 161-2, with prices and the Rochefort article. The 38. Gustave Geffroy, 'Paul Cezanne', Le journal, 25 March 1894,
catalogue of the sale itself includes nine works by Cezanne reprinted and expanded in La I « Artistique (3rd series, Paris,
.
V>s 1 10-18): the seven listed by Yenturi with a mention of the 1
894), pp. 249-60 (pp. 249- 5 quoted here). 1

sale, plus Nereids ana' Tritons (sale No. 110) and S till Life (sale 59 Monneret, 1978-80, vol. 1, pp. 130-1, and Le Petit Larousse, 1979,
No. ,18). vol. 1, p. 321, article by P.Th. Madroux-Franca; on Charpentier,

M. Cezanne, Correspondance, 1937, pp. 92- \, and p. 105, letter of see also Distel, in Renoir, 1985-6, pp. 31, 33-4.
24 May 1868. 40. Georges Charpentier sale, April 1907, No. 3. 1 1

16. V.72. 41. Theodore Duret, Histoire des peintres impressionnistes (Paris, 1906),
17- Xavier de Magallon is quoted bv Rewald in Ce\anne, Correspondance, p. 186; see also Monneret, 1978-80, vol. i,p. 182, and Distel,

1937, p. 270 n. 1, and in Rewald, 1986, p. 219. am grateful to I Renoir, 1985-6, p. 33.
Bruno Ely, assistant curator at the Musee Granet, Aix-en-Provence, 42 V. ; 3; Chocquet sale, 1899.
1

for supplying accurate information on the family of Xavier de 45 Monneret, 1978-80, vol. 1, p. 141. See also Ce\anne, Correspondance,
Magallon. 1937, p. 234 n. 2.

iS. Ce\anne, Correspondance, 1937, p. 122, letter of 26 September 1874. 44. V. 57; Eugene Blot sale, 2 June 1933, No. 44. See Hoog, in
19. Jules Borelv, 'Cezanne a Aix', L' Art I 'want, No. 2 (1926), exhibition catalogue Ce\anne dans les musees nationaux (Paris,
pp. 49 - ^, reprinted in Conversations avec Ce\anne, ed. P.M. Doran
1 Orangerie des Tuileries, 1974), No. 20.
(Paris, 1978), p. 21. 45. Monneret, 1978-80, vol. i,p. 323.
20. Pissarro, Letters to bis Son Lucien, ed. J. Rewald (New York, 1943). 46. Monneret, 1978-80, vol. i,p. 78.
21. Rewald, 1936, p. 82, letter of 8 December 1872 (dated 1873, 47. Rewald, 1937, p. 157; reprint of the preface written by Lecomte
presumably by mistake), now in the Musee du Louvre, for the catalogue of the Blot collection (Paris, H. Drouot, 1900,
Departement des Arts graphiques. p. 26).

22. Pissarro, 1943, letter of March 1884. 48 Monneret, 1978-80, vol. 2, pp. 14, and Le Petit Larousse, 1979,
1

2 3- V, 93 (Camille Pissarro sale, 3 December 1928, No. 14). vol. 1, pp. 1403-4, article by Anne Distel. A Portrait of Auguste
24. Y. 115. Pellerin by Matisse is in the Centre national d'Art et de Culture
25- Sophie Monneret, LTmpressionnisme et son epoque, Dictionnaire Georges Pompidou (AM drawing on paper
1982-97P). A crayon
international illustre (Paris, 1978-80), vol. 1, pp. 219-20, and (560 x 375mm) bv Matisse, representing Pellerin, was acquired by
Michel Laclotte, ed., Le Petit Larousse de la peintiire (Paris, Larousse, the Centre Pompidou in 1984 (AM 1984-47D). The first version
1979), vol. 1, p. 674, article by Marie-Therese de Forges; Van of Matisse's Portrait of Auguste Pellerin ( 00 x 7 5 cm, Private 1

Gogh, Portrait of Dr Cachet, 1890 (Paris, Musee d'Orsav, Collection) was in the centenary exhibition Henri Matisse, Paris,
RF 1954-15). Grand Palais, 1970, No. 131.
26. Musee d'Orsav, RF 1954-6), 67 (Paris, Musee
V. 6;; V. 66 (Paris, 49 Yenturi, vol. 1, index of places, pp. 397 (Lecomte Collection), 398
d'Orsav, RF
1954-7); the two last-named still lifes are listed bv (J.-V. Pellerin Collection).
Yenturi among the works of Cezanne's first period (which is why 50. Emile Bernard, 'La Technique de Paul Cezanne', L' Amour de
thev are mentioned here), but thev are generally considered to date /'.1/7 (December 1920), p. 278 n. 1, on Cezanne's artistic career:

from 872-3. 1 'The Pelerin [sic] collection currently gives a comprehensive notion
Monneret, 1978-80, vol. 2, pp. 96-8; Petit Larousse, vol. 2, of it. There it is possible to follow all the phases of a tireless quest.'
p. 1 2s 1, article by Anne Distel. See also Pissarro, 1943, letter of Fry, 1927, 'Preface to First Edition': 'M. Pellerin's collection is so
1 3 October 1 887; Anne Distel, 'Les Amateurs de Renoir', exhibition much the most representative of all the various phases of Cezanne's
catalogue Renoir (London, Paris and Boston 1 98 5 -6), p. 34. art in existence, that a study of it is essential to understanding his

28. Cezanne, Correspondance, 1937, p. 220, letter of 6 )ulv 1895. development. . .

.'

2 9- V. 100 (The Xegro Scipion) and 102 {Portrait oj<a Man). 51 These were Still Life with Soup Tureen, c. 1 877, Y. 494, Still Life with
5°- Daniel \\ ildenstein, Claude Monet, biographic et catalogue raisonne Basket, c. 1888-90, V. 5 94 and Still Life 11 ith Onions, f.189;, V. 730
(Lausanne and Paris, 1979), vol. 3, p. 278, letter 1256 of (Paris, Musee d'Orsav, RF 2818, RF 28igand RF 2S1-,
23 November 1894. respectively). See Georges Pascal, 'Les Cezannes de la collection
V. 115; Octave Mirbeau 24 February 1919, No. 3. On the
sale, Pellerin', Beaux- Arts (20 November 1929), p. and Georges Rev,
5,

links between Cezanne and Mirbeau, see Ce\anne, Correspondance, 'Trois tableaux de Cezanne', Bulletin des musees de Prance (December

1937, pp. 270-1, where Rewald recalls that Mirbeau had tried, 1929), No. 12, pp. 272-5.
unsuccessfully, to get the Legion d'Honneur for Cezanne. 52 To mark the fiftieth anniversary of Cezanne's death, in 1956,

J2. Pissarro, 194;, letters of 21 November and 4 December 1895. M and Mme [ean- Victor Pellerin generously agreed to donate to
53- V. 1 24; Degas sale, Galerie Georges Petit, 26-7 March 1918, the Musee du Louvre the famous figure painting Woman with a
No. 9. Coffee Pot {c. 1890-5; Paris, Musee d'Orsav, RF 1956-13; see
$4- V. mi; Henri Rouart sale, Paris, Galerie Manzi- (oyant, Germain Bazin, 'La Ventme a la cafetiere de Cezanne entre au
911 December 191 2, No. 95 (Nude .Study). Riviere (1923, p. 250) Louvre', Arts, 26 December 1956-1 January 1957). In 1964,

64
 THE COLLECTORS OE CEZANNE S EARLY WORK-,

thanks to a donor who has chosen to remain anonymous, another 69. V. 23, 47, 50, 60, 70, 83, 106, 120; see Monneret, 1 yS 8o, vol. 1,

painting from Pcllcrin's collection fount! its way to the Louvre. pp. 73-4, and Le Petit Larousse, 1979, vol. i,pp. 1 ">o; also Renoir,
This was the amazing Portrait of Aclullr Emperaire, rejected at the 1985 6,p.4 5 .

1870 Salon (Paris, M

usee d'Orsay, RF 1964 3X). Then, in 1969, an 70. Cezanne, Correspondance, 1937, p. 266, letter of 1 1 October 1904.
anonymous donation subject to a life interest added two more 71. Y. 4, 3, 6, 7, 45, 73, 83, 84, 86, 118, 20 and probably 23; see also
1

magnificent paintings which had belonged 10 Auguste I'ellcrin, Monneret, 1978 80, vol. i,pp. 277-8.

and which will one day hang in the Musee d'( )rsay: Mont Saint 72. V. 14, 85, 87. I am grateful to Bruno Ely for having elucidated for

Vktoire (1 1
890, RT [969 50) and he I Portrait 0] C, us/are ( ,rffroy me the exact relationships betw cen the Granel and Corsy families.
(1895, Rl ;
1969 29;; see the exhibition catalogue Cezanne dans lei 75. V. 12,96.
musks nationaux, 1974, Nos. 37 and 45, articles bj Michel I loog. 74. Monneret, 1978 80, vol. 1, p. 203, and Lt Petit Larousse, 1979,

Finally, in 1982, twelve more of Pcllcrin's Ce/anncs reached the vol. 1, p. 365.

Musee d'Orsay collection after being left to the State in lieu of 75- Cezanne, Correspondance, 1957, pp. 257- 8, letter ot 3 1 May 1 899 and
death duties (RF 1982 ;8toRF 19X2 49); see Sylvie Gache-Patin, letterfrom Egisto Fabbri of 28 Mav 1899; see also p. 306,
'Douze ceuvres de Cezanne de I'ancienne collection Pellerin', La bibliographical reference to A. Ocrmain, In memoriam I.. P. Vabbri,
Revue tin Louvre sides Musies de France (April 19X4J, No. 2, Florence 1934. Fabbri owned The Stove in the Studio (X 64), and .

pp. 128 46, Someol licse works have been placed on loan at the
1 three other early paintings, Y. 39, 4c, 94.
Musee Oranct in the painter's birthplace, Aix en Provence. 76. V. 108, 110, 121; see Monneret, [978-80, vol. 1, p. 114. and Is
53. Among these are the Portrait ofCi^anne' 1 Fatbei Reading Petit Larousse, 1979, vol. 1, pp. 291-5.
'UExinemenf (Washington, National Gallerj ! Vrt), Mme (,e\anne Monneret, >9~x Bo, vol. 1, pp. 268 9, and Is Petit Isirousse, 1979,

in a Yellow Armchair (New York, The Metropolitan Museum of vol. pp. 799 Boo, article bj (>. Harnaud.
1,

Art), The I <"!'<' Ha/hers (Philadelphia, Museum of \rlj and Mathers 78. Y. 52; subseejuentlv de-accessioned (see cat. 61).
(London, National Gallery). 79- V. 77-
V. 1 1, 18, ; 1, 54, 5 5, 56, 58, 62, 64, 74, 75, 79, 8 J, 82, 84, 88, 91, 80. Y. 5 3; see Renoir, 19X5 6, p. 37.

92, 95, 96, 99, 104, 105, 106, 107, ill, 114, 116, 1 1 X, 1 26, 127, I 30. X 1 Monneret, [978 Xo, vol. 2, p. 278, and Is Petit larousse, [979,

V. 74,75,79. Hl -
vol. I, p. 340, article by G. Karnaud.
v.55,51. »*. Monneret, 19-X Xo, vol. 2, pp. 92 3. and Is Petit larousse, 1979,

V. 1
1, 5 I, 54, 62, 74, 75, 79, 82, 9 1, 92, 95, 99, 105, 107, 114, 116. vol. 2, p.1236, article b] G. Harnaud.
Vollard, 1924, p. 89; this episode is retold in the same author's X3. The other painting V. 24 is in the Pushkin Museum of Western
En utmtant C.e\annr. Degas, Renoit (Paris, Grasset, 1938)^.44 Art, Moscow.
(Cezanne, pp. 7 95). x »
Is Petit larousse, 1979, vol. 1, p. 954.

59 Pissarro, 1943, letter of 2 1 January 1894; see also Monneret, X5. Y. x*, B6, 103. 1 12.

197X 80, vol. 3, pp. j 6 9, and L* Petit Larousse, 1979, vol. 2, 86. Isabelle Compin ami \nne Distel. 'Acquisitions: la donation

pp. 1950 i, article by Anne Distel llelene et Victor l.\on', I m Rnne du I Mia re et des Musees de trance.
( i\,iiwi\ ( orrespondanee, 1937, pp. 246 7, letters toCamoin ol 1978, Nos. s and 6, pp. 3X0 406 and particularly *<r
February and > March 1902. 87. igue ol ( reorges Renand sale. Pans, Drouot Montaigne,
3 1

61 1 i\ .mm', < orrespondanee, 1937, p. 2^2, letter to Vollard ol 9 [anuarj 2oNovembei 1987, No. 4, colour reproduction.
1903. xx. See Raymond Cogniat, M Max Kagano\ itch: "La peinturec|ue
62 Duret, 1906, p. 190. I
'u h In ic .1 Paris'", ( onnai stance des . irts, \.> :n September
V. 4, 5, 6, 7, 10, 17, 19, 24, 2X, i7 K 4^1 IV. 73. x 9. IOI '969)1 PP. 14 s '• ( < Monsieur Kaganov itch qui nous donne une
63. \ 3, Ki ' * . >

109, 112,113,1 22, 123, 132. fortune', Parti Match (1971 .

I •
Mmn£ i \pnl iy8).
64. V. 109. X9. \ . 1 ; ;; sale .11 i .alcric ( h.irpentier, 2 ; 1 cbruarv 19V4. No. 54

63. V. 20, 39, 40, 64, 69, 73, 117, 1 22, 123, 124; set ali •' 1 1 1 Petit MaitK Buff laud's research suggests thai Mix Kaganov itch

Laronstr, 1979, vol. 2, p. 161 3, article h\ \. Anghx lei de I ..1 acquired the work .n this sale through the intermediary of another
Baumelle. galli 1

V. 122. 90. Maurice Denis, 'L'influence de Cezanne*, L' \mour de I' Art
V. 123. (December 1920), p. 2X;.
(,X V. 10, 89, 10 1 j see also / ., Petit I xtrousse, 1979, vol. 1, p. 177, 91. mscripiion bj ( hrisii.tn /.crv os of an inier\ie\v with Picasso
I 1

article by Anne Distel. 'Conversation a vec Picasso', CedthrseFArt, \ 193] ,p

6 5
The Catalogue
 Cezanne was painting. Winter is inscribed 'Ingres 1811'.
1 The Four Seasons This is an echo of the inscription bv Ingres himself on his
(LesO/tafres Saisons) Jupiter and Thetis, the largest and most famous picture in
the Aix Museum, which Ingres signed and dated from
Cezanne's father, Louis-Augusre, bought the country Rome in that year. Cezanne never cared for Ingres and a
mansion of the Jas de Bouffan a short distance to the west highly Romantic youthful commitment developing under
of Aix in 1859 and was at first in no hurry to redecorate the dominance of an antipathetic masterpiece was cause
the grand salon of the house. His son, however, had enough for his antagonism. It may even be that Cezanne's
plans for it almost from the first. On 13 June i860 his mocking inscription was intended in 1861 specifically to
schoolfellow, Emile Zola, who had moved
to Paris, wrote pillory the half-centenary of Ingres.
to tell Cezanne walk
that during a country he had come Several of Cezanne's subsequent pictures in the 1860s
on a cafe in the village of Yitry decorated with large and contributed to the continuing decoration of the salon
striking panels 'such as you want to do at home'. On 21 at the Jas de Bouffan, early among them perhaps his
September of the same year another of Zola's circular first which was added between
portrait of his father
letters to his old friends in Aix mentioned that during a the Seasons, where it centralised their symmetry (cat. 4).
coming holiday in Aix he had much to see, including On the long left wall of the room there was a decoration
'Paul's panels and Bailie's moustache'. It would seem that showing the back of a male bather in a landscape (fig. 3),
after six months there was at least enough painting by which was coarsely adapted from the Baigneuse by Courbet
Paul to take note of in the salon but that it was no more that Napoleon III had struck at with his whip in 1853.
seriouslv regarded than a new moustache. It seems likely The figure that Cezanne inserted in his decoration was
that bv September 1862 when Paul, with his father's later cut out and removed. It now hangs in the Chrysler
agreement, went to studv in Paris, the chief decorations Museum at Norfolk, Virginia. If this or another such
in the salon were at least sufficiently impressive to weigh borrowing from Courbet was painted as early as i860 it
against parental opposition. may have accounted for Cezanne's claim to realism in a
The one end of the salon but
Seasons rilled an alcove at letter now lost and his boast that he painted only subjects

the calendar order of the arrangement was disturbed by the that were devoid of poetry, which Zola answered on
fact that in the series from left to right Winter, the fourth 25 March i860. No other surviving picture fills the bill.

subject, preceded Autumn, the third. This evidently reflected Zola, however, took Cezanne's claim to imply (according
two successive phases in the work of painting. It would to the popular meaning of 'realism') that he chose for
seem that the scheme, which was painted on the wall and preference to paint sordid subjects and warnedhim astutely
could not be rearranged, began by way of experiment that the choice to paint adung heap reflected associations
with the paintings of Summer and Winter to left and right that were in their own way no less aesthetic than the
of the alcove. This experiment must have been regarded choice to paint a flower. Neither a dung hill nor a flower
as successful, as it was soon extended bv the addition of is in evidence among Cezanne's early pictures.
Spring and Autumn on the adjoining walls to left and On the right, opposite the bather, a diffuse and detailed
right. To judge bv the first reference in Zola's letter to sunset view over a flooded river towards distant towers
Paul's wishes, this intention was already formed by the and spires was later discovered under wallpaper and was
June which Cezanne was twenty-one. By the time he
in for a time known as Landscape with a Fisherman (fig. 2),
went to studv in Paris at twenty-three, he had probably until was removed, dismembered, and sold in numerous
it

painted - on the other walls of the salon and elsewhere — fragments. A copy of Lancret, possibly suggested by
pictures comparatively so self-reliant as to make the Seasons Zola's description of the village fetes in the cafe at Vitry,
seem naive. \\"e may therefore suppose that these juvenilia, was also originally in the salon. A subject now entitled
as enterprising though not as assured as any painter of Contrasts (cat. 42), the heads of a young woman and an
the time has left us, were carried out in the later months old man, is included in the present exhibition. The later
of i860, possibly through 1861. additions to the decoration of the salon were in character
There are ironical inscriptions on these pictures, which miscellaneous; those that figure here are discussed in cat.
yield surprising information about the mood in which 4 and cat. 42.

70

;
a) Summer c) Spring
(Ete) ( Prin tewps)

c. i860 62 c. i860 62
314x109cm 124x43m 3 14 x i.p cm 1 24 x 38 in

Inscribed lower right: incres Inscribed lower right: i\(.ki S

V.5 V. 4
Musee de la Ville de Paris, Petit Palais Musee cle la Ville de Paris, Petit Palais

PROVEN \\(,i. Jas de Bouffan, Aix-cn-Provcncc; l.ouis Grand, provenani 1 |asde Bouffan, Aix-en-Provence; Louis Grand,
Aix en Provence; Jos. Hessel, Paris; Ambroise Vollard, Paris. \i\ en Provence; Jos. Hessel. Paris; Ambroise Vollard, I'aris.

1 Minn 1 10s Paris, P< in Palais, 19) 3, ' >" Stick i \ri Francois, no. 441, pi. 37, 1 \111111110s Paris, Petit Palais, 19s ;. ( ne Steele d" Art I runfais, no. 440. pi 37.

Turin, Galleria Civics el' Arte Moderna, 1971, II Cavallero \z/uro, n.n.
BIBLIOGRAPHY Mack, [9)6, fig. 1 2; Mack, Paris, [938, ill. opp. p. 129;

I )< 11 1 il, 194s, pi. 2; Ikegami, Tokyo, 1

9r 9 >
, lig. 2; V Ponente, Paul BIBLIOGRAPHY A. Per.ne, 'Le Salon d'Automne', (,a~elledes BtOMX-
Cframe, Bologna, 1980, p. 14, ill.; D. Coutagne, Chiatme au Mush d tinm und llodltr (fourth edition), Munich, 1

Aix-en-Provence, 1984, p. 175, ill. pis. iX^anil 188; ( iTiinm und Wndler (fifth edition;, Munich, 192;, pi. ll

Vollard, 191 s, p. i8;Coquiot, 1919, p. 41; (jase]uet, 192 1, ill. upp. p. 44;

K. Zeisho, Paul 1 Tokyo, 1921, fig. 36; Riviere, 192;. p. 196, listed,
b) Winter ill. p. x. R. Fry, Samlertti, 1929, p. ioo, ill.; Ors, 1930, pi. 23; Riviere, 1933,

p. 3, ill.;< >rs, 1936, pi ;X. Mack, 1936, pp. 14] -, pi. 2; K.i\n.il. 1936, pK. II
( I liver) 1

and III; Re u . 1 lil, 1936, fig. 13; Novotny, 1937, p. 20; di San Lazzaro,

c. i860 62 fig. ;H; Mack, Paris. 194s, ill. opp. p. 1 29; Ri Mere. 1942, p. | , ill.; Dorival,

3 14 x 104 cm 1 24 x 41 in 1948.pl. 1. \\ . Sargent, './/<. 23 Feb. 1932, p. 78, ill.; D.< ooper, ' \u jas ile

Inscribed and dated lower left: INGRES rill Bouffan', Q/V, i] Feb. 1935, p. 16; 1 I lies, /),,

if, liihrhwidtrh, Zurich, 1938; Ikegami, Tokyo, 1969, fig. 1;

V.7
Musee de hi Ville de Paris, Petit Palais
iiro, 1973, p. 34, ill.; Elgar, 1973, fig 4. V Ponente, Pan
Bologna, 198 .
p 10, ill.; I) '

Provence, 1984, p. 173, ill.; B. Bernard, I In Imprn .mum. London,

PROVENANCE | as elc Bouffan, \ls i n PrOVCnCCJ I .mils Gl
1 9«'>. p. 1 1 2. ill.

Aix-en-Provence; |os. Hessel, Paris; Vmbroisi Vollard, Paris.

\ in i\ Paris, IV in Palais, 1953, " Francais, no, in, pi. 37.

1 1 11 1 ii ' !

ti) Autumn
linn [ography F. Burger, ( (%annt und I lodlt r (fifth edition), Munich, 1923,
pi. hk; V Zeisho, Paul < < ,./««<, Tokyo, 192 1, fig. 14; Riviere, 1933, p. ;,
\ nt mm-
ill.; Mack, 1936, fig. 12; Mack, Paris, 1938, ill opp nut, 1939,
pi. 1
Ulnar, Paris,
; 1
9 32, p. 5, ill.; Oorival, t948.pl. y, Schapiro, 19^1,
Ikegami, rokyo, 1969, fig Venturi, 1978, \ Ponente,
3 14 x 104 cm 124 x 4] 111
p. S5.U1-; ,; ill. p. 1.

Paul f;,inin Bologna, 1980, D. outagne, Ci^amte an M Inscribed lov er right: im.ki s
( ,
p. 15, ill.; <

t/' 1/ , \i -
• 11 I'n n i in e, 1984, p. 1
75, ill. V.6
Musee de l.i Ville ile Paris, Peril I'.ll.u

i'ko\ 1 s vsi 1 |as iK Bouffan, \i\ m Provence; Louis Grand,

Vix-en Provence; l"s I lissd. Pans. Vmbroisc Vollard, Paris

exhibition Paris, Petit Palais, 19$ 3, :\z.

pi. 37.

nun ioi.k M'in Mack. \c\v 1 mk. 1936, fig. 1 2; Mack, 1938.il!. upp
Dorival, 1948, pi 3; Ikegami, Tokyo, 1 >)<><). tie 4. I Igar, 1973, fig. ;.

\ Ponente, Pa*/i s, ill.; D.I outagne, I

auMusied \i\. Vix-en- Provence, 1984, p. 173, ill.

-1
2 Self-Portrait
(Portrait de /'artiste)

C. I 861 -2

44 x ;- cm 1-$ x 14! in
V.18
Private Collection

A photograph of Cezanne said to have heen taken in 1861

when he was twenty-two was the source of the first selr-
portrait of which we know. The intensity of gaze and the
dour, gre\ modelling, flecked with accents of blood-red
at emotionally crucial points, lead one to suspect a critical

moment in the young man's fortunes, perhaps a crisis in

the plans of the artist-to-be or the emergence of a private
determination in the face of his father's opposition. He
never, that we know of, painted in such a manner or
under such pressure again.

PROVENANCE Paul Cezanne his. Pans; Augustc Pcllerm, Pans; Rene

Lecomtc. Paris.

inhibitions Lyon. Palais Saint-Pierre, 1959, no. 1, pi. 1; Paris. Bibliotheque

Nationale, 19s 2, Emile Zola, no. 59; Pans, ( trangerie, 1954, no. 1.

bibliography H. von \\ eddcrkop, 'Paul Cezanne', Cicerone, 16 Aug. 1922,

p. 683. ill.; H. von Wcddcrkop, Paul Ce\annt Leipzig, 1922, . pi. 1; Riviere,

192;, p. 196. listed; Rewald, 1936, fig. 4; Rcwald, 1939, fig. io;G.Bazin,
UEpoque impressionniste. Paris, 1 94^, pi. i8;Dorival, 1948, pi. i;K.
Leonhard, Paul Ce\anne in Selbsl^eugnissen una" bilddokumenten, Rheinbek bei

Hamburg, 1966, p. -8, ill.; P. Pool, Impressionism, New York, 196-1, pi. 7;

Schapiro, 1973, p. *6, ill.; F.lgar, 19-s, pi. 6.

72
3 Lot and his Daughters
(Lot et sesfilles)

ci86i
2;. 6 x 28.^ cm 94 x 1 1
£ in

non-V.
Private Collection

The unbridled fancy of Cezanne's letters at nineteen

and the erotic poems that often accompanied them, as
well as the fertility of the scribble in his earliest sketch-
books, have previously seemed to leave surprisingly little
mark on the circumspect restraint of his first paintings.
Some of these were derived from conventional pictures
loved bv his sisters, for whom Paul's versions are said to
have been made. Pictures like his copy of Frillie's Keve dn
poete (1857, V.11; Musee Granet, Aix-en-Provence) were
in fact very unlike Paul's own dreams as he confessed them

to his friends. But recently this picture has come to light

and it is quite different from the polite subjects for family
consumption, although it is evidently bv the same hand.
The roundness with which the figures of Lot's daughters
separate themselves from the Venetian shadow around
them suggests a more developed capacity than most of
Cezanne's pictures from before 1 865, but a similar painterly
direction. His illustration of the subject, though quite
small, is far more gross than the versions of it that he saw-
in the Louvre.
The newly revealed picture descends from a former
resident of Aix, who came by original material in the city.
In present conditions the fantasy seems less disgraceful
than formerly and more significant. In i860 it would
have been on the edge of pornography and was in spirit
perhaps not far removed from it.

PROVENANCE Private Collection, Aix-en-Provence.

74
 P\V

4 Portrait of Louis- Auguste provenance lasde Bouffan, Aix-en-Provence; Louis Grand, Aix-en-
Provence; |os. Hessel, Paris; Georges Bernheim, Paris; John Quinn, New
York; Raymond Pitcairn, Brvn Athyn, Pa (on extended loan to the
Cezanne, Father of the Artist Philadelphia Museum of Art); Sale, Parke-Bernet, New York, 26 Oct.,
1967, no. 51, ill., bought-in.
(Portrait de Louis- Auguste Cezanne,
EXHIBITIONS New York, Art Center, 1926, Memorial Exhibition - John Quinn
pere de P artiste)
Collection, no. 37, ill.; Philadelphia, Pennsylvania Museum of Art, 1934,

<-.i862
no. 1, ill.; San Francisco, San Francisco Museum of Art, 1937, no. 1;

On thin plaster on canvas; 168 x 1 14 cm 66 x 45 in

Chicago, Art Institute, 19^2, No. 1, ill. — New York, Metropolitan
Museum, 19s2.no. 1, ill.; New York, Wildenstein Galleries, 1959.no. 1, ill.;
V.25
The Trustees of the National Gallery
Vienna, Belvedere, 1961, no. — Aix-en-Provence, Pavilion de Vendome,
1

1961, no. 1; Liege, Musee Saint-Georges, 1982, no. — Aix-en-Provence, 1

Musee Granet, 1982, no. i.

The portrait of the formidable master of the house was
placed between Summer and Winter in the alcove of the bibliography Meier-Graefe, Munich, 1910, p. 1 3, ill.; Vollard, 1914, p. ; 1;

Gasquet, 1921, opp. p. 10; Meier-Graefe, 1922, ill. p. 89; Meier-Graefe,

salon in the |as de Bouffan, one can only suppose to his
ill.

Munich, 1925, p. 13, ill.; T. Klingsor, Ce\anne, Paris, 1923, p. 13; Riviere,
gratification. The portrait had no relation to the style of
1923, p. 203, listed; The John Quinn Collection of Paintings, Watercolours,
the Seasons (cat. 1) beside it. The Seasons raise the at present
Drawings, and Sculpture, New York, 1926, p. 7, ill. p. 37; Gasquet, 1926, ill.;

unanswerable question of how much, and how, Cezanne Pfister, 1927, fig. 14 (dated 1863); Ors, 1930, p. 29, ill.; Mack, 1936, fig. 12;

knew about Renaissance painting at twenty-one; the portrait Ravnal, 1956, pi. II; Rewald, 1936, fig. 13; Mack, Paris, 1938, ill. opp.

of Louis- Auguste inspires admiration for the originality and p. 129; R. Goldwater, 'Cezanne in America', Art Nans, 26 March, 1938,

the force of the painter's adaptation of the realism of his p. 1 39, ill.; E. lewell, Paul Ce\anne, New York, 1944, p. 48, ill.; G. Schildt,

Ce\anne, Stockholm, 1946, fig. 2; Dorival, 1948, pi. 4; Schapiro, 1952, p. zs,
own time. The red tiled floor may remind one of the colour
ill.; D. Cooper, 'Au Jas de Bouffan', Ceil, 15 Feb., 1955, pp. 26-7;
on which Titian painted Charles V (in a portrait which 'Chronique des Arts', Gazette des Beaux-Arts, Feb. 1969, p. 98, fig. 402;
Cezanne could not have known) but the bulging vigour M. Davies, and C. Gould, National Gallery Catalogues, French School, Early
of the formulation has no similarity to any existing style 19th Century. Impressionists, Post-Impressionists, London, 1970, pp. 24-6,
except the rotund modelling current among the Espagnolist no. 6385; J. Rewald, "Cezanne and His Father', Studies in the History of Art,

painters working in the wake of Courbet. It is significant 1971, pp. 45 ff., fig. i;Yenturi, 1978, ill. p. 10; J. Zilczer, 'The Xohle Buyer':

formulation John Quinn, Patron of the Avant-Garde, Washington, D.C., 1978, Appendix I,
that in one of Cezanne's earliest pictures his
p. 153; T. Reff, 'Cezanne: The Severed Head and the Skull', Arts, Oct. 1983,
of solidity should already have been an essentially original,
p. 88, fig. 5; J. Rewald, Studies in Impressionism, London, 1985, pp. 76, 78,
invented one. Bernard, The Impressionist Revolution, London, 1986,
fig. 38; B. p. 235, ill.

76
5 'The Barque of Dante', copies very rarely followed an original as closely as this.

Indeed, the only copies that he ever painted as faithfully

after Delacroix as this, a watercolour version of Medea (RWC. 14s), an oil
of the Bouquet which Yollard gave him in 1900 (V.754), a
CLa ftarqtte de Dante', tfapres Delacroix) picture of Hamlet and Horatio (non-Y.) and this, were all
after originals bv Delacroix.
f.1864
22.5 x ; ^ cm Ss x 1 ^ in
ruin 1 N INC1 Joachim Gasquet, Ux-en-Provence; Xavicr de Magallon,
V.125
\i\-cn-Provence (friend of Gasquet's); Alfred Gold, Berlin; Eugene Blot,
Private Collection, Cambridge, Mass. Pans; Sale, Blot Collection, Hotel Drouot, Paris, 25 April, 1937, no. j 2.

pi. Ill; Storran Gallery, London; Kenneth Clark; Ladv Clark, London;
Between 1822, when it was purchased by the state and I ..Y. Thaw, New York.
hung in the Luxembourg, and 1874, when it passed to
exhibitions London, Storran Gallery, 1959, Paraphrases, n.n.; Edinburgh,
the Louvre, Delacroix's early masterpiece was copied by
Renal Scottish Academy, 19s4.no. 1 London, Tate Gallery, 19s4.no. 1;
numerous painters, including Manet in 8 S4. Cezanne 1
London, Tate Gallery, 1959, The Romantic Movement, no. s 1.

obtained a pass to copy in the Louvre on 20 November

bibliography Gasquet, 1921, ill. opp. p. 96; Meier-Gracfe, 1922,
186; and in February 1864 he wrote to his friend Numa
ill. p. 9};

Riviere, 1923, p. 198, listed; lavorskaia, 193;, pi. 5; Barnes and de Mazia,
Coste that he 'had not touched his after Delacroix for . . .

1939,110. 29 (listed); E. Loran, 'The Formal Sources of Delacroix's "Barque

more than two months.' I nfortunatclv, the missing word de Dante" ', The Burlington Magazine, 1 948, p. 231, note 1 2; \V. \nder>cn,
is illegible, but the animation of the brush here as well as 'Cezanne Self-Portrait Drawing Re-identified', The Burlington Magazine, June
the strength of colour seem not unlike pictures that may 1 964, p. 28 s, note 4; S. Lichtenstein, 'Cezanne and Delacroix", The Art
have been painted before 866. If Cezanne's work disabuses
1
Bulletin, March 1964, p. s s, note s; S. Lichtenstein, 'Cezanne's copies and
variants after Delacroix', Apollo, Feb. 197s, fig. 1; L. |ohnson, Eugene
us of the former idea that his painting was ever in these
Delacroix - -1 Critical Catalogue 1816-1831, Oxford, 1981, no. 100, pp. 73-4.
\ ears incompetent in the usual sense, 864 may be regarded
1

as a possible date for the execution of this copy. Cezanne's

6 Head of an old Man The dense, curving brush strokes in the part of the
Head of an old Man that was finished have no resemblance
( Tete de vieillard) to the palette-knife handling which was habitual in 1866,

r.1865
but they are somewhat like the solid, curving handling

5 1 x 48 cm 20 x i8g in adopted dated still life in 1865 (cat. 7) and in the dated
in a

V.17 Rape (cat. 31) in 1867. This is an example of the handling

Musee d'Orsay, Paris which was habitual both before and after the massive
virility which replaced it in 1866. It is hardlv possible to
It has been suggested that this might be a portrait of Pere be sure if the head of the old man was painted on the way
Rouvel, the father of Cezanne's hostess at Bennccourt into the palette-knife style or out of it; it might have been
(see cat. 17), whom he painted during the summer of executed at any point at the beginning or the end of a
1866. This is, however, a smaller picture which could period extending from 1865 to 1867. The curving brush
hardlv have been painted in the open air without showing strokes were the handling most natural to Cezanne through-
more signs of the freshness of natural light. Moreover, out the 1860s, except during the inspired interruption of
this was certainly painted in Cezanne's habitual studio, the slab-like style of 866. 1

where abandoned canvases were to hand, as for this

portrait,where he used the canvas of an unfinished picture. PROVENANCE Ambroise Yollard, Paris; Museedu Louvre, Paris.

This represented a procession of penitents which can still inhibitions Paris, Galerie Yollard, 1899, no. 30; Paris, Petit Palais, 1904,
be seen in the bottom right-hand corner of the painting. Salon
d
' Automne, no. 4; Paris, Orangerie, 1936, no. 5; Lyon, Palais Saint-
Cezanne was evidently interested in the pious processions Pierre, 1959, no. 5; London, V ildcnstcin Galleries, 1939, no. 5; Paris,

that were a feature of Aix life, as Zola asked to be 'told a Indepcndants, 1939, no. 23; Paris, Orangerie, 195 5, Baroque provencal, no. 1;

bit about the processions' on 13 June i860; the skulls Paris, Orangerie, 1954, no. 9; Paris, Orangerie, 1974, no. 2.

which featured in these cults became a lasting part of bibliography G. Lecomte, 'Paul Cezanne', Revue de I' Art, Dec. 1899,
Cezanne's later subject matter (see cat. 12, 45). The pro- p. 84, ill.; Yollard, 1914, pi. 44; E. Faure, P. Cezanne, Paris, 1926, pi. 2;

cession of flagellants that was not quite deleted from the E. Faure, Ce\anne, Paris, 1936, pi. 16; R. Huyghe, Ce\anne, Paris, 1936,

portrait of the old man was not entirely incongruous. It

pi. 18; Ravnal, 1936, pi. LXY; Cezanne, Correspondance, 1957, p. 96, note 2;

Cogniat, 1939, pi. 3; L. Guerrv, Ce\anne el I' expression de fespaee, Paris, 1950,
possiblv accounts for something wryly sardonic in the
p. 28; H. Adhemar, Catalogue des Peinlures, Pastels, Sculptures lmpressionnistes
characterisation. Cezanne's drawings of the time show
du Muse'edu Lourre, Paris, 1958, p. 16, no. 30; G. Bazin, L'lmpressionnisme au
that he was from unaware of the attractions of the
far Lourre, Paris, 1958, p. 274; C. Sterling, and H. Adhemar, La Peinlure au
violence that he fantasised continually. For him there is Museedu Louvre, Paris, 1958, fig. 247; R. Walter, 'Cezannea Bennecourten
an almost aggressive energy in rhythm itself. 1866', Gazette des Beaux- Arts, Feb. 1962; Elgar, 1975, fig. 1 18.

80
 7 Still life: Bread and Eggs
(Kat arc ///arte: pain et atifs)

i 86s
u; x 76 cm 2; 4 x 29 s in

Signed and dated lower left in red-brown: P. Ce\an»e iS6j

V.J9
Cincinnati Art Museum, Cincinnati, Ohio

Courbet was always important to Cezanne and his few

references to him were admiring. The style which he
took up in this picture was nearest to the realism of
painters like Ribot and Bonvin, who were touched by
Courbct's influence, as well as the still life tradition of
Spain. There is no sign of Manet, whose studio Cezanne
had lately visited, except in the relative clarity of colour.
The picture was signed and dated, probably with a view
to submission to the Salon with the portrait of Valabregue
(cat. 16) in 1866.

provenanC] Ambroisc Vollard, Paris and Bernheim-jeune, Paris;

Ambroise Vollard, Paris; Paul Cassirer, Berlin; (?) \\ . Levinstein; Paul

irer, Berlin; Hugo Cassirer, Berlin; Mmc Cassircr-Furstenberg, Berlin
(on deposit tor several years at the Gemeente Museum, The Hague);
J.K. Thannhauser, New York.

EXHIBITIONS Prague, Pavilion Manes, 1907, Tableaux Modernes, n.n; Berlin,

Paul Cassirer, 1909 (Group exhibition), no. 19; Berlin, Paul Cassirer, 1921,
no. 4; Berlin, Paul Cassirer, 192s, Imprtssionisten, no. 1; Buenos Aires,
Musco Nacional de Bellas Artes, 1939, Pa Pint lira Prancesa de David a
neuslros dias, no. \; New York, \\ ildenstein Galleries, 1959, no. 2, ill.;

Bordeaux, Musec des Beaux-Arts, 1966, Pa Peinture francaise - Collections

americaines, no. j j, pi. 59; Washington D.C., Phillips Collection, 1971,

no. 1 Chicago, Art Institute, 1971,00. 1 Boston, Museum of Fine
Arts, 1
9T1, no. 1.

BIBLIOGRAPHY T. Duret, 'Paul Cezanne', Kunst und Kunstler, 1907, p. 93, ill.;

Vollard, 1914, pp. 19, 23; Meier-Graefc, 1918, ill. p. 88; Meier-Graefe,
1920, ill. p. 88; A. Zeisho, Paul Ce-anne. Tokyo, 1921, fig. 22; Meier-Graefe,

1922, ill. p. St; Riviere, 1923, p. 197, listed; E. Bernard, Sur Paul Cezanne,
Paris. 192s, p. 60, ill.; Iavorskaia, 193s. pi. 7; R. Rilke, Brie/e iiber Ce\anne,
Wiesbaden, 19^2 (letter to Clara Rilke, Prague, 4 Nov., 1907); P. Adams,
Cincinnati Art Museum Bulletin, March 1956, pp. 17-18, ill. (vol. IV, no. 2);

I . Elles, Das Stilleben in dcr fran~bsiscben Malerei des if/. Ja/jr/junderls, Zurich,
19s 8, p. 99; M. Schapiro, 'The \pplcs of Cezanne: An F.ssay on the Meaning
of Still-Life', Art News Annual, 1968, p. 40; A. d'Harnoncourt, 'The
Necessary Cezanne', Tbe Art Gallery, April 19^1, p. jj, ill.'; V. Bettcndorf,
'Cezanne's Early Realism: "Still Life with Bread and Eggs" re-examined',
. Irts Ma«a~we, 19 Jan., 1982, pp. 1 38-41, fig. 2; Rewald, 1986, p. 80, ill.

82
8 Landscape
(Pqysage)

f.1865
26.7x3s cm iojxi3|in
V.j?
T
\ assar College ArtGallerv, Poughkeepsie, N.Y., USA (61.7)

The forms of landscape, starting from the shapes of the

objects described -
might be leaves or rocks - were
it

soon inherent in the style itself, the short emphatic brush

strokes or the buttery facets spread by the knife.

provenance Ambroise Yollard, Pans; Mme Paul Delacroix, Morocco;

Wildenstein Galleries, New York; Miss Loula D. Lasker, New York.

exhibition Poughkeepsie, Yassar College Art Gallery, 196-T, ill. p. 14s;

New Paltz, New York, An Gallery, State University Collection at

New Paltz, itj-'O, Portraits and Self-Portraits, n.n.

bibliography Yassar College An Gallerv, I 'assar College Art Gallery:

Paintings 1)00-1900, Poughkeepsie, 1 98}, p. 129.

84
9 Landscape by a River
(Coin de riviere)

r. 1865
29 x 42 cm 11'x 16' in

non-V.
The Sam Spiegel Collection

See cat. 8.

pko\ enance G. Irion, Paris; Sale, Urion Collection, Galerie G. Petit,

Paris, 50May, 1927, no. 20, ill.; Galerie Marcel Bernheim, Paris; Sale,
Parke-Bcrnct, New York, 22 Nov., 1944, no. so, ill.; V alter P. Chrysler,
[r., New York; Sale, Chrysler Collection, Sotheby's, London, 1 July, 19S9,
no. 1 s. ill.; Sam Spiegel, New York.

86
10 Landscape - Mt St Victoire
(Pay sage - Montague Ste- f ictoire)

f.1865
22x28 cm 8jJ x 11 in

Y.i s 10

Private Collection

The landscape style that was common to several painters

r. 1 86s , Pissarro and Cezanne among them, owed much
both to Corot and the Barbizon School. It encouraged
broad masses summarilv stated in deep tones. The profile
of foliage was laid in boldly against the skv with a loaded
brush. In the foreground of this sketch the dragged brush
strokes of colour were flattened into long streaks with
the tip of the spatula, in a manner which was very close
to knife-painting.

PROVENANCE Ambroise Vollard, Paris; Sale, Hotel Drouot, Paris, 195 1;

Private Collection, France; Fine Arts Associates (Otto Gerson), New York;
E.V. Thaw, New York; (?) Schocnberg, St Louis; Schoenberg Foundation;
Sale, Parke-Bernet, New York, 16 May, 19^9, no. 205, ill.; Private
Collection; Sale, Parke-Bernet, New York, 18 Feb., 1982, no. 1 1, ill.;

Private Collection; Sale. Sotheby's, London, 4 Dec, 198s, no. 106, ill;

Pascal de Sarthe Gallery, San Francisco.

exhibitions Cambridge, Mass., Fogg Art Museum, 1957, n.n; San Francisco,
Pascal de Sarthe Gallery, 1 986, XIX Century Works of Art, no. 6, ill.

88

ii
11 Landscape near
Aix-en-Provence
(Pay sage mix environs d'Aix-en-Prorence)

r.1865

4<M x %<).% cm 16 x 23I in

non-Y.
lnscl 1 [ombroich

See cat. 10.

provi nan< i : Maximc Conil, Montbriand (the .irtisi's brother-in-law);

Henri Boissin, Vix-en-Provence; Madame Marquetty (Boissin's daughter);

Private Collection; Sale, Sotheby's, London, i Dec, 1982, no. S.

90
12 Still life: pictures his art became mature as it had never been before.
We tew clues to the order in which the palette-
have a
Skull and Candlestick knife pictures were painted, one of them being the fact that
Sugar Pot, Pears and Blue Cup (cat. 14) is to be seen hanging
(Nature mortei cram et chandelier)
on the wall behind his father's armchair in the largest, but
f. 1866 not the most consistent, of the pictures, the portrait of
4-.sx6z.scm 184x242 in Louis-Auguste Cezanne now in Washington (cat. 21). The
V.61 still life had already been framed and assimilated into the

Private Collection, on loan to the kunsthaus, Zurich decoration of the room which was presumably the salon of
the Jas de Bouffan, unless the armchair with the flowered
Admiration for Courbet Cezanne naturally to the appli-
led
slip-cover was removed to another room in the house for
cation of paint with a knife, which was characteristic of
the use of his models. The pears, cup and sugar pot were
him. Cezanne, however, reflected the frame of mind of
already modelled in variations of colour with an impetus
another generation. In the later 1860s young painters had and a completeness that were hardly surpassed in the
an instinct for objectivity but little taste for detailed de-
1 860s. Three pictures are at least by inference datable.
scription. The style was to be comparatively impersonal,
The Skull and Candlestick was ready to be dispatched to
reducing the subject to a statement of tones and above all
Morstatt in July 1868, the Portrait of Valabregue (cat. 16)
it was The chosen means, however extreme,
to be consistent.
was submitted to the Salon in the early summer of 1866,
was to he followed uniformly throughout a picture. The and the Portrait of Louis-Auguste (cat. 21) was described
painters of his generation had this creed in common, and to Zola by Guillemet on 2 November 866. The assurance 1

itmade Salon painting and naturalism equally obsolete. that characterised these pictures and the force with which
The new painting was not in essence illustrative, but thev were executed was perhaps entirely intended, yet a
on this aspect the young painters were less clearly agreed. little surprising even to the artist himself. Looking at them
Cezanne's palette-knife pictures retained subjects with an
again late in life, he remarked how couillarde the handling
undeniable illustrative content. There were even relics of was, a coarse word for a specifically sexual virility.
symbolism to recall the emblem still lifes of tradition.
The models for his palette-knife portraits (cat. 16, 18-24)
were eventually allotted historicist roles, as monks, ad- provenance Heinrich Morstatt, Stuttgart; Moderne Galerie (Heinrich
Thannhauser), Munich; Galerie Thannhauser, Lucerne; Bernhard Mayer,
vocates or artisans. Skull and Candlestick, the still life which
Zurich.
combined the symbols of enlightenment with the reminder
of mortality and the pietism of Aix, would have seemed exhibitions Berlin, Galerie Thannhauser, 1927, Erste Sonderausstellung,
no. 10, Basel, Kunsthalle, 1936, no. Paris, Orangerie, 1953, Baroque
antiquated to the painters who were now committed to a
ill.; 3;

provencal, no. 3; Zurich, Kunsthaus, 1956, no. 1, pi. 3; Schaffhausen,

purely visual content. It was painted for Morstatt, the
Museum zu Allerheiligen, 1963, Die Well des Impressionism/is, no. 3;
German musician who introduced the Aix circle to the new Lausanne, Palais de Beaulieu, 1 964, Chefs-d'aiivre des collections suisses, de

music, which blended rapturous tonal substance with the Manet a Picasso, no. 84, ill.; Basel, Galerie Beyeler, 1983, no. 3.

richest sentiment. Soon, as Cezanne himself put it, urging

bibliography Meier-Graefe, London, 1927, pi. Ill; J. Meier-Graefe, 'Die
Morstatt to come to Aix in 1865, their acoustic nerves Franzosen in Berlin', Der Cicerone, Jan., 1927, p. 48; Pfister, 1927, fig. 18;
were vibrating to the noble accents of Richard Wagner. M. Scolari, and A. Barr, 'Cezanne apres les lettres de Marion a Morstatt',

Cezanne can hardly have painted the of the Leg

still life Gazette des Beaux-Arts, Jan. 1937, p. 42, fig. 6; M. Scolari and A. Barr,

of Lamb (cat. 1 3), with its subtle discord of style and 'Cezanne in the Letters of Marion to Morstatt, 1 86; -68', Magazine of Art.

theme, of delicacy and brutality, without the historicist Feb., April, May 1938, fig. 5; 1. F.lles, Das Stilleben in der fran^psischen Malerei
des 1$. Jahrhunderts, Zurich, 19s 8, p. 106; M. Schapiro, 'The Apples of
tradition of still life painting in mind. The joint of meat
Cezanne: An Essay on the Meaning of Still-life', Art News Annual, 1968,
was modelled like sculpture with a solidity that in portrait- Schapiro, 1975, p. T. Reff, 'Painting and Theory in the Final
p. 40; 6, ill.;

ure took on eloquent, human meaning and an assurance Decade' in Cezanne: The Late Work, New York, 1977, p. 33, ill.; Yenturi,
thatwas altogether new to him. He drew this assurance 1978, ill. p. 9; T. Reff, 'Cezanne: The Severed Head and the Skull', Arts,

from the example of Courbet, and with the palette-knife Oct. 1983, p. 91, fig. 7.

92
13 Still life:

Bread and Leg of Lamb

(Nature morte: pain et gigot d'agneau)

c. 1 866
27X 51 cm ioi x 1 ;j in

V.65
kunsthaus, Zurich

It was Cezanne's purpose, as it is the intention of this

exhibition, to unmask the essential brutality and coarseness
of painting as if with a murderous weapon or drawing as if
with writhing lash. The subject here and the unremitting
a
stvle were equally foreign to French painting. The Goya
Still Life with a Sheep's Head, which identified butchery as
savage decapitation, entered the Louvre thirty-one years
after Cezanne's death. It was Cezanne as much as Goya
who decided that the art of the frightful age to come
should not shrink from the violence inseparable from the
propensities and the imaginings of mankind. In Cezanne's
maturity the grievous dilemma was made good.

provenance Galcrie Neupert, Zurich.

exhibitions Lyon, Palais Saint-Pierre, 1959, no. 5; London, W'ildenstein

Galleries, 1939, no. 4; Paris, Independants, 1959, no. 2; Zurich, Kunsthaus,
1943, Ausldndische Kiinst in Zurich, no. 543; Paris, Orangerie, 1913, Baroque
provencal, no. s, pi. XXVI; Zurich, Kunsthaus, 1956, no. 2 — Cologne,
Wallraf-Richartz Museum, 19^6-57, no. 1, ill.; Vienna, Belvedere, 1961,
no. 3, pi. 1 — Aix-en-Provence, Pavilion de Yendome, 1961.no. 3, pi. 1.

bibliography 1. F.lles, Das Stilkben in der fran^osiscben Ma/ereides

19. Jabrbunderts, Zurich, 1958, pp. 99-100; B.Chaet, An Artist's Notebook,

Techniques and Materials, New York, 1979, p. 1 ;6, ill. p. 146.

94

J
14 Still life: Sugar Pot, Pears
and Blue Cup
(Nature morte: sucrier, poires et tasse bleue)

c. i 866
30 x 41 cm 1 \\ x 165 in
V.62
Musee d'Orsay, Paris, on deposit with the Musee Granet,
Aix

This is which appears like a manifesto of the

the still life

new stvle already framed and hanging on the wall in the

background of Cezanne's portrait of his father reading
UEpenement (cat. 21). It demonstrated that the force of
handling involved a freedom, indeed violence, of colour
modulation more extreme than Cezanne or anvone else
had conceived hitherto.

PROVENANCE Auguste Pellerin, Paris; Jean-Victor Pellerin, Paris.

tXHiBinONS Paris, Orangerie, 19s 3, Baroque provenca/, no. 4, pi. XXV;

Madrid, Museo F.spanol dc Arte Contemporaneo, 1984, no. 1, ill.

bibliography Riviere, 192?, p. 201; Raynal, 1936, pi. LXXX; L. Guerry,

Cezanne et /'expression de I'espace, Paris, 1950, p. 54; L. Guerry, Ce\anne et

/'expression de I'espace (2nd edition), Paris, 1966, p. 47; T. Reff, 'The Pictures
within Cezanne's pictures'. Arts Magazine, June 1979, hg. \; S. Gache-Patin,
'Douze leuvres de Cezanne de l'ancienne collection Pellerin', La Rerue du
Lomre et des Muse'es de France, 2, 1 984, p. 130, no. 2; D. Coutagne, Ce\anne au
Musee d' Aix, Aix-en-Provence, 1984, p. 212, ill.; Anciens et noureaux, clioix

d' mares acquises par I'Etat ouavec sa participation de 1981 a 798}, 1985, p. 323,

ill.; Rewald, 1986, p. 22. ill.

96
 LW

15 Self-Portrait
(Portrait de I' artiste)

c.1866

45 x 41 cm i?2 x 164 in
Signed lower right in red capital letters: p. cezanm
V.81
Private Collection

An achievement of the new assurance with the

earlv
palette-knifewas a portrait of himself quite unrecognisable
as the same man who painted from his own photograph
five vears before (cat. 2). The self-image must have been
deliberately stvled as a token of creative independence.
Marion described it to Morstatt in August 1866: 'Paul is
superb this vear with his tine hair immensclv long and his
revolutionarv beard.' The expression is, as Roger Fry
observed, quite truculent with little of the perceptiveness
that he later brought to his own likeness but with a terocitv
that speaks of refusal to brook the slightest opposition.

provenance Emile Zola, Mcdan; Sale, Zola Collection, Hotel Drouot,

Paris, 9-1 ? March, lyo;, no. 1 16; Auguste Pellerin, Paris; Rene Lecomte,
Paris.

exhibitions Pins, Orangerie, 1936, no. 2; Paris, Orangerie, 1914, no. 4.

bibliography Yollard, 1 9 4, pi.

1 5; F. Gregg, I 'unity lair, Dec. 191s, p. 58,

ill.; |. Meier-Graefe, hntnickliingsgesebiehte der modernen Kimsl. Munich, 19M,

pi. 486; P. Westheim, Dit Wtltals I 'orstellung. Potsdam, 1918, p. 1 19, ill.;

F. Burger. Ce~aiine unci Hod/er (fourth edition), Munich, 1920, pi. 67;

Meier-Graefe, 1
922, ill. p. 82; F. burger, Cezanne mid Hod/er (fifth edition),

Munich, 192;, pi. 66; Riviere, 1925, pp. 196, 198, listed; O. Benesch,
'Rembrandt's Vermachtnis', Bebedere, 1924, pp. 172—}, ill.; F. Ruckstull,
Great Works of Art and What Makes Them Great, New York, 192s, pp.
2; 5. fig. 14; 1. Arishima, Cezanne. Tokyo, 1926, pi. 6; Fry, Dec. 1926,

p. 393, til.; Fry. 192-', pi. 1, fig. 6; Pfister, 1927, fig. 16; Iavorskaia, 1935,
pi. 1; Rewald, 1956, rig. i; Rewald, 1939, fig. 11; Barnes and de Mazia,
1939, no. 6, ill. p. 149; Rewald, New York, 1948, fig. 18; G. Schildt,
Ci~aime, Stockholm, 1946, fig. 20;
J. Rewald, The History 0/ Impressionism,
New York, 1946, p. 125, ill.; |. Rewald, Tie History 0/ Impressionism (second
edition). New York, 1946, ill. p. 12s; Dorival, 1948, pi. 6; G. Jedlicka,
Ct\annc, Berne, 1948, fig. 1; The History of Impressionism, New York, 1961,

p. 14s, ill.; K. Leonhard, Paid Ce\anne in Selbst^eugnissen mid Bilddoknmenten,

Rheinbek bei Hamburg, 1966, p. 101, ill.; D. Gordon, 'The Expressionist
Cezanne', Art Forum, March 1978, p. 37, ill.; Rewald, 1986, p. ^6, ill.

98
16 Portrait of Antony its - the consistent and stable palette-knife pictures
sequels
that followed - changed the whole direction of Cezanne's
Valabregue work. His best sitter was his mother's brother, the bailiff
Dominique Aubert, whose devoted service to his nephew 7

(Portrait d' Antony T alabregue)

has left him an unshakable position in modern painting.
1866 Valabregue recounted the course of events to Zola in
116 x98 cm 45! x 38^ in November 1866: 'luckily I had to pose for only one day,
Signed lower right (close to edge): P. Cezanne but the uncle serves as a model more often. Every after-
V.126 noon another portrait of him appears, while Guillemet
National Gallery of Art, Washington, Collection of Mr and overwhelms him with atrocious jokes.' Regularly to have
Mrs Paul Mellon (1970.35.1) painted such pictures in half a day each is con\ incing
r

proof of the painterly capacity that Cezanne commanded

This was the first of Cezanne's three portraits of the writer
(see cat. 18-20,22,23).
who was his friend in early life (see cat. 25, 56). It was
submitted to the Salon in 1866 as an act of defiance rather provenance Ambroise Yollard, Paris; Bernheim-Jeune, Paris; Auguste

than with any serious expectation of acceptance. It shows Pellerin, Paris; Jean- Victor Pellerin, Paris; \Xildenstein Galleries, Paris,

an early stage in the development of Cezanne's use of the London and New York; Private Collection, Switzerland; Mr and Mrs Paul
Mellon, Upperville, Va.
palette-knife which became a regular feature of his style
in 1866. Where the knife was not used, as in the hands, exhibitions Berlin, Paul Cassirer, 1909 (Group exhibition), no. 9(?); Brighton,
:
it gave place to forceful, superimposed brushwork and Public Art Galleries, 1910, Modern \ rench Artists, no. 184; Amsterdam,

positive colour - 'worked up,' as Rilke wrote, 'almost to Stedelijk Museum, 1958, Honderd Jaar Fransche Kunst, no. 3; Lyon, Musee
des Beaux- Arts, 1959, no. 7; London, W'ildenstein Galleries, 1959, no. 6;
orange'. Cezanne seems already to have been attracting
New York, \\ ildenstein Galleries, 1947, no. 2; Chicago, Art Institute, 1952,
support, and in the anticipated event of his rejection,
no. -7 —New York, Metropolitan Museum, 1952, no. 7; Lausanne, Palais de
there were plans among the painters who w ere his friends
7
Beaulieu, 964, Chefs-cficmrre des collections suisses, de Manet a Picasso, no. 85;
1

for a public demonstration on his behalf. The palette- Madrid, Museo Espanol de Arte Contemporaneo, 1984, no. 5, ill.;

knife became a favourite tool, especially for Cezanne's Washington, D.C., National Gallery of Art, 1986, Gifts to the Nation: Selected

smaller portraits of 1866 (cat. 16, 18-20, 22-4), and later Acquisitions from the Collections of Mr and Mrs Paul Mellon, n.n.
uses of it were more consistent; it evidently asserted both bibliography* Riviere, 1923, p. 199, listed; Barnes and de Mazia, 1939,
the personal force of a sitter and the unity of a picture. no. 10, ill. p. 1 52 (analysis pp. 31 1-12); Cogniat, 1939, pi. 9; Rewald, New

The technique was adopted bv the young painters of Aix, York, 1939, fig. 22; J. Rewald, The History of Impressionism, New York,
1948, p. 120; Dorival, 1948, pi. 22; C. Ramuz, Ce\anne Formes, Lausanne,
among them Marion, who signed a View of Aix (c. 1866; ill.

1968, fig. 4; \X . Andersen, Ce\anne's Portrait Drawings, Cambridge, Mass.

Fitzwilliam Museum, Cambridge) painted in tolerable
and London, 1970, fig. 5; Elgar, 1975, fig. 22; Venturi, 1978, ill. p. 12;
imitation of it. Rewald, 'Paintings by Paul Cezanne in the Mellon Collection', in Essays
J.
The portrait of Valabregue, tentative in some ways in Honor of Paul Mellon, Collector and Benefactor, Washington, D.C., 1986,
though it is, clearly broke new ground for the painter, and pp. 290-94, fig. 1.

IOO
17 View of Bonnieres
( Vue de Bonnieres)

1866
38 x 61 cm 1 5 x 24 in
non-Y.
Musee Faure, Aix-les-Bains

Cezanne went to spend the summer of 866 at Bennecourt 1

on the Seine near Mantes, across the river from Bonnieres,

in the company of Zola, Valabregue and Guillemet, the
painter who suggested the place. It was at Bennecourt
that Cezanne arrived at a consistent palette-knife style for
landscape. Zola wrote on 26 July: 'Paul is working. He is
more and more confirmed in the original course on which
his nature impels him.'
The view across the river to Bonnieres on the opposite
bank, which he painted that summer, was among the first

of his landscapes to show the objective visual balance of

the Impressionism to come, a quality that it shared with the
family portraits of the following months (see cat. 18-24).
It suggests that if the Portrait of Pere Rouvel (see cat. 6),
which Cezanne reported to Zola that he was painting at
Bennecourt, had survived it would have resembled the
Uncle Dominique pictures (cat. 18-20, 22, 23) rather
than the Head of an Old Man (cat. 6).

provenance Emile Zola, Medan(?); Leon Orosdi, Paris(?); Andre Schoeller,

Paris; Dr Faure, Aix-en-Bains.

bibliography J. J. Yergnet-Ruiz and M. Laclotte, Petits et grands musees de

France, Paris, 1962. p. 1 89; R. Walter, 'Un vrai Cezanne: "La Yue de
Bonnieres"', Gazette des Beaux- Arts, May 1963, ill. pp. 359-66.

I02
 )

LP

1 8 Portrait of Uncle Dominique ends. The consistency with which the paint was handled
made it a foundation stone, which its material character
(profile) rather resembled. In this it was analogous to the part that
paint-handling was playing in the style of his contemporaries
(Portrait de I'Oncle Dominique de profit '
with whom he was to exhibit eight years later. In every

1866
other way Cezanne's couillarde style was the antithesis of
Impressionism. It was Impressionism was
as unified as
59.5 x 30.5 an 155 x 12 in
fragmentary. At first the little palette-knife portraits were

The Provost and Fellows of King's College,

on the edge of naivete, but as they developed they became
Cambridge (Kevnes Collection), on loan to the monumental.
Fitzwilliam Museum, Cambridge
provenance |. Maynard Keynes, London; Lady Keynes, London.

The impetus with which, as Yalabregue described (see exhibitions London, Goupil Gallery, 1924 {Group exhibition), n.n.;

cat. Cezanne set about the portraits of his uncle

16), Edinburgh, Roval Scottish Academy, 1954, no. 2 — London, Tate Gallery,
Dominique produced lasting results. The extent of his 1954, no. 2.

output in itself was astonishing and the assurance with bibliography Coquiot, Paris, 1919, ill. opp. p. 216; R. Fry, 'Cezanne at the
which he accomplished it was quite new in his work. The Goupil Gallery', The 'Burlington Magazine, Dec. 1924, pp. 311, 313, ill.;

technical means became the basis for a unity of pictorial Iavorskaia, 1955, pi. 3.

a) Portrait of a Monk (Uncle Dominique) {Portrait de moine), c. 1866, c) Uncle Dominique (L'Oncle Dominique), f.1866, V.75. Ex-Pellerin
V.72. Haupt Collection, Palm Springs. Collection, Paris.

b) Uncle Dominique (L'Oncle Dominique ) , c. 1866, V.77. Lewisohn d) Uncle Dominique (L'Oncle Dominique), <-. 1866, V .79. Ex-Pellerin

Collection, New York. Collection, Paris.

104
 \v

19 Portrait of Uncle Dominique

(Portrait dv FOncIe Do win /que)
1 866
41 x s ; cm i6| x i ; in

V.76
The Bakwin Collection

See cat. 18.

provenanci Ambroise Vollard, Paris; \ugustc Pcllcrin, Paris; Hugo Perls,

Berlin; Dr and Mrs Harry Bakwin. New York.

EXHIBITIONS London. Goupil Galler) . 1924 (Group exhibition), n.n;

Philadelphia, Pennsylvania Museum of Art, 1934, no. 5; San Francisco, San
Francisco Museum of \n. 1937, no. 2; New York, \\ ildenstem Galleries,
19^9, no. ;, ill.; New York, Solomon R. Guggenheim Museum, 1963, n.n;
New York, \\ ildenstein Galleries, 1967, Tit Bakwin Collation, no. i, ill.

bibliography Riviere, 192;, p. 115, ill.; R. Fry, 'Cezanne at the Cioupil

Gallery', Tit Burlington Magazine, Dec. 1924, p. 311, pi. Ic; J. Goulinat,
'Technique Picturale: L'Evolution du Metier de Cezanne', Art I ivant.

March 1925, p. 23, J. Borely, 'Cezanne a Aix', Art

ill.; "want, July, 1926, I 1

p. 49(1, ill.; G. Charensol, 'Les Detracteurs dc Cezanne", Art ivant 1926, 1 .

p. 496, ill.; Riviere, 193 ^, p. 15, ill.; L. Yenturi, 'Paul Cezanne', UArte,
|ulv and Sept. h;ss, pi. 4; E. Loran, 'San Francisco's rirst Cezanne Show',
Magazine oj -Irt. Sept. 19;^, p. S4, ill.; Riviere, 1942, p. M, ill.; Badt, 1 9s 6,

p. 279.

106
 8 )

20 Portrait of Uncle Dominique

(in a turban)
(Portrait de I'Oncle Dominique
coiffe d'nn turban

1866
44 x rem i->| x 14I in

V.8z
Private Collection

See cat. 1

proyln \\i i Vmbroise Yollard, Paris; Auguste Pcllcrin, Paris; Rene

Lccomtc, Paris.

exhibition Paris, Orangerie, 19^4, do. 7.

BIBLIOGRAPHY RivicrC, I925, p. 202, listed.

108
21 Portrait of Louis- Auguste pi. 4; Washington, D.C., National Gallery of Art, 1986, Gifts to the Nation:
Selected Acquisitions from the Collections of Mr and Mrs Paul Mellon, n.n.

Cezanne, Father of the Artist, bibliography F. Lawton, 'Paul Cezanne', The Art Journal, 191 1, p. 60, ill.;

Meier-Graefe, 191 5, p. 5 6, ill.; F. Lawton, A Private Collection in Germany

reading FHvenement that Contains Fourteen Examples of the Art of Cezanne . . . Darmstadt',
New York Times, 1 9 1 3, p. 1 5, mentioned; C. Borgmeyer, The Master

{Portrait de Louis- Auguste Ce\amie, pere de Impressionists, Chicago, 191 3, p. 271, ill.; A. Dreyfus, 'Paul Cezanne',
Zeitscbrift fiir bildendc Kmisl , |une 1913, p. 200, ill.; Meier Graefe, 1918, ill.
/'artiste, lisant rEvenement) p. 83; Meier-Graefe, 1920, ill. p. 83; Gasquet, 1921, ill. opp. p. 12; Meier-
Graefe, 1922, ill. p. 88; A. Burroughs, 'Ambroise Vollard, Sensible
1866
Biographer', The Arts, Sept. 1923, p. 170, ill.; T. KLlingsor, Ce\anne, Paris,
200 x 1 20 cm ^84 x 47J in
1925, p. 1 3, pi. 3; Riviere, 1923, p. 198, listed; E. Bernard, Snr Paul Cezanne,
V.91
Paris, 1925, p. 117, ill.; I. Arishima, Ce\anne, Tokyo, 1926, pi. 3; Gasquet,
National Gallery of Art, Washington, Collection of Mr and 1926, ill.; Fry, 1927, pi. IV, fig. 4; lavorskaia, 193;, pi. 2; Mack, 1936,
Mrs Paul Mellon (19-70.5. 1)
fig. 1 ; R. Fluvghc, 'Cezanne et son ocuvrc', Amour de tArt, May 1936,
rig. 57;Raynal, 1936, pi. LYI; Rewald, 1936, fig. i2;Novotny,
This is the major work among the palette-knife pictures 1937, pi. 7; Barnes and de Mazia, 1939, no. 7, ill. p. 151; Rewald, 1939,
and shows Cezanne's father sitting in the flowered arm- fig. 1 8; Rewald, New York, 1939, fig. 26; J. Rewald, The History of
chair reading the newspaper called /'Evenement. Cezanne Impressionism, New York, 1946, p. 127, J. Yaudoyer,
Lespeintres ill.;

prorencaux, Paris, 1947, p. 83, Dorival, 1948, pi. 20; J. Rewald, The
had chosen this newspaper to take the place of the republican ill.;

History of Impressionism (second edition), New York, 195 5, ill. p. 127; D.

one which his father normally read because PEvenement had
Cooper, 'Au ]as de Bouffan', Oeil, 15 Feb., 195 5, p. i6;Badt, 1956, pp. 117,
published articles bv Zola. At this stage these had made
142.pl. 33; I. Elles, Das Stilleben in derfran^psischen Malerei des 19. Ja/jrljunderts,
no reference to Cezanne, but when they were republished Zurich, 1958, p. 107; |. Rewald, The History of Impressionism, New York,
the following \ ear in a book, the latter was prefaced with 1 961, p. 146, ill. p. 147; P. Feist, Paul Cezanne, Leipzig, 1963, pp. 9, 21,

a tribute to his old friend. The still life which is shown pi. 3; K. Leonhard, Paul Ce\anne ' in Selbst^eugnissen mid Bilddokumenten,

framed and hanging, as if already part of the decoration Rheinbek bei Hamburg, 1966, p. 119, ill.; M. Butor, Les mots dans la

of the household, is exhibited and discussed as cat. 14. peinture, Geneva, 1 969, p. 1 5 5, ill.; W. Andersen, Cezanne's Portrait Drawings,
Cambridge, Mass. and London, 1970, fig. 4; National Gallery of Art,
The banner heading of the newspaper is an integral part
Annual'Report Washington, D.C., 1970,
', p. 26, ill. p. 6; M. Hours, 'Cezanne's
of the design of the picture. The thick and thin of the
Portrait of His Father' in Studies in the History of Art, National Gallery of
Bodoni-type lettering establishes the authority of reader Art, 1971, pp. 63-88, figs 1-1 1; |. Rewald, 'Cezanne and His Father',
and writer. In shape, the type descended from the capitals Studies in the History of Art, 1971, pp. 47-50, fig. 2;
J.
Rewald, The History
of Cezanne's first assertive signatures (see cat. 15) and it of Impressionism (fourth edition), New York, 1973, p. 146, ill. p. 147;

A. Barskaya, Paul Cezanne, Leningrad, 1975, p. 13, Elgar, 1975,

led the way to the emphatic verticals of the stencil lettering ill.; fig. 13;

National Gallerv of Art, European Paintings: Summary Catalogue, Washington,

which announced the authority of Acbille Ewpem/re (cat.
D.C., 1975, no. 2369, ill. p. 63; Wadley, 1975, pi. 5; S. Monneret, Ce\anne,
46) and placed his picture in the great portrait tradition. La F raternite duge'nie, Venturi, 1978,
Zola . . . Paris, 1978, ill. p. 1 1; ill. p. 10;
Otherwise there was a profound difference between the T. RefT, 'The Pictures within Cezanne's pictures', Arts Magazine, June
two works. The portrait of Louis- Auguste was the virtual 1979, fig. 4; S. Geist, 'Cezanne: Metamorphosis of the Self, Artscribe, Dec.

invention of Impressionist intimism. The atmospheric 1980, fig. 10; D. Kelder, The Great book of French Impressionism, New York,
notation of the pattern on the armchair and the counterpoint 1980, p. 597, ill.; 1. Arrouvc, La Provence de Cezanne, Aix-en-Provence,

of angles in the pose were all at opposite extremes to the 1982, p. 25; S. Gache-Patin, 'Douze oeuvres de Cezanne de l'ancienne
collection Pellcrin', La Rente du Louvre et des Muse'es de France, 2, 1 984,
pattern and the form which were asserted and outlined for
p. 1 30, no. 3; D. Coutagne, Ce\amie au Miise'e d'Aix, Aix-en-Provence, 1984,
their own sake with an almost Byzantine rigidity in the
p. 21 5, ill.;
J.
Rewald, 'Cezanne and his father', in Studies in Impressionism,
portrayal of the afflicted cripple whom Cezanne admired. London, 1985, pp. 78rF, pi. VII; M. Bessonova, and W . Williams,
In the 1 870s on his visits to Aix Cezanne went on drawing Impressionism and Post-Impressionism. The Hermitage, Leningrad. The Pushkin

his father in this pose and costume, and in this armchair. Museum of Fine Arts, Moscow, New York and Leningrad, 1986, p. 151, ill.;

Perhaps he felt, as we now feel, that the Eottis- Auguste |. Rewald, 'Paintings bv Paul Cezanne in the Mellon Collection', in Essays

in Honor of Paul Mellon, Collector and Benefactor, Washington, D.C., 1986,

was the less successful of the two pictures and looked
pp. 294-7, fig. 4; Rewald, 1986, p. 23, ill.; R. Kirsch, 'Paul Cezanne: 'Jeune
forward to painting the subject again.
Fille au Piano' and some Portraits of his Wife: An Investigation of his

Painting', Gazette des Beaux- Arts, July- Aug. 1987, p. 22.

provenance Auguste Pcllerin, Paris; Rene Lecomte, Paris.

exhibitions Paris, Salon des Artistes francais, 1882, no 502 ('Portrait de

ML. A. . . .'); Paris, Orangerie, 1936, no. 3; Paris, Orangerie, 1954, no. 8,

I IO
22 The Man with the cotton Cap heads (see cat. 18-20), which have occasionally a slight
look of facetiousness. But it was in the smaller heads that
(Uncle Dominique) the massiveness and consistency of the palette-knife style
were evolved. Body and background, light and dark alike
(L'Howwe an bonnet de coton L'Onc/e
areall trowelled out of the same substance.
Dominique )

c. 1 866 PROVENANCE Ambroise Yollard, Paris; Alexandre Rosenberg, Paris;

Auguste Pellerin, Pans; Jos. Hessel, Paris; Marius de Zavas. New York;
- - x 64. i cm )i£xz$£ia
Lillie P. Bliss, New York; Museum of Modern Art, New York (Lillie P.
V.73
Bliss Bequest).
Lent bv The Metropolitan Museum of Art; Wolfe Fund,
1951. from the Museum of Modern Art, Lillie P. Bliss exhibitions New York, Metropolitan Museum, 1921, Impressionist and

Collection
Post-Impressionist Paintings, no. 4, ill.; New York, Modern Gallery (de
Zavas) (Croup exhibition), n.n; New York, Museum of Modern Art, 1929,

In one picture (cat. 25), Uncle Dominique is posed in the Ce\anne, Gauguin, Seurat, van Gogh. no. 1, ill.; New York, Museum of
Modern Art, 193 1 (Bliss Collection), no. 1; Andover, Mass., Addison Gallery
position of a lawyer pleading on the lines of a figure from
of American Art, 1931, no. i(n); Indianapolis, John Herron Art Institute,
Daumier. In the other (cat. 22) he is an artisan and a man New York. Museum of Modern Art, 1934—5, Fifth
1932, no. 1, ill.;

of the people, still catching our eyes with the same deep Anniversary Exhibition, no. 1; New York, Museum of Modern Art, 1939,
look. Both pictures are built up throughout from the flat Tenth Anniversary Exhibition, no. 56, ill.; Chicago, Art Institute, 1952, no. 5,

lozenges of paint, rarely blending into one another, but ill. — New York, Metropolitan Museum, 1952, no. 5, ill.

placed precisely to model form where it presses against bibliography Riviere, 1923, p. 204, listed, ill. opp. p. 10; R. Fry,
the wedges of black contour. It is the admixture of black Net York Times Magazine, 1 May 192-*, p. 6, ill.; Pfister, 1927, fig. 33;

that decides the tones in the Spanish manner of the 1 8 5 os. A. Bertram, Ce\anne, London, 1929, pi. 2; R. Wilenski, Trench Painting,
R. Huyghe, Cezanne,
In both pictures the mood is solemn. .Another of Dominique's Boston, 1 93 1, p. 309, ill.; Riviere, 1933, p. 21, ill.;

Paris, 1936, pi. 11, pp. 29-32; Yollard, 1937, pi. 25; R. Wilenski, Modern
disguises, perhaps the first, which may have suggested the
Trench Painters, New York, n.d. (1941), fig. 3; R. Wilenski, Paintingand
later series in various costumes, was as a Dominican Friar
Sculpture in the Museum ojModern Art, New York, 1942, no. 83, ill.; Riviere,
V.72; Haupt Coll., Palm Springs) with arms crossed on Ce\anne, Paris, 1942, p. 23, ill.; Rewald, 1948, fig. 17; J. Rewald, The History
his chest and a conspicuous crucifix. These personifications of Impressionism, New York, 1946, ill. p. 40; J. Rewald, The History of
for the uncle continued the habit of style-inducing fantasy Impressionism, New York, 1961, p. 117, iU-; Ikegami, Tokyo, 1969, pi. 1;

which had been a feature of the historicist painting out of Schapiro, 1973, pi. 1; Wadley, 1975, pi. 1 1; R. ShifF, 'Seeing Cezanne',

which impressionist figure-painting sprang. Dominique Critical Inquiry, Summer 1978, fig. 10; Venturi, 1978, ill. p. 5 3; K. Baetjer,
European Paintings in Museum of Art 1980, p. 26, ill. p. 614;
the Metropolitan ,

wore his costumes widi somewhat the air that Manet's model
H. Hibbard, The Metropolitan Museum of Art, New York, 1980, fig. 788;
in Le Bon Bock (1873; Philadelphia Museum of Art) was
N. Ponente, Paul Cezanne, Bologna, 1980, pi. 1; R. Shiff, Ce\anne and the End
dressed as a Dutch beer-drinker for portrayal a premier of Impressionism, Chicago, 1984, fig. 45; C. Moffert, Impressionist and Post-
coup in the style of Frans Hals. Impressionist Paintings in the Metropolitan Museum of Art, New York, 1985,

These fantasy personifications for the uncle seem never- pp. 176-7.il!.

theless to be later than the smaller pictures of the single

1 1 2
23 The Lawyer J

(Uncle Dominique)
(U Avocat UOncle Dominique])
e. 1 866
62 x 5 2 cm 244 x 20 i in

V.74
Private Collection

See cat. 22.

PROVENANCE Ambroise Yollard, Paris; Augusts Pcllcrin, Paris; Rene

Lecomte, Paris.

EXHIBITIONS Paris. Grand Palais, 1907, Salon d Automne, no. i; Pans,

Orangerie, [954, no. 5, pi. 5.

bibliography F.. Faure, 'Toujours Cezanne', Amour de l\\ri, Dec. 1920,

p. 270, ill.; Riviere, 1923, p. 202, listed; Fry, Dec. 1926, p. 394, ill.; Fry,

1927, pi. Y, tig. -; Raynal, 1936, pi. LIX; Rosenberg, On Quality in Art,
Princeton, [967, pi. 61; Schapiro, [973.pl. 1.

114
 a) RECTO

24 Portrait of Marie Cezanne,

Sister of the Artist
(Portrait de Marie Cezanne, soeur de 1' artiste)

c.i 866-7
53.5 x 37 cm 21 x 1 32 in
V.89
The Saint Louis Art Museum, Purchase

This delicate and sympathetic portrait of Marie was largely

modelled in paint applied flatly as with a knife. Across
the background and shoulders pass linear strips of colour
as if in haste or at random, seeming in part to correct it
and in part to delete. It is therefore possible that this state
shows what is left of a coitillarde portrait, rejected and half
repainted, which was altered in keeping with the more
fluent linear handling of 1 867, before Cezanne left Provence
for Paris and set about pictures like the Negro Scipion
(cat. 30) in the rhythmical style that followed. After the
picture was acquired was noticed that the
for St Louis it

rerso of the supposed had been covered in

1 866 recto

unknown circumstances with a coat of black paint which

on removal disclosed the head of a woman in a rather later
style. Riviere had recorded a portrait of Cezanne's mother

with a portrait of his on the other side, then regarded

sister

as the rerso. This record may thus have described the state
to which the canvas is now
restored. The likeliest expla-
nation is that at some when the 'Marie' side appeared
stage,
more attractive because more sketchy and Impressionistic,
the canvas was reversed and the picture of the older
woman concealed. A photograph of the older woman on
the other side had in the meantime been illustrated by
Yenturi as a separate picture in a German collection.

provenance Ambroise Vollard, Paris; Galerie E. Bignou, Paris and New-

York.

exhibitions Paris, Galerie Pigalle, 1929, no. 39, ill.; New York, Knoedler
Galleries, 1935, Paintings from the 1 'ollard Collection, no. 4, ill.; Brussels,

Palais des Beaux-Arts, 195 3, La Femme dans l' Art Francois, no. 16, pi. 38;

New York, W'ildenstein Galleries, 1958, Fifty Masterworks from the City Art
Museum of St Louis, no. 45, ill. p. 63; Yienna, Belvedere, 1 96 1 no.
, 2 — Aix-
en-Provence, Pavilion de Vendome, 1961, no. 2; Tokyo, National Museum
of Western Art, 19^4, no. 1; Tokyo, Isetan Museum of Art, 1986, Ce\anne,
no. 4, ill.

bibliography Riviere, 1923, p. 196, listed; lavorskaia, 1935, pi. 2; Rewald,

1936, fig. 9; Rewald, 1939, fig. 1 3; Barnes and de Mazia, 1959, no. 3, ill.

p. 148; Rewald, New York, 1948, fig. 15; E. Jewell, Paul Cezanne, New
York, 1944, p. 16, ill.; Handbook, City Art Museum, St Louis, 1953, p. 139;
K. Leonhard, Paul Ce\anne in Selbst^eugnissen und Bi/ddokumenten, Rheinbek
bei Hamburg, 1966, p. 12, ill.; W adlev, 1975, pi. 12.

Il6
 b) VERSO

24 Portrait of the Artist's

Mother(?)
(Portrait de la mere de I 'artiste'[?])

c. 1 866-7
53.5 x 37 cm 21 x 14+ in
\ .78

The Saint Louis Art Museum, Purchase

See cat. 24 (a).

provenance Ambroise Yollard, Paris; Galcrie E. Bignou, Paris and New

York.

bibliography Riviere, 1923, pp. 196, 197, listed; A. Yollard, 'Souvenirs

sur Cezanne", Cabiers itArt, 1 93 1 , p. 392, ill.; 'La Chronique des Arts',
Cui~r!!t tits Beaux- Arts, Feb. 1965, p. 45, rig. 165.

Il8
25 Marion and Valabregue pack, carrying a sketching easel. Valabregue was a writer,
who became and historian and lost touch with
a critic
setting out for the Motif Cezanne altogether. During 1866, when he wore a top
hat, he was producing a poem a day with surprising fer-
( Marion et \ alabregue par taut pour le motij")
tility, as Guillemet told Zola. The pair were in fact accoutred

1866 and posed as open-air painters in illustration of Cezanne's

39 x 3 1 cm M4 x n\ in new-found faith mplein-airisme and Valabregue complained
V.96 to Zola of the poses that they were made to assume in the
Private Collection midst of Paul's orgies of colour. In the event Cezanne's
manifesto on behalf of pkin-airisme seems, not surprisingly,
After the period spent painting indoors in 1 866 Cezanne to have missed its mark and on 2 November he had to
wrote on 19 October to communicate to Zola his dis- inform Zola that his lar»e canvas had been a failure. It
covery that nothing done in the studio would ever equal was seven or eight years before he was able in his own
what was done outdoors. Contrasts of figures with open work to justify his belief in painting from nature.
air settings were astonishing, he wrote, and the effect

of the landscape was magnificent. He was pleased with provenance G. Charpenticr, Paris; Sale, Charpentier Collection, Hotel

a large picture that he planned and sketched in the Drouot, Paris, 1 1 April 1907, no. 5; Aubry; Galerie E. Druet, Paris;

margin of his letter, showing Marion and Valabregue Augustc Pellerm, Paris; Rene Lecomte, Paris.

'setting out to look for a motif (a landscape motif of exhibitions Paris, Grand Palais, 1907, Salon d' Automm, no. 46; Paris,

course)' for which he had already painted an oil sketch: Orangerie, 1954.no. 10.

'the sketch, which Guillemet considers good and which bibliography Meier-Graefe, 1918, ill. p. 89; Meier-Graefe, 1920, ill. p. 89;
I did after nature, makes everything else collapse and Meier-Graefe, 1922, ill. p. 101; Riviere, 1923, p. 198, listed; Fry, Dec. 1926,
appear bad.' p. 400, ill.; Fry, 1927.pl- XXXVII, fig. 1 j; Fry, Samleren, 1929, p. 118,

Marion, who was to become a scientist and later directed ill.; Cezanne, Correspondame, 1937, p. 99; Rewald, New York, 1939, p. 16,
A. Chappuis, L,f/ Dessins de P. Ce\anne an Cabinet des estampes Musie des
the Natural History Museum at Marseilles, did in fact
ill. ; dii

Beaux-Arts de bale, Olten and Lausanne, 1962, fig. 1 ; W. Andersen, Ce\anne's

paint as a hobby. He is shown in this oil study for
Portrait Drawings, Cambridge, Mass. and London, 1970, p. 218, fig. 241a;
Cezanne's large picture with a Barbizon hat and a painter's
Rewald, 1986, p. 5;, ill.

I 20
26 The Walk
(La Promenade)
r.i 866
28 x }6 cm 1 1 x 14 in

V.i 16
Private Collection

Cezanne's desire tor an open-air conversation-piece seems

to have led him to adapt figures from a fashion plate. If he
was concerned with the notation of light, he was at this

stage apparentlv without any of the interest that he later

took in the style of the fashion-plate itself (see cat. 5 5).

PROVENANCl Auguste Pellerin, Paris; Rene l.eeumte, Paris.

exhibition Paris, Orangerie, 1954,110. 16, pi. 6.

BIBLIOGRAPHY Riviere. 1923, p. 201; Riviere, 1955, p. 108; Ors, 1956, pi. 45;

E. Faure, Cezanne, Paris, 1956, pi. 2; Raynal, 1936, pi. IX; di San Lazzaro,

1958, fig. 4.3; Barnes and de Mazia, 1939, no. >s, ill. p. 164; Cogniat, 1939,
pi. 4; Dorival, 1948, pi. 24; Schapito, 1973, p. 56, ill.

1 22
 LP

27 Afternoon in Naples
(with a negro servant)
(L :

'
Apres-midi a Naples [avec servante noire])

c. I 866-77
37 X45 cm 14! x \-\ in

V.224
Australian National Gallery, Canberra

This may be one of the two grotesque works on the

theme of drunkenness which were rejected by the Salon
in 1867 or one of the developments from them which
were painted in the years that followed. The facetious
title was invented bv Guillaumin. The painter's ribald

delight in scabrous, sprawling indulgence is a reminder,

which may surprise us at a time when the art of a great
painter is understood invariably to be in the best possible
taste, that conventional delicacy or indeed restraint never
figure in Cezanne's equipment.

provenance Ambroise Vollard, Paris; Bernheim-Jeune, Paris; Auguste

Pellerin, Paris; |ean-Yictor Pellenn, Paris; V ildenstein Galleries,
New York.

bibliography Ors, 1956, pi. 42; Raynal, 1936, pi. Will; J. Laver, Vreneb
Painting c~ the Xineteentb Century, London, 1937, pi. 1 1 3; di San Lazzaro,

1938, fig. 42; Cogniat, 1939, pi. 30; Rewald, 1939, fig. 42; Dorival, 1948,
pi.49 (commentaries, p. 151); Badt, 1956, pp. 226-7, z 4°; A. Chappuis, Les
Dessins de P. Cezanne au Cabinet des estampes du Musee des Beaux- Arts de Bale,
Olten and Lausanne, 1962, fig. 28; S. Lichtenstein, 'Cezanne and Delacroix',
The Art Bulletin, March 1964, fig. 1 1; Elgar, 1975, fig. 21; Rewald, 1986,
p. 68, ill.

124
28 Women dressing
( Femmes s'habillant)
c. 1 867
22 x , ; cm S \ x 1 ; in

V.93
lnscl 1 lombroich

This composition, somewhat in the vein of the idvllic

was given to Camille Pissarro,
figure pictures of J.-F. Millet,
who met Cezanne at the Academic Suisse and also owned
tour of the life drawings on which it was based (Ch.
201-204). It represents the first appearance in Cezanne's
art of the vivid and imaginative colouring which matured
in The Rape (cat. 31).

proven \N( l Camille Pissarro, Pans; Sale. Pissarro Collection, Galerie G.

Petit, Paris, ; Dec. 192S, no. 28, ill. (as 'Trois Baigneuses'); Bernheim-leune,
Paris; L'Art Moderne, Lucerne; Sale. 'L'Art Moderne' Collection, Hotel
Drouot, Paris, 20 June 193s, no. 22, ill. (as 'La Toilette'); Galerie Beyelcr.
Basel; Private Collection, Switzerland; Sale, Galerie Fischer, Lucerne, Nov.
1977, no. i^()S. ill., bought-in; Sale, Galerie Lempertz, Cologne, 6 Ma\
19-S. no. i)\, ill.; Private Collection. Paris; Sale, Sotheby's, London, 2 Dec.
1982, no. 40^, ill.

exhibitions Venice, Bicnnale, 1920, no. 1; (?) Paris, Galerie Bernheim-

leune. 19^4 (no catalogue); Basel, Galerie Beveler, 1
96-7, Impressionnistes,

no. 1; Basel, Galerie Beveler, 196^-8, Petits formats, no. 17, ill.

bibliography Riviere, 192;, p. 19^, listed; Raynal, 1936, pi. XX; |. Rewald,
'Sources d'inspiration de Cezanne', Amour dt FArt, May 1936, fig. 100.

126
29 The Rue des Saules,
Montmartre
(La rue des Saules a Montmartre)

c. 1 867
$1.5 x 39.5 cm I2.J x 15 I m
V.45
Private Collection

The stabbing strokes of the brush which succeeded the

palette-knife facture and were employed on Marion and
I alabregue (cat. were well suited to landscape and
25)
enabled Cezanne to paint a street in Montmartre, which
was hardlv within the range of the curling brush strokes
that he was to use for the figure pictures of 1867 (see cat.
30, 31). This is one of the most impulsive and expressive
of all Cezanne's pictures and, like the palette-knife still

lifes (cat. 12-14), enables one to foresee Expressionism.

provenance Armand Guillaumin, Paris; |os. Hessel, Paris; Georges

Renand, Paris; Estate of Georges Renand; Sale, Hotel Drouot, Paris,
20 Nov., 1987, no. 4, ill.

exhibitions Paris, Galerie Bernheim-Jeune, 1926, no. 27; Paris, Galerie

Pigalle, 1929, no. 25; Paris, Independants, 1959, no. 4; Paris, Orangerie,
195 5, Baroque prorencal no. , 9.

bibliography C. Borgmeyer, The Master Impressionists, Chicago, 1915,

ill; A. Zeisho, Paul Ce\anne, Tokyo, 1921, fig. 56; A. \\ arnod, Les
p. 136,

Peintres de Montmartre, Paris, 1928, p. 1 58, ill. opp. p. 144; A. Bertram,

Ce\anne, London, 1929, pi. 1 3; Rewald, 1936, fig. 25; J. Rewald, 'Paysages
de Paris, de Corot a Ltrillo', La Renaissance, Jan.-Feb. 193^, ill; F. Novotny,
Ce\anne und das Ende der uissenschaftlichen Perspektive, Vienna, 1 93 8, p. 206,
no. 1 14; Dorival, 1948, pi. 9; S. L'chida, Ce\anne, Tokyo, i960, p. 17, ill.;

R. \\ alter, 'L'n vrai Cezanne: "La Yue de Bonnieres"', Gazette des Beaux-
Arts. Mav- |une 1963, p. 363; L. Reidemeister, 'L'lle de France et ses
peintres', Oeil, 1965, p. 20, ill.; Rewald, 1986, p. 57, ill.

128
 .

30 The Negro Scipion proylnancl Ambroise Yollard, Paris; Claude Monet, Givcrnv; Michel
Monet, Giverny; Paul Rosenberg, Paris; Wildenstein Galleries, Paris,

(Le Negre Scipion) London and New York.

1 xhibittons Paris, Exposition Colon/ate Internationale de Paris, 195 1, n.n., ill.;

f.1867
Basel, Kunsthalle, 1936, no. 2; Paris, Paul Rosenberg, 1939, no. 1, ill.;
107x83 cm 42^x32^ in
London, Rosenberg & Helft, 1939, no. 1, ill.; Brussels, Palais des Beaux-
Y.ioo Arts, 19-p-S, De David a Cezanne, no. 137; Chicago, Art Institute, 1952,
Museo de Arte, Sao Paulo no. 4, ill. - New York, Metropolitan Museum, 1952, no. 4, ill.; Paris,
Orangerie, 1953-4, Chefs-d'oeuvre du Muse'e d' Art de Sao Paulo, no. 2, ill.;

Scipion was a model at the Academie Suisse in Paris London, Tate Gallcrv, 1954, Masterpieces from the Sao Paulo Museum of Art,
where Cezanne often went to draw from 1862 onwards; no. 44; Milan, Palazzo Rcalc, 1 9 5 4- s , Masterpieces from the Sao Paulo Museum
he must have posed in Cezanne's own studio for this '. no. 63, ill.; New York, Metropolitan Museum, 1957, Paintings jrom

picture. There is a pronounced resemblance to the dusky the Sao Paulo Museum, no. 4;, ill.; Munich, Haus der Kunst, 1964-5,
Tran^os/sche Malerei des 19. Jahrhunderts, eon David bis Ce\anne, no. 18, ill.;
seducer in The Rape (cat. 31), both in the type of model
Tokyo, National Museum of Western Art, 1974, no. 3; Madrid, Museo
and in the style, in which long brush strokes snaking
Espanol dc Arte Contemporaneo, 1984, no. 2, ill.; Tokvo, Isetan Museum
energetically upwards alternate with strips of colour that of Art, 1986, no. ill.
3,
curl downward where the form is inert. A similar range is
bibliography L. Yauxcelles, 'Une apres-midi chez Claude Monet', Art et
seen in Sorrow, or Mary Magdalen (cat. 33) and in Christ in
Its artistes, 190s, p. 89; Bernheim-Jeune (ed.), Cezanne (with contributions
'Limbo (cat. 32) from which it has been severed. Although
by O. Mirbeau, Th. Duret, L. W'erth etc), Paris, 1914, pi. XII; Vollard,
the style of the pictures, both of them paraphrases of old 1914, pi. 4; Meier-Graefe, 1922, ill. p. 86; H. von Wedderkop, Paul Ce\anne,
masters, is considerably different from this more svstematic Leipzig, 1922 (pi. II), ill.; T. Klingsor, Cezanne, Paris, 1923, p. 1 1; Riviere,

painting from nature, there are good reasons for dating 1923, p. 197, listed; M. Elder, Che^ Claude Monet a Giverny, Paris, 1924,
Gasquet, 1926, p. 47; Pfister, 1927, fig. 17; Iavorskaia, 1935, pi. 6;
these works together and The Rape (cat. 31) is one of p. 49;

Ors, 1936, pi. 1; Raynal, 1936, pi. VII; di San Lazzaro, 1938, fig. 1; Barnes
Cezanne's few pictures that bear a date. The probabilitv is
and de Mazia, 1939, no. 24 listed; J Rewald, The History of Impressionism, .

therefore that Scipionwas painted from life in Paris in New York, 1946, p. 141, ill.; J. Rewald, The History of Impressionism (second
1867. The was the high point of a rhythmical
picture edition), New York, 1955, ill. p. 141; P. Bardi, The Arts in Brazil, Milan,
handling of paint which reversed the slab-like solidity of 1956, pi. 367; Dorival, 1948, Rewald, The History of Impressionism,
pi. 8; J.

1866 and re-established the opposite principle in Cezanne's New York, 1961, p. 1 58, ill.; L. Guerrv, Ce\anne et I' expression de 1'espace

The picture belonged to Monet, who hung it in his

art. (2nd edition), Paris, 1966, pi. 5; R. Gimpel, Journal d'tin collect ionneur marchand
de tableaux, Paris, 1963, p. 155; Ikegami, Tokyo, 1969, pi. 2; Schapiro, 1973,
bedroom with the other favourites from his collection
p. 56, ill.; Elgar, 1975, fig. 18; N. Ponente, Paul Cezanne, Bologna, 1980,
and delighted to point it out as '//« worcean de premiere force'
p. 25, ill.; D. Coutagne, Cezanne an Muse'e d'Aix, Aix-en-Provence, 1984,

p. 183, ill.; B. Bernard, The Impressionist Revolution, London, 1986, p. 113,

ill.; Rewald, 1986, p. 48, ill.

130
 ;

31 The Rape 1930; Galerie E. Bignou, Paris; Societe La Peinture Contemporaine,

Lucerne; Sale, Yente de la Dissolution d'une Societe, Galerie Charpentier,
( L Enlevement)
' Paris, no. 4, ill.;
J. Maynard Keynes, London; Lady Keynes, London.

f.1867 exhibitions New York, Arden Gallery, 1917, n.n; Paris, Galerie G. Petit,

90.5 x117 cm 35^x46 in

1930, Cent ans de peinture francaise, no. 26; London, Reid & Lefevre, 1933,
Ingres to Ce\anne, no. 3, ill.; Cleveland, Cleveland Museum, 1934, French
Signed and dated: 6j Cezanne
Art, no. Ottawa, National Gallery of Canada, 1934, French Painting of the
3;
V.101
tpth Century, no. 10, ill. —
Toronto, Art Gallery of Ontario, 1934, n.n. —
The Provost and Fellows of King's College, Montreal, Art Association, 1934, n.n; London, Reid & Lefevre, 1935,
Cambridge (Keynes Collection), on loan to the no. 1, ill.; Paris, Renou & Colle, 1935, n.n; Chicago, Art Institute, 1952,
Fitzwilliam Museum, Cambridge no. 6, ill. — New York, Metropolitan Museum, 1952, no. 6, ill.; Paris,

Orangerie, 1953, Baroque provencal no. , 6; Edinburgh, Royal Scottish

This most traditional of Cezanne's compositions was Academy, 1954, no. 4 — London, Tate Gallery, 1954, no. 4, pi. II.

it is said in his house in rue La Condamine.

painted for Zola,
bibliography J. Meier-Graefe, Entwicklungsgeschichte der modernen Kunst,
Some have thought to connect the subject with the writer's Stuttgart, 1904, pi. 62; T. Duret, Histoire des peintres impressionnistes, Paris,
Romantic early stories, but Mary Lewis has now recog- 1906, p. 171, ill.; Meier-Graefe, 1910, p. 9, ill.; Meier-Graefe, 1913, p. 9, ill.;

nised that the girdle in the hands of one of the victim's Meier-Graefe, 191 8, ill. p. 86; Meier-Graefe, 1920, ill. p. 86; Meier-Graefe,

companions Persephone abducted by

establishes her as Munich, 1922, p. 9, ill. p. 92; Meier-Graefe, 1923, p. 1 1, ill.; F. Burger,

Pluto to his nether kingdom. The shaded vale and the Ce\anne und Hod/er (fifth edition), Munich, 1923, pi. 45; Riviere, 1923,

pp.46, 198, listed; H.O. Havemeyer Collection, Portland, Maine, i93i,p. 501;
elements of the drama are in fact shown somewhat as in
P.G., Konody and the Countess of Lathon, Introduction to French Painting,
Niccolo dell'Abbate's picture in the Louvre with a reduction
London, 1932, p. 232, ill.; Rewald, 1936, fig. 14; Rewald, 1939, fig. 1 5;
in the attendant nymphs and the inclusion of Mont Sainte- Barnes and de Mazia, 1939, no. New 8; Rewald, York, 1939, p. 24, ill.;

Yictoire doing dutv for Aetna in the background. ]. Rewald, The History of Impressionism, New York, 1946, p. 140, ill.;

The nymphs were studied in at least one drawing \X . Kuhn, 'Cezanne: Delayed Finale', Art News, April, 1947, p. 56, ill.;

(Ch. 199) and were used not dissimilarly in Women dressing Dorival, 1948, New York, 1948, fig. 24; J. Rewald, The
pi. 11; Rewald,
History of Impressionism (second edition), New York, 1955, p. 140;
(cat. 28) at about the same time. The controlled incan-
ill.

G. Berthold, Ce\anne und die alten Meister, Stuttgart, 1958, pp. 45, 46, fig. 72;
descence of colour in both pictures introduced a new Rewald, The History of Impressionism New York,
J. , 1961, p. 158, ill.;

potentiality to Cezanne's work while the figure invention S. Lichtenstein, 'Cezanne and Delacroix', The Art Bulletin, March 1964,
followed a tradition extending from Tintoretto to Daumier pp. 57, 58, fig. 3; P. Pool, Impressionism, New York, 1967, pi. 140; Schapiro,
which remained of lasting value to him. 1973, p. 26, ill.; Elgar, 1975, pi. 9; Wadley, 1975, pi. 81; D. Coutagne,
Ce\anne au Musee Aix, Aix-en-Provence, 1984, p. 184, ill.; B. Bernard, The
d'

provenance Emile Zola, Medan; Sale, Zola Collection, Hotel Drouot, Impressionist Revolution, London, 1986, p. 236, ill.; R. Pickvance, Cezanne,
Paris, 9-13 March, 1903, no. 11;; Ambroise Yollard, Paris; Durand-Ruel, Tokyo, 1986, p. 27, ill.; Rewald, 1986, p. 79, ill. p. 50; F. WeitzenhorTer,
Paris and New York, acquired for H.O. Havemeyer, New York; Sale, The Havemejers: Impressionism comes to America, New York, 1986, p. 147,
Havemeyer Collection, American- Anderson Galleries, New York, 10 April pi. 1 16.

!3 2
32 Christ in Limbo was a perfectly orthodox Easter subject, if a rather ambitious
and unbridled one, and that the separation of the two
( Le Christ an.x Liwbes) parts, ostensiblv to rectify their disproportion, sacrifices
an essential character of one of the most individual of
f.1867
no x 9-7 cm 67 x ^8 4 in
Cezanne's early designs. The two parts are now perhaps
destined to enter different collections. This must be ac-
V.84
Private Collection counted a grave loss.

The two parts are now well under-

characteristics ot the
This and Sorrow, or Mary Magdalen (cat. 33) are the two stood. The Christ inLiwbo was derived from Charles
parts of the picture which was divided when it was removed Blanc's illustration of a picture in the Prado which is now
from the wall of the salon at the Jas de Bouffan. Mary known to be by Sebastiano del Piombo. It has been
Lewis has shown that the original picture in its entirety thought that the publication of Charles Blanc's book,

Christ in Limbo and the Magdalen, c. i 867, before the picture was cut.

136
L'Eco/e espagnole in 1 869 established a terminal date before 33 Sorrow, or Mary Magdalen
which Cezanne's original picture could not have been
painted. This overlooks the fact that the illustration of (La Douleur ou La Madeleine)
the Sebastiano appeared in 1867 in one of the periodical
c.i 867
parts in which the book was published. This is established
165 x124cm 65x48! in
by its recorded reception by the Library of Congress and by
V.86
the fact that it also formed the source of a lithograph
l
Musee d'Orsay, Paris
by Daumier which appeared in the same year, Non! mes
enfant s . . . March
vous n'etes pas de cette piece-la.' (Charivari, 8 See cat. 32.
1867). The other part, Sorrow, or Mary Magdalen, which is
now divided from it, must have been painted at the same provenance Jas de Bouffan, Aix-en-Provence; Louis Granel,

time. It appears to the present compiler that for this

Aix-en-Provence; Jos. Hessel, Paris; Marius de Zayas, New York; Alphonse
Kann, Saint-Gcrmain-en-Laye; Bokanowski, Paris.
Cezanne is likely to have drawn on a work of the same
subject by Domenico Feti in the Louvre (fig. 9), although exhibitions Zurich, Kunsthaus, 1917, P'ran^osische Kunst desXIX undXX.
a number of other possible sources have lately l>ccn suggested. jahrhunderts, no. 20; New York, Metropolitan Museum, 1921, Impressionist
and Post-Impressionist Paintings, no. 2; New York, Modern Gallery
(de Zayas), 1921 (Croup Exhibition), n.n; Paris, Orangerie, 1933, Baroque
provenance Jas de Bouffan, Aix-en-Provena 1 Grand,
Aix-en-Provence; Jos. Hcsscl, Paris; Augustc Pellerin, Paris; Rene Lecomte,
provencal, no. 2, pi. XXIV; Paris, Orangerie, 1954, no. 1 2, pi. V; Paris,
Orangerie, 1974.no. 1.
Paris.

bibliography Coquiot, 9 19, p. 41; F. Burger, Ce\anne and Hodler (fourth

exhibitions Paris, Orangerie, 19j6.no. 7; Paris, Orangerie, 1954.no. 11. 1

edition), Munich, 1920, pi. 188; R. Carroll, The ledger (Philadelphia),

BIBLIOGRAPHY M. Denis, Ihiorits, Paris, 191 2, pp. 259 40; F, Burger, 8 Sept. 1921; Gasquct, 1 921, ill. opp. p. ioz; Meier-Graefe, 1922, ill. p. 9-;
Ce'ranne und I lodler (fourth edition), Munich, 1920.pl. 188; (iascjuct, 1921,
F. Burger, Cezanne und Hodler (fifth edition), Munich, 1923, pi. 186; Riviere,
opp. p. 104; Meier-Graefe, 1922, ill. p. 99; F. Burger, < r^anne und
ill.
1923, p. 199, listed; Ptister, 1927, fig. 15; Ors, 1930, p. 50, ill.; H. Adhcmar,
Hodler (fifth edition), Munich, 1925.pl. 186; Riviere, 192;, p. 197, listed, ill.
Catalogue des Peintures, Pastels, Sculptures Impressionnistes du Musee du Iuiuire,
opp. p. 6 and detail p. 165; Fry, Dec. 1926, p. 590, ill.; Fry, 1927, pi. I;
Paris, 1958, p. 15.no. 29; G. Bazin, L 1
1 mpressionnisme au Ixiuvre, Paris, 19S8,
Pfister, 1927, fig. 15; I
;
ry, Samlerrn, 1929, p. 102, ill; R. Huyghe, Cezanne, 1415, H. Sterling and II. Adhcmar, \m Peinture au Musee du
pp. 1 ill.;

Paris, 193(1, pi. ij; J. Rewald, 'Sources d'inspiration de < ezanne', Amour de 1 jiuvre, Paris, 1958, fig. 246; Schapiro, 1973, p. 36, ill.; Elgar, 19^3, rig. 14;

f Art, May 1956, fig. 92; F. Novotny, Ce\aimt, Vienna, 1957, pi. 1; Barnes (1 Adriani, Paul Ciianne, Per UeheskampJ Munich, 1980,
' , pi. 10;
and de Mazia, 1959, no. 1 1, ill. p. 1 5 3
(analysis p. \ 1 1 ); Dorival, 1948, \ I'onente, Paul (e\anne, Bologna, 1980, p. 23, ill.; M. Lewis, 'Cezanne's
pi. Ill; A. Malraux, Lw I oix du silence, Paris, 195 1, pp. 576 7, ill.; Schapiro, "Harrowing of Hell and the Magdalen",' da^ette des Beaux Arts, April
1973, p. 1 1, ill.; M. Lewis, 'Cezanne's "Harrowing of Hell and the 1981, pp. 173 8, fig. 1; T. RerT, 'Cezanne: The Severed Head and the
Magdalen"', Gavetii dis Btaux-Arts, April [981, pp. 1
7 < «,tig. i;T. Reff, Skull', Arts, Oct. 1983, p. 92, fig. 9; C. Kiefer, 'Cezanne's "Magdalen":
'Cezanne: The Severed Head and the Skull', Irts, Oct. 198}, p. 94, fig. 12; A New Source in the Musee Granct. \i\ en Provence', Ca^ettedes Beaux-
D. Coutagne, drama au Mush £ Iwr, \i\ en Provence, 1984, p. 1 16, ill.
Arts, Feb. 19X4, p. 92, fig. 1.

137
 —

L\V

34 The Murder no. 2, ill. — New York, Metropolitan Museum, 1952, no. 2, ill.; Aix-en-
Provence, Musee Granet, 19j5.no. 2, ill. —Nice, Musee Massenas, 1953,
(Le Meurtre) no. 2 — (?)Grenoble, Musee des Beaux-Arts, 195 3, no. 2; Baltimore,
Baltimore Museum, 19S4, Man and bis Years, no. 9s, ill.; \\ ashington, DC,
f.1867 -
Corcoran Gallery, 1 9 s 6, I 'isionaries and Dreamers, no. 37; Zurich,
64 x 81 cm 2^ x 3 1 \ in Kunsthaus, 19^6, no. 5, ill.; Munich, Haus der Kunst, 1956, no. 2, ill.;
V. 121 Yienna, Belvedere, 1961, no. 4, pi. 2; London, Institute of Contemporary

National Museums and Galleries on Merseyside, Walker Arts. 1 964, Aspects of I iolence, n.n.; Tokyo, National Museum of Western
Art Gallery Musee Saint-Georges, 1982, Ce\anne, no. 2
Art, 19^4, no. 7; Liege,
Aix-en-Provence, Musee Granet, 1982, no. 2; Madrid, Museo Espanol de

The violence of the subject unbalanced its presentation. Arte Contemporaneo, 1984, no. 6, ill.

The artist has been content with a considerable degree ot bibliography M. Denis, 'Cezanne', Kunst und Kunstler, 1913, p. 279, ill.;
distortion. It may be that the subject was drawn from a P. Schumann, 'Franzosische Ausstellung in Dresden', Die Kunst fiir Alle,

popular broadsheet. A
popular print of a scene ot violence July 1914, p. 480, ill.; Meier-Graefe, 1918, ill. p. 92; A. Popp, 'Cezanne,
Elemente seines Stiles, anlasslich einer Kritik erortert'. Die bildenden Kunste,
was .ipparentlv represented on the wall behind the model
19 9, ill. p. "9; Meier-Graefe, 1920, ill. p. 92; Meier-Graefe, 1922, ill.
in the now lost Femme nut (see hg. 1 2), and The Murder
1
1

p. 104; Riviere, 1923, p. 199, listed; Meier-Graefe, 1927, pi. VII; Pfister,
was probablv derived from some such original.
192^, tig. 21; Fry, Samleren, 1929, p. 99, ill.; Iavorskaia, 1935, pi. 10; Barnes
and de Mazia, 1939, no. 20, ill. p. 161; Rewald, New York, 1948, fig. 28;
pko\ ln \n< L Ambroise Yollard, Paris; Paul Cassirer, Berlin; Sally Falk,
Schapiro, 1952, p. 21, ill.; Badt, 19^6, p. 226; F. Novotny, Painting and
Mannheim; Paul Cassirer, Berlin; Dr lulius Elias, Berlin; Wildenstein
Sculpture in Europe I/80—1S80, London, i960, p. 172, fig. B; P. Feist, Paul
Galleries, Pans, London and New York.
Cezanne, Leipzig, 1963, pp. 1 2, 22, 54, pi. 6; Schapiro, 1973, p. 7, ill.;

exhibitions Cologne, Kunstverein Gemaldegalerie, 191 3, D. Sutton, 'The Paradoxes of Cezanne', Apollo, August 1974, pi. 4;
Erojfnungsausstellung. no. 8; Berlin, Berliner Secession, 1913, no. 24a, ill.; A. Barskava, Paul Ce\anne, Leningrad, 1975, p. 19, ill.; Wadley, 197;, pi. 83;

Dresden, Galerie Ernst Arnold, 1914, Fran^osiscbe Malerie des XIX. Yenturi, 1978, ill. p. 49; G. Adriani, PauICe\anne, Der EiebeskampJ, Munich,
jahrhunderts, no. 8; Berlin, Paul Cassirer, 1914, Sommeransstellung, no. 8, ill.; 1 980, pi. 1 2; D. Coutagne, Ce\anne au Musee d'Aix, Aix-en-Provence, 1 984,
Berlin, Paul Cassirer, 191 s {Group Exhibition), no. S4; Berlin, Paul Cassirer, p. 186, fig. 4; B. Bernard, The Impressionist Revolution, London, 1986, p. 237,
1921.no. 1, ill.; Basel, Kunsthalle, 1936, no. 6; Chicago, Art Institute, 19^2, ill.; Rewald, 1986, p. 52, ill.
35 Preparation for the Funeral, characteristic of advanced painting at the time, was clearly
influenced by Spanish painting and by Manet.
or The Autopsy The picture was also affected both by life drawings
made at the Academie Suisse and by a drawing for an
(La Toilette fune'raire ou L'Autopsie) Entombment by Fra Bartolommeo in the Louvre, which
Cezanne copied. Like no other painter, except perhaps
f.1868
his Russian contemporary N.N. Ge, Cezanne in the 1860s
49 x80 cm 195x31 j in

V. 105
was seeking an identifiably tragic style.
Private Collection
provenance Ambroise Vollard, Paris; Auguste Pellerin, Paris; Rene
Lecomte, Paris.
The subject was probably suggested by pictures of the
Entombment by Ribera acquired for the Louvre in the exhibitions Paris, Orangerie, 1953, Baroque provenca'I, no. 7; Paris,

Orangerie, 1954, no. 14; Basel, Galerie Beyeler, 1983, no.

1860s. There is possibly a relationship with a work by 5.

Ribera exhibited from the beginning of 1869 and this bibliography C. Borgmeyer, The Master Impressionists, Chicago, 191 3,
may indicate the date of Preparation for the Funeral. There p. 272, ill.; Vollard, 1914, pi. 48; E. Stuart(?), 'Cezanne and His Place in

are also parallels with examples that became available Impressionism', Fine Arts Journal, May 1917, p. 338, ill.; Meier-Graefe,
191 8, ill. p. 87; Meier-Graefe, 1920, ill. p. 87; Meier-Graefe, Munich, 1922,
earlier. The realism of the seventeenth century, which was
ill. p. 98; H. von VC'edderkop, Paul Ce\anne, Leipzig, 1922 (pi. Ill);
of general interest in the 1860s, had a special value to
Riviere, 1923, p. 196, listed, ill. p. 67; Fry, Dec. 1926, p. 389, ill; Fry, 1927,
Cezanne, although he is never thought of as a realist. The 5-16, pi. II; Meier-Graefe, 1927, pi. IV; Pfister, 1927, 20; Fry,
pp. 1 fig.

bald head, for example, is reminiscent of similar details in Sam/eren, 1929, p. 101, ill.; Ors, 1930, p. 1 3, ill.; Riviere, 1933, p. 5, ill.; Ors,
Caravaggio's Death of the Virgin; there is another resem- 1936, pi. 37; Raynal, 1936, pi. V; F. Novotny, Ce\anne, Vienna, 1937, pi- 8;
blance in Cezanne's Murder (cat. 34). M.L. Krumrine di San Lazzaro, 1938, fig. 37; Barnes and de Mazia, 1939, no. 15, ill. p. 1 56;
Cogniat, 1939, pi. 5; Riviere, 1942, p. 7, Dorival, 1948, pi. 12;
(q.v. p. 22) points out the curious parallel between the bald
ill.;

G. |edlicka, Ce\anne, Berne, 1948, fig. 5; F. Jourdain, Ce\anne, Paris and

and bearded figure and the painter, named
in this picture
New York, 1950, ill.; L. Guerry, Ce\anne et I' expression de I'espace (2nd
Laurent, but evidently modelled on Cezanne, who murders
edition), Paris, 1966, pi. 3; Elgar, 1975, fig. 10; G. Ballas, 'Paul Cezanne et
the husband of Therese Raquin in Zola's novel of that la Revue "1' Artiste"', Gazette des Beaux-Arts, Dec. 1981, fig. 1 2; Rewald,
name, then haunts the morgue in search of his victim's 1986, p. 5 1, ill.

corpse. The unity of sombre tones, which was a common

140
36 Winding Road in Provence
( Route tournante en Provence)

f. 1 868
91 x ~i cm 55J5 x 28 in
V.53
The Montreal Museum of line Arts; Adeline Van I lorne
Bequest

In the later 1860s, Cezanne began to render his subjects

in patterns of flat, encrusted paint which he was to use
again in his first winter in Auvers.

provenance Ambroise Vollard, P.ms: Bemhcinv |eune, Paris; \\ illiam \ an

1 lorne. Montreal.

exhibitions Montreal, Art Association, 1953, The Sir William van Home
'ion, no. 14M): New York, \\ ildenstein Galleries, 19(9, no. \, ill.

BIBLIOGRAPHY Rewald, HjSd.p. $6, ill.

Mi

11k
37 Standing Bather, drying
her Hair
(Baigneuse debout, s'essuyant les cheveux)

c.i 869
29 x 13 cm njxi in

V. 114
Private Collection

This is an early stage in the evolution of a pose which

was frequently repeated in later compositions of bathers.

provenance Auguste Pellerin, Pans; Rene Lecomte, Paris.

exhibition Paris, Orangerie, 19s4.no. 18.

144
38 Bathers
(Ba/emur et baig>wnses)

r.1870
20 x 40 cm ^ s x \%\ in

Signed lower left in red: P. Cezanne

V.113
Private Collection

The hrst of Cezanne's compositions of bathers, and one

of the ven tew to include both sexes. He seems to have
drawn the subject in the middle 1860s but the painting
which shares the general lightening of palette after 1870
can hardly have been painted before that year. The poten-
tialities of such bather subjects were fully realised after

l87<i.

PR(ivt\A\tt Ambroise \ ollard, Paris; Marie Dormov, Paris; (?) Galerie F..

Bignou, Paris; Paul Pctrides, Paris; New York; Charles

knocdler Galleries,
Sessler; I.H. Vogel, Philadelphia; Sale, Parke-Bernet, New York, 22 April,

19S4. no. 8;, Private Collection, USA.; Stephen Hahn, New York and
ill.;

Knoedler Galleries, New York; Yul Brvnner, Lausanne; Sale, Christie's,

London, 14 April, icpo, no. 61, ill.; \\ ildenstein Galleries, New York.

bibliography G. Berthold, Ce\anne unddie alien Meister, Stuttgart, 19^8,

pp. 46, 4-, fig. - 1 ; S. Geist, 'Cezanne: Metamorphosis of the Self, Artscribe,
Dec. 1980, tig. 7.

146
39 The Feast (The Orgy)
(Le Festin [L'Orgie])
c. 1870
130 x 81 cm 5 1 x 3 \\ in
V.92
Private Collection

The subject of this picture has been identified by Mary

Lewis as the feast of Nebuchadnezzar in Flaubert's
Temptation of St Anthony. Her studies are summarised
in this book (q.v. pp. 32-6). The present compiler finds

it easier to imagine the high tone and granular colour of

this picture in Cezanne's development after 1870 than
before. The theme from Flaubert adds a sense of terminal
excess which supplements the action and the style. The
phase of fanciful reverie in Cezanne's development was
drawing to and within three years it had been
a close
entirely supplanted by the objective vision and analytical
colour of his Impressionist contemporaries. The figures
and such decorative details as the urn show numerous
links with Cezanne's occasional fanciful subjects of the
1870s; the obvious affinities with Veronese (see fig. 24)
evoke the adaptations of Venetian colour that were common
in the Impressionist years. Cezanne attached special value
to this picture and included it in his first one-man show
with Vollard in 1895.

provenance Ambroise Vollard, Paris; Auguste Pellerin, Paris; Rene

Lecomte, Paris.

exhibitions Paris, Galerie Vollard, 1895, n.n; Paris, Galerie Bernheim-

Jeune, 1926, no. 21.

bibliography G. Geffroy, La vie artistiaue, Paris, 1900, pp. 215-16; Vollard,

1914, pp. 31, Gasquet, 1921, ill. opp. p. 28; C. Glaser, Paul Cezanne
Leipzig, 1922.pl. 3 (as 'Bacchanal c. 1870'); Meier-Graefe, 1922, ill. p. 95;

Riviere, 1923, p. 198, listed; E. Bernard, Souvenirs sur Paul Ce\anne, une
conversation avec Ce\anne, Paris, 1926, ill. opp. p. 94; Gasquet, 1926, ill.; Fry,

1927, pp. 10-13; Ors, I 93°. ill-J Ors, '936, pi. 40; Raynal, 1936, pi. XXI; di

San Lazzaro, 1938, fig. 40; Barnes

and de Mazia, 1939, no. 4 (listed);
Dorival, 1948, pi. 10; Raynal, 1954, pp. 18 (detail), 20; F. Novotny, Ce\anne,
London, 96 1 1 ,
pi. 2; A. Chappuis, Les Dessins de P. Ce\anne au Cabinet des
estampes du Muse'e des Beaux-Arts de hale, Olten and Lausanne, 1 962, fig. 2;

T. Reff, 'Cezanne's "Dream of Hannibal"', Art Bulletin, June 1963, p. 151,

fig. 1 (vol. XLV), Art Bulletin, March 964, p. 8, fig. S. Lichtenstein, 1 5 5 ;

'Cezanne and Delacroix', The Art Bulletin, March 1 964, fig. ; M. Schapiro, ;

'The Apples of Cezanne: An Essay on the Meaning of Still-life', Art News

Annual, 1968, pi. 4; R. Huyghe, LTmpressionisme, Paris, 1971, p. 224, ill.;

Schapiro, 1973, p. 26 ill.; Elgar, 1975, fig. 5; VC'adley, 1975, pi. 18; Venturi,

1978, ill. p. 54; Rewald, 1983, p. 88, ill.; R. Pickvance, Ce\anne, Tokyo,
1986, p. 62, ill.

148
40 A Modern Olympia was felt to emit the tone,
purpose, but merely spitting it out, was certainly regarded
not using it to expressive

(The Pasha) as a criticism - a criticism that Cezanne's farouche compo-

sitions of 1870 implicitly launched and intentionally escaped.
(Une Mode rne Olympia Le Pacha )
Manet was lacking in temperament and the fact pointed
to a shortcoming in the endeavour to re-establish tone
ci 869- 70
painting, painting in flat patches within defined contours
56x55 cm 22 x 21 J in
on the model of the seventeenth century and particularly on
V.106
the reticent pattern of Spanish painting.
Private Collection
The design of A Modern Olympia has in fact an astonishing
Like his Dejeuner sur FHerbe (cat. 51) of around 1870, boldness, embellished with grandiose grotesqueries, exactly
Cezanne's Modern Olympia has an evident relationship to the qualities that the historicist belle peinture of the nineteenth
Manet's noted masterpiece which originated the title (see century avoided and Fry was not the only critic that it left

fig.51). Yet the precise reference is not readily defined. at a loss. From the standpoint of Cezanne's Impressionist
Roger Fry observed that it was not easy to specify any contemporaries, inventive boldness was a serious obstacle
but an ironic meaning in Cezanne's Modem Olympia, but to appreciation and it was avoided by the more scattered
that the vision 'clumsy and almost ridiculous as it is, notation of Cezanne's second version of the subject painted
imposes itself on us by its indubitable accent of sincerity.' at Auvcrs with the advice of Dr Gachet in 1873 (fig. 18,
In tact, the content of these pictures has been the subject Musee d'Orsay, Paris). M.L. Krumrine's perceptive com-
of considerable doubt. It should be observed that all these mentary deals largely with that later version rather than
variations contain an element which is lacking in the the earlier which figures in this exhibition (q.v. pp. 28-9).
famous themes that they follow. They all contain, usually
in the foreground, a figure that is identifiable as their provenance Paul Cezanne lils, Paris; Ambroise Vollard, Paris and
Bernheim-Jeune, Paris; Bcrnheim-Jeune, Paris; Auguste Pellerin, Paris;
painter, Cezanne himself. No figure that could be associated
Rene Lecomte, Paris.
with Manet ever appeared in the canvases that initiated
these themes. On the contrary, Manet was conspicuously EXHIBITIONS Paris, Orangcric, 1936, no. 16; Paris, Orangerie, 1954, no. 19,

pi. VIII.
absent and was perhaps open to criticism for that fact.
Cezanne had no admiration for impersonality in painting. bibliography Meicr-Graefe, 1918, ill. p. 96; Coquiot, 1919, ill. opp. p. 144;

He and Zola felt rather that the signs of temperament that Meier-Graefe, 1920, ill. p. 96; Meicr-Graefe, 1922, ill. p. 109; C. Glascr,
Paul Cezanne, Leipzig, 1922, pi. 4; Riviere, 1923, p. 202, listed, ill. opp.
identified a painter were the essence of his contribution.
p. 50; Fry, Dec. 1926, p. 391, ill.; Fry, 1927.pl. Ill, pp. 16-17; Meier-Graefe,
Similarly, the reticence of Manet's tacbes and the neutrality
192^, pi. XI; A. Burroughs, 'David and Cezanne, Presenting the case of
of the atmosphere in which his subjects materialised were
thought versus feeling', The .Arts, Sept. 1929, p. 1 1 1, ill.; Fry, Samleren,
quite unlike the bulging volumes curvaceouslv outlined 1929, p. 103, ill.; Riviere, 1933, p. 55, ill.; Iavorskaia, 1935, pi. 11; Ors,
in Cezanne's modernisation of Olympia, and from the 1936, pi. 46; Ravnal, 1936, pi. XVI; di San Lazzaro, 1938, fig. 46; Barnes

stormy evening light established with originality and beauty and de Mazia, 1939, no. 33, ill. p. 178 (analysis p. 314); Riviere, 1942, p. 53,

in the similarly modernised Dejeuner sur 1'Herbe (cat. 5 1). ill.; G. Schildt, Cezanne, Stockholm, 1946, fig. 16; Dorival, 1948, pi. VIII;

L. Gucrrv, Cezanne et I' expression de I'espace, Paris, 1950, fig. 3; Badt, 9 s 6,

The fact that Cezanne's versions of Olympia (see fig. 18) 1

p. 76; S. Lovgren, The Genesis of Modernism, Stockholm, 1919, p. 33, ill.;

have always been described as 'modern', certainly by his March
S. Lichtenstein, 'Cezanne and Delacroix', The Art Bulletin, 1 964,
wish, is significant. It implies that reticent tone painting fig. 9; L. Gucrrv, Ce\anne et /'expression de I'esptice (2nd edition), Paris, 1966,
seemed to Zola and Cezanne to be in the circumstances of pi. 1; Schapiro, 1973, p. s6, ill.; Venturi, 1978, ill. p. 52.

the 1 860s archaic, and the impersonality with which Manet

MO
41 The Robbers and the Ass art. This is the only one of the 1870 landscapes which
gives no sense of foreboding; for once the comedy is
(Les Voleurs et I'dne)
quite lighthearted.

i.\ 869-70
provenance Ambroise Vollard, Paris; Auguste Pellerin, Paris; Bernheim-
41x55 cm 16 x 2i| in
Jeune, Paris; Baron Denys Cochin, Paris; Ambroise Vollard, Paris; Paul
Y.108
Cassirer, Berlin; Adolf Rothermundt, Dresden; Hugo Perls, Berlin and
Civica Galleria d'Arte Moderna - Raccolta Grassi - Milan Georg Caspari, Munich; Grassi, Cairo.

Cezanne's paintings rarely entertain, as hisdrawings often exhibitionsParis, Grand Palais, 1907, Salon d'Automm, no. 9; Munich,

Moderne Galerie (Heinrich Thannhauser), 9 2, no. 5 Berlin, Paul Cassirer,

do. The narrative figure pictures of around 1870 are in 1 1 ;

1 9 1 2 (Group Exhibition), no. 32; Cologne, Kunstverein Gemaldegalerie,

fact almost alone in being to any deliberate extent amusing.
1913, Erbjfnungsausstellung, no. 7; Berlin, Paul Cassirer, 191 3
(Group
The painting which illustrates the story of 'The Robbers Exhibition), n.n., ill.; Berlin, Paul Cassirer, 1921, no. 2; Berlin, Galerie
and the Ass' from Apuleius gives a clue to the source of Hugo Perls, 1925, Von Delacroix bis Picasso, no. 3; Berlin, Hugh Perls, 1927,
this uncommon element because not only the storv but Zue/te Ausstellung, no. 7; Liege, Musee Saint-Georges, 1982, no. 3
— Aix-en-
the style, with an element of jocular Baroque, was certainly Provence, Musee Granet, 1982, no. 3; Milan, Palazzo Reale, 1983,/arr)' e la

due to Daumier. This is the closest link with Daumier Patafisica, n.n.; Madrid, Museo Espanol de Arte Contemporaneo, 1984, no.

anywhere in Cezanne's work and leads one to ask whether 5; Tokyo, Isetan Museum of Art, 1986, no. 6, ill.

the rhythmical flourish which recurs from time to time bibliography Meier-Graefe, 191 8, ill. p. 94; A. Popp, 'Cezanne, Elemente

almost throughout his work was specifically Provengal in seines Stiles, anlasslich einer Kritik erortert', Die bildenden Kunste, 1919, ill.

p. 183; Meier-Graefe, 1920, p. 94; Meier-Graefe, 1922, p. 106;

character. It was regarded in this light by some of his
ill. ill.

Riviere, 1923, p. 199, listed; Meier-Graefe, 1927, pi. IX; Pfister, 1927,
admirers, among them the Gasquets, and a serpentine
fig. 22; Iavorskaia, 193;, pi. 8; R. Huyghe, Ce\anne, Paris, 1936, pi. 46;
rhythm combined with some of the most solemn qualities Barnes and de Mazia, 1939, no. 18, ill. p. 158 (analysis pp. 307-8);
in his art. Such rhythms customarily carried an almost L. Guerry, Ce\anne et 1' expression de 1'espace, Paris, 1950, p. 25; R. Feist, Paul
savage energy, akin to that which he later drew in the Ce\anne, Leipzig, 1963, pp. 12, 22, pi. 4; Chappuis, 1973, vol. I, p. 198;

sculpture of Puget, a quality far removed from the sense Venturi, 1978, ill. p. 49; N. Ponente, Paul Ce\anne, Bologna, 1980, pi. 4.

of well-being which accompanied the buoyancy of his

M2
153
42 Contrasts
(Contrastes)

c. 1869 -

50 x 40 cm 19J x 1 S4 in
V.87
The Ian \\ oodner Family Collection, Inc.

The powerful contrast between the head of a bearded

man and the silhouette of a woman in front of him
originally formed part of the decoration of the salon of
the Jas de BoufTan (see cat. Like The Robbers and the
1, 4).

Ass (cat. 41), it is reminiscent of the rhvthmical stvle of

Daumier, though lighter and brighter in colour. It is also
likely to have been painted towards 1870. The bearded
man is company of his lover, as in
evidently seen in the
Courbet's Young Lorers in the Country (after 1844; Musee
du Petit Palais, Paris).

provenance las de Bouffan, Aix-en-Provence; Louis Granel,

Aix en-Provence; Dr F. Corey, Aix-en-Provence (Granel's grandson); Sale,
Maitre Blache, Versailles, 18 March, 1973, no. 93, ill.; Private Collection,
France.

bibliography Coquiot, 1 9 1 9, p. 41; E. Faure, P. Cezanne. Paris, 1926, pi. 1;

Novotny, 1937, pi. 3; R. Frv, letters of Roger Fry, London, 1972,

pp. 4^3-4, no. 469.

154
43 Paul Alexis reading at

Zola's House
(La lecture de Paul Alexis cbe^ Zola)

c. 1867-9
52 x56 cm 20^ x 22 in
V.i 18
Private Collection, Switzerland

If the amanuensis to whom Zola is shown listening or

dictating is, as has been supposed, Paul Alexis, Cezanne's

friend from Aix who joined Zola in Paris in September

1869, the picture must have been painted after that date
and before the circle broke up at the outbreak of the
Franco-Prussian War. However, this is far from certain
and the picture (cat. 47) which undoubtedly shows this
subject at this date is much more developed in stvle. The
style of cat. 43 would in itself lead to the conclusion that
it was painted between 1867 and 1869. A preparatory
drawing (Ch. 222) gives ground for similar doubts and has
been dated accordingly. It may well be that the date here
was confused in the Zola household with that of the later
picture. The heavily curtained interior deriving from Dutch
genre painting perhaps owes something to Dou's Dropsical
Woman, 'that wonderful picture', as Cezanne called it, if
not to Yermeer, who had become known in 1866 and
figured in one of Cezanne's sketchbooks.

provenance Emile Zola, Medan; Sale, Zola Collection, Hotel Drouot,

Paris, 9-13 March 1903, no. 113; Jos. Hessel, Paris; Auguste Pellenn,
Paris; Jean-Victor Pellerin, Paris; W'ildenstein Galleries, Paris, London and
New York.

exhibitions Paris, Grand Palais, 1907, Salona" Automne, no. 7; Paris, Galerie
Bernheim-Jeune, 1936, Cent ans de theatre, music-hall et cirque, no. 12, ill.;

Paris, Bibliotheque Nationale, 1 9 5 2, Emile Zola, no. 5 3; New York,

Wildenstein Galleries, 1972, Faces from the World oj Impressionism and Post-
Impressionism, no. 12; Tokvo, National Museum of Western Art, 1974,
no. 5.

bibliography A. Perate, 'Le Salon d'Automne', Gazette des Beaux-Arts,

1907, p. 388; F. Lehel, Cezanne, Budapest, 1923, ill.; Riviere, 1925, p. 198,

listed; Frv, Dec. 1926, p. 401, ill.; Fry, 1927, pi. IX, fig. 12; Ors, 1936,
pi. 41; Raynal, 1936, pi. VIII; Rewald, 1936, fig. 20; Novotny, 1957, pi. 9;

di San Lazzaro, 1938, fig. and de Mazia, 1939, no.

41; Barnes 23, ill. p. 1 54;
Rewald, 1939, fig. 23; G. Schildt, Ce\anne, Stockholm, 1946, fig. 11; Badt,

1956, pi. 25; J. Adhemar, 'Le Cabinet de Travail de Zola', Gazette des
Beaux- Arts, Nov. 1 960, p. 289, fig. 6; A. Chappuis, Les Dessins de P.
Cezanne au Cabinet des estampes du Musee des Beaux- Arts de Bale, Olten and
Lausanne, 1962, fig. 24 and no. 54; L. Guerry, Ce\anne et I' expression de

respace (2nd edition), Paris, 1 966, pi. 6; W. Andersen, Ce\anne's Portrait

Drawings, Cambridge, Mass. and London, 1970, p. 225, fig. 248a;
R. Pickvance, Ce\anne, Tokyo, 1986, p. 30, ill.; Rewald, 1986, p. 49, ill.

1 5 6
44 Young Girl at the Piano- Wagner was common to voung Frenchmen of the 1860s
and Baudelaire commended the Tannhauser Overture, first
Overture to Tannhauser played in Paris in i860, as 'voluptuous and orgiastic'.
Wagner's music was taken as a sign that moderation had
{Jeum fi/le an piano - L'O/trerfnre no place in a vigorous artistic temperament. It stood, in
tin Tannhauser) fact, for the convictions that Cezanne shared with Zola in

1866.
r.1869 70
r X92 cm 22] x j6| in
PROVENANCE Ambroise Yollard, Paris; Ivan Morosov, Moscow; Museum
Y.90 otModern \\ estern Art, Moscow.
Leningrad, The State Hermitage Museum
exhibitions Moscow, Museum of Modern Western Art, 1926, Paul Cezanne
- 'intent van Gogh, no. 2; Paris, Orangerie, 1956, no. 8; Moscow, Pushkin
Correspondence between two of Cezanne's friends, Marion I

Mu-.eum, 19^, Art francais duX\ -XX siecles, n.n., cat. p. 56; Leningrad,
and Morstatt, the latter a German musician and admirer
Hermitage, 19^6, French Art from the Twelfth to the Twentieth Century, n.n.,
of Wagner, reveals that this was the third picture of this cat. p. S4; Leningrad, Hermitage, 1956, no. 2.

subject, the first two had been far advanced and abandoned
between 1864 and 1868. The third was completed before bibliography B. Ternovetz, 'Le Musee d'art moderne de Moscou
the end of the decade. The letters did not identify the
( Anciennes collections Stchoukine et Morosoff)', Amour de I' Art, Dec.
1925, p. 466, ill.; Museum of Modern Western Art, Catalogue, Moscow,
models for the figures in the picture and the woman en-
1928, no. s 54; L. Reau, Catalogue d'Art Francais dans les Musees Kusses, Paris,
gaged in needlework is not particularly like Cezanne's
1929, no. 736; Iavorskaia, 1935, pi. 4; E. Faure, Ce\anne, Paris, 1936, pi. 13;
mother (as has been suggested), while the pianist, if his R. Huyghe, 'Cezanne et son oeuvre', Amour dt I' Art, May '936, fig. 42;
elder sister, Marie, would have been about twenty-eight Novotny, 193-7, pi. 14; Barnes and de Mazia, 1939, no. 19, ill. p. 157;

years old while his second sister, Rose, was no more than Rewald, 948, 1 fig. 23; Dorival, 1 948, pi. VII; C. Sterling, Musee de I'Ermitage.

fifteen. John Rewald has pointed out to the compiler that La Peiuture francaise de Poussind nos jours, Paris, 1957, p. 1 10, pi. 87; Great

the young women who posed on occasion for Cezanne,

French Painting in the Hermitage Museum, Leningrad, New York, 1958,
pp. 106-7, pi. 87; P. Descargues, The Hermitage Museum, Leningrad, New
usually identified as his sisters, could equallv well have
York, 1961, p. 215, ill; P. Feist, Paul Ce\anne, Leipzig, 1963, pp. 12, 21,
been his cousins, the daughters of Dominique Aubert, pi. 2; L. Guerry, Ce\anne et 1'expression de Fespace (2nd edition), Paris, 1 966,
one of whom was a year younger and the other a vear pi. 7; A. Barskaya, Paul Ce\anne, Leningrad, 197s, pi. 2; S. Monneret,
older than Paul. LTmpressionisme et Son Epoque, Paris, 1978, vol. 3, p. 64, ill; Venturi, 1978,

Earlier versions of the picture included Cezanne's father ill. p. 14; J. Arrouye, La Provence de Ce\anne, Aix-en-Provence, 1982, p. 19;

seated in the armchair, thus increasing the resemblance to B. Bernard, The Impressionist Revolution, London, 1986, p. 240, ill.;

\\ . Bessonova, and M. \\ illiams, Impressionism and Post-Impressionism, The

Degas' group portrait of the Belielli family (Musee d'Orsav,
Hermitage, Leningrad. The Pushkin Museum of Fine Arts, Moscow, New York
Paris). The enlarged pattern of the wallpaper in the room and Leningrad, 1986, p. 152, ill.; Rewald, 1986, p. 63, ill.; R. Kirsch, 'Paul
is recognisable as the paper shown in other pictures of Cezanne: " leune Fille au Piano" and some Portraits of his Wife: An
the Jas de Bouffan; transfigured, became a grand in-
it Investigation of his Painting', Gazette des Beaux-Arts, July-Aug. 1987,

vented arabesque of the kind on which advanced painting pp. 21-4, ill.

was to depend thirty-five years later. An admiration for

f&5
 '

45 Still Life: Skull and Waterjug

( Xa tare morte: crane et bouil/oire)

f.i 868-70
60 x50 cm 254 x 19I in
V. 68
Private Collection

Joachim Gasquet, the voung Aix writer who befriended

Cezanne during the closing years of the artist's life, referred
to this work in his biography of the artist published in

1926: 'Once he painted a canvas, warm and sombre, its

impasto as moving as a Rembrandt; it was of a skull
placed on a rough cloth, turned towards a milk jug and
emerging from the depths of some indeterminate catacomb,
hi >m some subterranean window which opens onto nothing
... I can still hear the artist reciting one evening, along
the banks of the River Arc, the quatrain from Yerlaine:

"For, in this lethargic world.

Always the prey ofpast remorse,

The only laugh that is always logical
Is that of the heads of the dead."

(Car dans ce monde letargiqne,

Toujours en proie aux vieux rewords,
he seal rire encore logiqne
Est ceiui des fetes de morts.J

provenance Alfred Flechtheim, Berlin; Gottlieb Friedrich Reber,

Lausanne; Robert von Hirsch, Basel; Sale, von Hirsch Collection,
Sotheby's, London, 26 June 1978, no. 120, ill.

inhibitions Basel, kunsthalle, 1943, Kuns/nerke des 19. Jabrbnnder/s aits

Bas/er Priratbesit~, no. jn; Zurich, Kunsthaus, 1956, no. 4.

bibliography Gasquet, 1921, ill. opp. p. 18; Meier-Graefe, 1922, ill. p. 96;
Riviere, 1923, p. 198; Gasquet, 1926, pp. 29-50, ill. opp. p. 30; Ors, 1930,
p. 84, ill.; 0^,1936, pi. 24; Raynal, 1936, pi. LXXXI; di San Lazzaro, 1938,
rit: 24; Dorival, 1948, pi. 16; T. Reff, 'Cezanne: The Severed Head and the
Skull', Arts, Oct. 1983, p. 90, hg. 6; Rewald, 1983, p. 228, ill.

[60
 been a source of the emotive disjunction which became
46 Portrait of the Painter,
mandatory to the avant-garde in the decades that followed,
Achille Emperaire notably in drawings by Matisse. \n image popuiaire, fastened
to the grey wall behind, showed two figures approaching
(Portrait du peintre Achille Emperaire) one another - apparently with the fell intent that often
concerned Cezanne in the 1860s (see cat. 31,34).
ci 868 -70
200 x122 cm
The one of only two or three full-
lack of this picture,
78J x 48 in
scale nudes in Cezanne's work (and this was somewhat
Signed lower right in black: P. Cezanne
V.88
above life size) is no doubt the most severe loss to our
Musee d'( )rsay, Paris
knowledge of Cezanne's achievement at thirty. At the time
of the Empcrnire, which so fortunately survived, Cezanne
This picture was submitted to the Salon of 1870 with a was at his greatest as a draughtsman and we may be sure
reclining nude; both were rejected. In the antechamber of that the apparent distortions which provoked the cartoonist
the Palais du ['Industrie Cezanne was interviewed and were in fact so far from arbitrary, profoundly observed
caricatured (fig. 12) on 20 March for the Album Stock and felt. This must have been a long stride in the single-
which later printed the results (for the text of the interview, handed task, which was no more than incidental to his
see Gowing, q.v. p. 15). In the defiant mood which Stock major purpose, of redefining the human image for the
recorded it is evident that Cezanne would have scorned age to come.
to submit anything but a recent picture. It can therefore
be assumed that the portrait of Achille Emperaire was proven MJCl luhcn Tanguy (le pere Tanguv), Paris; Eugene Boch,
Monthyon; Bernheim- )cune, Paris; Auguste Pellerin, Paris; Rene Lecomte,
painted more than two vears later than the previous
Pans; Musee du Louvre, Paris.
portrait on the same scale showing his father in the same
armchair (cat. 21). The contrast of styles is striking. The 1 xhibittons Paris, Grand Palais, 1907, Salon d'Autamne, no. 45; Paris,

tonal impressionism of the previous picture gives place

Orangerie, 1955, baroque provenc at, no. 10, pi. XXIX; Paris, Orangerie,
1954, no. 1 3; Paris, Orangerie, 1974, no. 4.
to a resolvedand simplified scheme realising the sitter in
areasand contours with all the claritv learnt from the two bibliography Mtrcure de France, June 1891; Vollard, I9i4,p. 3i;Meier-
Graefe, 1918, ill. p. 82; Meier-Graefe, 1920, ill. p. 82; Gasquet, 1921,
remarkable drawings of the subject. Every part of the ill.

opp. p. 26; Meier-Graefe, 1922, ill. p. 90; Riviere, 1923, p. 198, listed;
subject achieved its own definite shape, every part became
I Bernard, Sur Paul Ce\an»e, Paris, 1925, pp. 50-5 1; Fry, Dec. 1926,
a thing in itself. The area, the folds and the parallel pleats
Gasquet, 1926, Fry, 1927, pi. IV, fig. 5; E. W'aldmann, Die
p. 392, ill.; ill.;

of the dressing-gown, the chair with

sitter's its pattern Kunst des Rea/ismus und des Impressionismus, Berlin, 1927, p. 491, ill.; Meier-
and the shadow cast on the wall behind, are all specific Graefe, London, 1927, pi. I; Frv, Samleren, 1929, p. 1 14, ill.; Riviere, 1933,

areas on the picture surface, painted a definite colour p. 17, ill.; Mack, 1936, fig. 5; Raynal, 1936, pi. LV1I; Rcwald, 1936, fig. 1
1;

with a decided edge. Novotny, 1937, pi. 6; J. Rewald, 'Achille Emperaire, ami de Paul Cezanne',
Amour de /' Art, May 1938, p. 52, ill.; Rewald, 1939, fig. 17; Barnes, and
The reclining nude which was also rejected at the 1

de Mazia, 1939, no. 9, ill. p. 1 50; Cogniat, 1939, pi. 16; Rcwald, New York,
Salon of 1870 and caricatured in the Album Stock has dis-
1939, p. 25, ill.; Riviere, 1942, p. 17, ill.; G. Schildt, Ce\anne, Stockholm,
appeared. It belonged to Gauguin. He took it to Denmark G. Jedlicka, Ce\anne, Berne, 1948,
1946, fig. 61; Dorival, 1948, pi. 19; fig. 4;

with him in 1883, when

was described in detail by a
it F. Jourdain, Cezanne, Paris and New York, 1950, ill.; F. Novotny, Ce\anne,
critic. It was returned to France in 1884 and deposited in London, 96 1 1 ,
pi. 1 ;
J . Rewald, The History of Impressionism, New York,
Tanguv's shop with the portrait. There it was seen, most 1961, pp. 246-7, ill.; H. Perruchot, Dix grands peintres, Paris, 1961, p. 118;

notably by Emile Bernard in the Autumn of 1886, and A. Chappuis, Les Dessins de P. Ce\anne au Cabinet des estampes du Musee des
Beaux- Arts de Bale, Olten and Lausanne, 1962, fig. 23; K. Leonhard, Paul
subsequently by a younger generation of artists, which
Ce\anne in Selbst^eugnissen und Bilddokumenten, Rheinbek bei Hamburg, 1966,
included Maurice Denis and the Nabis, in the early 890s. 1
p. 68, ill.; W. Andersen, Ce\anne' s Portrait Drawings, Cambridge, Mass. and
The fragmentary information about a
interest of this London, 1970, fig. 6; Schapiro, 1973, p. 10, ill.; Elgar, 1975, fig. 15;

vanished and allegedly uninviting picture is that it seems W'adley, 1975 , pi. 15 ; S. Monneret, Ce\anne, Zola . . . l*a Iraternite du genie,
to have represented the emergence of a pose and an attitude Paris, 1978, ill. p. 79; B. Thomson, The Post-Impressionists, 1983, pi. 8; B.

which was to echo through twentieth-century painting. Bernard, The Impressionist Revolution, London, 1986, p. 238, ill.;
J. Rewald,
'Achille Emperaire and Cezanne' in Studies in Impressionism, London, 1985,
If we discount the bias of the cartoonist it appears that
pi. VI; M. Laclotte, G. Lacambrc, A. Distcl, etc., \m Peinture au Musee
the impression made by the lost picture was a positive,
d'Orsay, Paris, 1986, p. 90, ill.; Rewald, 1986, p. 85, ill.; R. Kirsch, 'Paul
indeed, formidable one. The protruding hip and elbow ( x/anne: "Jeune Fillc au Piano" and some Portraits of his Wife: An
suggested to Gauguin an alternative to academic idealis- Investigation of his Painting', Gazette des Beaux- Arts, July-Aug. 1987,
ation, as in Nevermore (1897; Courtauld Institute Galleries, p. 22.

London) and the twist at the hip which

for instance,
threw the bony outline into prominence may well have

162
 New York, Wildenstein Galleries, 1938, Great Portraits from Impressionism
47 Paul Alexis reading to to

Modernism, no. 3, pi. 1; Columbus, Ohio, Gallery of Fine Arts, 1938,

Relationships between French Literature and Paintings in the Nineteenth Century,

Emile Zola no. 9; Lyon, Palais Saint-Pierre, 1939, no. 8; London, Wildenstein Galleries,
1939, no. 8; Paris, lndependants, 1939, no. 5; New York, Wildenstein
(Paul Alexis lisant a Emi/e Zola)
Galleries, 1947, no. 3, ill.; Minneapolis, Minneapolis Institute of Art, 1950,

f. 1869- n.n.; London, W ildenstein Galleries, 195 1, Festival of Britain, no. 16, ill.;

130 x160 cm 51^x63 in

Chicago, Art Institute, 1952, no. 14, ill. — New York, Metropolitan
Museum, 19^2, no. 14, ill.; Paris, Orangerie, 1953, Baroque provencal n.n.; ',

V.i 17
Paris, Orangerie, 19^ 5-4, Chefs-d'oeuvre du Musee d Art de Sao Paulo, no. 3,
Museo de Arte, Sao Paulo
ill.; London, Tate Gallery, 19^4, Masterpiecesfrom the Sao Paulo Museum of
Art, no. 45; Edinburgh, Royal Scottish Academy, 1954, no. 6 — London,
This picture, unlike the earlier version of a similar subject Tate Gallery, 1954, no. 6; Utrecht, Utrecht Centraal Museum, 1954.
(cat. 43),though unfinished, is perfectly compatible with Meesteraerken uit Sao Paulo, no. 46, ill.; New York, Metropolitan Museum,
the style of 1869-70 when it must have been painted. It 1957, Paintings from the Sao Paulo Museum, no. 45, ill.; Tokyo, National
was executed in the garden at rue La Condamine where Museum of W estern Art, 1974, no. 6; Madrid, Museo Espanol de Arte

Zola was living and shows Paul Alexis, his new amanuensis, Contemporaneo, 1984, no. 4, ill.; Tokyo, Isetan Museum of Art, 1986,
no. 5 , ill.
ministering to the morose pasha of realism. The canvas
was identified, discarded in the attic, after Madame Zola's bibliography Iavorskaia, 1935, pi. IV; E. Faure, Ce\anne, Paris, 1936.pl. 3;

death in 1927. R. Huyghe, 'Cezanne et son oeuvre', Amour de T Art, May 1936.fig.43;
Rewald, 1936, fig. 21; Yollard, 1937, pi. 12; Rewald, 1939, fig. 24; Barnes
provenance Emile Zola, Medan (found in Zola's attic at Medan several and de Mazia, 1939, no. 12, ill. p. 1 ; 5; Cogniat, 1939, pi. 20; Dorival, 1948,

vears after his death); M. Helm, Le Vesinet; Paul Rosenberg, Paris; pi. 26; Schapiro, 1952, pp. 8-9, ill.;
J. Adhemar, 'Le Cabinet de Travail de
Wildenstein Galleries, Paris, London and New York. Zola', Gazette des Beaux- Arts, Nov. i960, p. 288, fig. 5; Schapiro, 1973,

p. 33, ill.; D. Sutton, 'The Paradoxes of Cezanne', Apollo, August 1974,

exhibitions New York, Knoedler Galleries, 1931, Pictures of People,
pi. 7; Elgar, 1975, fig. 20; S. Monneret, Ce\anne, Zola . . . La Fraternite du
1870-19)0,110. 5; Detroit, Detroit Institute of Arts, 193 1, Modern French
genie, Paris, 1978, ill. p. 39; Venturi, 1978, ill. p. 1 5 ; G. Adriani, Paul
Painting, no. 17, ill.; Philadelphia, Pennsylvania Museum of Art, 1934,
Ce\anne, Der Liebeskampf Munich, 1980, pi. C; N. Ponente, Paul Ce\anne,
no. 2; San Francisco, San Francisco Museum of An, 1935, Opening Exhibition Bonafoux, Les Impressionnistes, Portraits et
Bologna, 1980, p. 31, ill.; P.
(Modern French Painting), no. 4, ill; London, Wildenstein Galleries, 1935,
Confidences, Geneva, 1986, p. 21, ill.

Xineteenth-Century Masterpieces, no. 8, ill.; Paris, Orangerie, 1936, no. 178;

164
 8 ,

48 Factories near Sainte-Victoire. In it we can follow his course toward a

formulation for a world that is in an incipient state of flux.

Mont de Cengle In 1869 (q. v., pp. 13-14; fig. 1 1), he made a watercolour

in grey and black of a much more formidable collection

( Usines pres du Mont de Cengle) of factories belching smoke, for an incongruous setting
in the cover of Madame Zola's elegant work box. There
c. 1869-70
was evidently a phase in which Cezanne's realism in the
41 x s S cm 16 x 21 4 in
sixties extended to include the industrial and social concerns
V.,
Private Collection
embraced by Zola. It looks quite doubtful whether the
fantastic aggregation of factories in the watercolour was
Towards 1870 Cezanne's vision of landscape altered. In There is no evidence of Cezanne painting
realistic at all.

place of solid masses there was a sense of movement, an such a subject out of doors at thirty or at any other age,
impression of imbalance, wind and weather, of dissolution. and the subject of the watercolour, which has the extremism
He spent the winter of the war, 1870-71, in a little house of a manifesto, looks at least as likely to have been
which his mother had bought at L'Estaque (see fig. 14), invented.
dividing his time, as he said, 'between landscape and John Rewald, who knows the country between Gardanne
studio', which was to say, deliberately out of the public and Aix, tells me that there is no sign of this factory or its
eve and not obvious to the conscription. His typical work chimneys and no record of them. The buildings in the
there, unluckily not available to this exhibition, was Melting picture appear slightly toy-like. There is, in fact, no cer-
Snow at Estaque, the fearful image of a world dissolved, tainty that this strange glimpse of industrial Romanticism
sliding downhill in a sickeningly precipitous diagonal was ever observed in nature. It seems to represent Cezanne's
between the curling pines which are themselves almost attempt to see Provence through Zola's eyes. The streaky
threateningly unstable and Baroque, painted with a wholly grey and black style, when it is applied to the portraits of
appropriate slipping wetness and a soiled non-colour unique 1871 (see cat. 56, 57), is seen to be akin to that of Manet,
in his work. Such a picture reveals bv contrast the value and the momentum which Cezanne brought to Factories
of the solidity and stability to which the rest of Cezanne's near Mont de Cengle is equally reminiscent of him.
life was devoted. A year or two before in a similar dashing,

streaky style he had painted Factories near Mont de Cengle, provenance Ambroise Vollard, Paris; Cornelis Hoogendijk, Amsterdam;

showing a sizeable industrial installation pouring black Sale, Hoogendijk Collection, F. Muller & Cie, Amsterdam, 22 May 1912,
no. Auguste Pellerin, Paris; Jean-Victor Pellerin, Paris; Paul Rosenberg,
smoke into a grey sky beside the long flank of the Mont 7;

Paris and New York; Sam Salz, New York; (Knoedler Galleries, New
York); William I.C. Ewing; Knoedler Galleries, New York; Marianne
Feilchenfcldt, Zurich; Emil G. Biihrle, Zurich.

exhibitions Paris, Paul Rosenberg, 1939, no. 2, ill.; London, Rosenberg &
Helft, 1939, no. 2, ill.; Los Angeles, Los Angeles County Museum, 1941,
Aspects of"French Paintingfrom Ce\anne to Picasso, no. 8; Manchester,
N.H., Currier Gallery of Art, 1949, Monet and the beginnings of Impressionism

no. 25; Zurich, Kunsthaus, 1956, no. 7, pi. 4; Aix-en-Provence, Pavilion de

Ycndome, 1956, no. 2; Cologne, Wallraf-Richartz Museum, 1956-7,
no. 4, ill.

bibliography Riviere, 1923, p. 198, listed; L. Venturi, 'L'Impressionismo',

U Arte, March 1935, fig. 1 3; E. Faure, Ce\anne, Paris, 1936, pi. 4; Raynal,

1936, pi. XXXVI; Rewald, Paris, 1939, fig. 27; J. Rewald, 'Paul Cezanne:
New documents for the years 1870-71', The Burlington Magazine, April
1939, pi. I, fig. A; Rewald, New York, 1939, fig. 33; Rewald, 1948, fig. 33;

Rewald, 1986, p. 66, ill.

Melting Snow at L'Estaque, r. 18 70- 7 1 (V.51). E.G. Biihrle Foundation,

Zurich.

166
 )

49 The Black Clock no. 29. pi. VI; Vienna, Belvedere, 1961^0.5;
Collection, 1971, no. 2 — Chicago, An
W ashington, D.C., Phillips
Institute, 1971, no. 2 — Boston,
(La Petidule noire Museum of Fine Ans, 1971, no. 2; Paris, Grand Palais, 1974, Centenaire de

rimpressionnisme, no. 5; New York, Metropolitan Museum, 19^4, no. 5, ill.

c.iS-fc
bibliography Meier-Graefe, 1910, p. 77, ill.; H. Haberfeld, 'Die
j. 2x74.3 cm 215x29 j in
j Franzosischen Bilder der Sammlung Kohner', Cicerone, 191 1, p. 588, ill. p.
V.69 s86; Meier-Graefe. 191 3, p. 74, ill.; M. Denis, 'Cezanne', Kunst und Kiinstler,
Private Collection 1913, p. 208, ill.; F. Burger, Ce\anne und Hodier, Munich, 1913, pi. 114;

Meier-Graefe, 1918, ill. opp. p. 88; Meier-Graefe, 1920, ill. opp. p. 88;
This picture represents a clock belonging to Zola and F. Burger, Cezanne und Hodier (fourth edition), Munich, 1920, pi. 119;

must have been completed before August 1870 when he A. Bye, Pots and Pans or Studies in Still Life Painting, Princeton, 1921, p

and the painter left Paris. The dignitv of the picture was A. Zeisho, Paul Cezanne, Tokyo, 1921, rig. 20; Meier-Graefe, 1922, ill.

p. 11-; Meier-Graefe, 1923, F. Burger, Ce\anne und Hodier

possibly a tribute to the standing of his friend. The p. 29, ill.; (fifth

edition), Munich, 1923. pi. 18; Riviere, 1925, p. 199, listed; Meier-
bright pink mouth of the shell is more specific and de-
1
[.

Graefe, Entnicklungsgescbicbte, Munich, 1925, p. 495, ill.; Meier-Graefe, 1927,

scriptive than any other object in Cezanne's still lifes and Y;
pi. Pfister, 192-, tig. 25; E. Petrovics, ('Coll. of Baron A. von Kohner'),
it has a quality of intimacy which agrees with the directness Magyar Muves^et I Hungarian Art ) , 1929^. 321, ill. p. } 18 (vol
of the style. The four
hanging tablecloth are
slabs of P. Jamot, La Peinture en France, Paris, 1934, p. 216, ill.; R. Huvghe,
unshakeably serene, like something in the natural world 'Cezanne et son oeuvre'. Amour de I Art, May 1936, fig. 40; R. Huvghe,
- like the rock-face of his native, Aix landscape. Writers Ce\anne, Paris, 1956, pi. 15; E. Ors. 'Crise de Cezanne", Gazette dts Beaux-

have sought to interpret the fact that the clock face has Arts, June 1936, p. 368, ill.; Rewald, 1936, fig. i">; Yollard, 1937, pi. 4;

Laver, French PaintingC? London, 1937, fig. 1 1 1;

the Nineteenth Century,
no hands. To do so is to misconceive the breadth and J.
Novotny, 1937, pi. 10; R. Goldwater, 'Cezanne in America', Art News, 26
comprehensiveness of this style. The hands would have
March 1958, p. 140, ill.; C. Zervos, Histoire de I'art contemporain, Paris, 1958,
been below the critical size for inclusion in this summarv p. 26, ill.; Rewald, 1959, fig. 20; Barnes and de Mazia, 1939, no. 14, ill.

sweep of tones. In retrospect, this may seem to have been p. 162; Cogniat, 1939, pi. 14; S. Cheney, History of Modern Painting, New
the first still life since the eighteenth centurv which was York, 1941, p. 213, ill.; E. Faure, Histoire de I Art, Paris, 1941, p. 204, ill.;

so great and grandly meaningful a picture. The fact that H. Graber, Paul Ce\anne, Basel, 1942, ill. opp. p. 40; E. Jewell, Paul

there was apparently no single detail in it that admitted a Ce\anne, New York, 1944, p. 29, ill.; D. MacColl, Life Work, and Setting of
Philip Wilson Steer, London, 1945, p. 87; J. Rewald, The History of
responsibility to petty descriptiveness had everything to
Impressionism, New York, 1946, p. 210, ill.; G. Schildt, Ce\anne, Stockholm,
do with this enormous distinction. Vaudoyer, Les peintres provencaux, Paris, 1947, p. 88,
1946, fig. 22; J. ill.;

Rewald, 1948, p. 81, fig. 32; Dorival, 1948, pi. 17; L. Guerry, Ce\anne et
provenance Emile Zola, Medan; Sale, Zola Collection, Hotel Drouot,
I'expression de fespace, Paris, 1950, fig. 4; F. Jourdain, Cezanne, Paris and
Pans. 9-1 j March 1905. no. 14; Auguste Pellerin, Paris; Baron Adolf
1
New York, 1950, ill.; L. Yenruri, Impressionists and Symbolists, New York
rvohnet, Budapest: Paul Rosenberg, Paris; Wildenstein Galleries, New and London, 1950, fig. 121; Schapiro, 1952, pp. 37-8, ill.; R. Rilke, Briefe
York; Edward G. Robinson, Beverly Hills.
uberCe\anne, Wiesbaden, 1952 (letter to Clara Rilke, Paris, 24 Oct. 1907);

exhibitions London, Durand-Ruel Gallery, 190s, Trench Impressionist C. Sterling, La nature morte, Paris, 1952, p. 92, pi. 92; G. Bazin, L'Epoque
Pictures: Paris, Grand Palais, 1907. Salon d Automne, no.
' 8; Berlin, Paul impressionniste, Paris, 1955, pi. 26; T. Rousseau Jr., Paul Cezanne 1830-1906,
Cassirer, 1 909 (Group Exhibition), no. 2 Budapest, Ernst Museum, 9 5,
1 ; 1 1
New York, 195 3, pi. 10; Raynal, 1954, p. 26; J.
Rewald, The History of
The Great French Masters of the XlXth Century, no. 76; Budapest, Mucsarnok, Impressionism (second edition), New York, 1 95 5 , ill- p. 2 1 o; I. Elles, Das
1919, First Exhibition of Socialised Art Treasures, n.n., Room 1; London. 1
Stilleben in der franzosischen Malerei dts 10. jahrhunderts, Zurich, 195 8, p. 100;

Royal Academy, 1952, French Art, no. 441, ill.; Chicago, Art Institute, W\ Hofmann, Das irdische Parodies, Munich, i960, pi. 146; S. Lchida,

1953. - -J Century of Progress, no. 320; Paris, Orangerie, 1956, no. 1 1;

Ce\anne, Tokyo, i960, p. 19, ill.; Rewald, The History of Impressionism,
J.

New York, Museum of Modern An, 1959, Art in Our Time, no. 55, ill.;
New York, 1961, p. 248, ill.; Novotny, 1961, pi. 5; D. Cooper, Great Private
Washington. D.C., Phillips Collection, 1941, Functions 0] Color in Painting, Collections, London, 1963, p. 195, ill.; P. Feist, Paul Ce\anne, Leipzig, 1963,
no. 5; Philadelphia, Philadelphia Museum of An, 1950-5 1, Diamond jubilee, p. 24, pi. 15; |. McCoubrev, 'The Revival of Chardin in French Still-Life

no. 84, ill.; New York, Wildenstein Galleries, 195 1, Masterpiecesfrom Paintings 1850-1870', Art Bulletin, 1964, p. 52, fig. 19; L. Guerry, Ce\anne
Museums and Private Collections, no. 48, ill.; Chicago, An Institute, 195 2, et I expression dt fespace (second edition), Paris, 1 966, pi. 9; P. Pool,

no. 1 1, ill. — New York, Metropolitan Museum, 1952, no. 1 1, ill.; New Impressionism, New Y ork,
.- I96^,pl. 141; J. Elderfield,
'Drawing in Cezanne",

York, Museum of Modern An. 1955, Paintings From the Edward Robinson Art Forum, June 1971, p. 5 5, ill.; Schapiro, 1975, pi. 3, with comments;

Collection, no. 5, ill.; Los Angeles, Los Angeles County Museum, 1956--. Elgar, 197$, rig. 19; Wadley, 1975, pi. 22; S. Geist, 'What Makes "The
The G.L. and Edward G. Robinson Collection, no. 7 — San Francisco, California Black Clock" Run', Art International, Feb., 1978, pp. 9, 10, ill.; Yenturi,

Palace of the Legion of Honor, 1956--, no. New York, Knoedler 1978, ill. p. 57; N. Ponente, Paul Cezanne, Bologna, 1980, pi. 2; B. Bernard,
7;

Galleries, 195--8, The Siarcbos Collection, no. 5 — Onawa, National Gallery The Impressionist Revolution, London, 1986, p. 241, ill.

of Canada, 1957-8, no. s; Zurich, FCunsthaus, 1 9 5 9, Sammlung S. \iarcbos.

168
50 The Temptation of are the most original pictures of the time because they
were essentially and necessarily rediscovered from within
St Anthony the artist himself. Inherited formulations for seductiveness
were at one and the same time irresistible and forbidding.
(La Ten tat ion de St Antoine)
PROVEN \m 1 \mbroise Yollard, Paris; Alphonse Kann, Saint-Germain-en-
c.i 870 Layc; Michael Stew art, London; Private Collection, U.S.A.; Arthur
(?)
54 x 73 cm 224 x 29] in Tooth & Sons, London; Knoedler Galleries, New York; Emil G. Buhrle,
Y.105 Zurich.
Foundation R.G. Buhrle Collection, Zurich
exhibitions Zurich, Kunsthaus, 1917, Fran^osische Kunst des XIX. und XX.
Jahrhunderts, no. 18; Basel, Kunsthalle, 1936, no. 5; Amsterdam, Stedelijk

The theme of the Temptation of Anthony, and at least

St Museum, 1938, hlonderd ]aar Fransche Kunst, no. 2, ill.; Paris, Orangerie,

equally Flaubert's book, preoccupied Cezanne at intervals 191 3, Baroque provencal no. , 8, pi. XXVII; Edinburgh, Roval Scottish
Academy, 1954. n »- London, Tate Gallery, 1954, no Zurich,
through his middle life. His first approach to the subject in S - 5;

Kunsthaus, 1954, no. 204; Zurich, Kunsthaus, 1958, Sammlung Emil G.

about 1870 was quite unlike the classic form in which he
Buhrle, no. 214.pl. 61; Munich, Haus der Kunst, 1958-9, Hauptwerke der
imagined it later. There was no sign of the coherent and Sammlung E.G. Buhrle, no. 12; Edinburgh, National Gallery of Scotland,
stately drama that he painted in the later seventies (V.240; :
1961, Masterpieces of ] rencb Paintingfrom the Buhrle Collection, no. 30 —
V.241, rig. 26). The monastic saint with his individual London, National Gallery, 1961, no. 30.

tempter, like a dancing partner, are hardlv noticeable far

bibliography \\ . Hausenstein, Die bildende Kunst der Gegemfart, Berlin,
away on the left. The foreground is occupied onlv bv a 1914, ill. opp. p. 97; Vollard, 19 14, pis 6 and 47; Meier-Graefe,
J.
heavily built and unengaging trio of nude models linked b.ntwicklungsgeschkhte der modernen Kunst, Munich, 9 15 1 ,
pi. 487; Meier-Graefe,
by a common and evident origin in the poses that are 191 8, ill. p. 97; Meier-Graefe, 1920, ill. p. 97; Meier-Graefe, 1922, ill.

set to a life-class. They are laboriously arranged in a p. 1 1 1; J. Meier-Graefe, Paul Cezanne (fifth edition), Munich, 1923, p. 21,

ill.; F. Lehel, Ce\anne, Budapest, 1923, pi. 3; Riviere, 1923, p. 199;

triangle. It is hard to imagine an anchorite greatly tempted
L. Larguier, Le Dimanche avec Paul Ce\anne, Paris, 1925, p. 128, ill.;
by them.
I. Arishima, Ce\anne, Tokyo, 1926, pi. 41; Meier-Graefe, London, 1927,
Yet the picture has a message which is unmistakably pi. XIII; Fry, Samleren, 1929, p. 132, ill.; L. Venturi, 'Paul Cezanne',
informative and truthful. It informs us that the austere L'Arte, July and Sept. 1935, pi. 3; Ors, 1936, pi. 49; R. Huyghe, 'Cezanne
discipline thathad occupied Cezanne for a decade had et son oeuvre', A mour de t Art, May 1936, fig. 44; di San Lazzaro, 1938,
become rewarding in itself, irrespective of human com- fig. 49; B. Schildt, Ce\anne, Stockholm, 1946, fig. 18; J. Seznec, 'The

pensation, rewarding because only here could he forget Temptation of St Anthonv in Alt', Magazine of Art, March 1947, p. 91, ill.;

Dorival, 1948, pi. 13; G. (edlicka, Cezanne, Berne, 1948, fig. 6; G. Berthold,
everything that had been done before him. Only here in
Ce\anne und die alien Meister, Stuttgart, 1958, p. 35 (cited); R. Cogniat, he
this lonely extremity without convention or palliative
Steele des Impressionnistes, Paris, 1 95 9, p. 78; F. Novotny, Cezanne, London,
could the optical and intellectual sensations of life be 96 1, pi. 4; T. Reff, 'Cezanne, Flaubert, St Anthony, and the Queen of
1

re-imagined in his terms alone. Sheba', The Art Bulletin, June 1962, fig. 1; T. Reff, 'Cezanne and Hercules',
The Temptation of St Anthony exhibited here, uningrat- The Art Bulletin, March 1966, fig. 9; Ikegami, Tokyo, 1969, pi. 3;

iating though it is, is our first sight of the bitter extremity K. Malevich, Essays on Art, 191 ;-}}, New York, 1971, pp. 19—30, 1 16 (fig.

of the terms on which Cezanne would choose to paint 3); Foundation E.G. Buhrle Collection, Zurich, 1973, p. 140, pi. 51; Schapiro,
Elgar, 1975, W'adley, 1975, pi. 20; T. Reff, 'Painting
figure compositions. We gather that the Temptation in the 1973, p. 44, ill.; pi. 8;

and Theory in the Final Decade' in Ce\anne: The Tate Work, New York,
Mannerist style was relegated to the background just
1977, p. 18, ill.; Venturi, 1978, ill. p. 19, 21; G. Adriani, Paul Ce\anne, Der
because its traditionalism would no longer serve. The Tiebeskampf, Munich, 1980, pi. 8; N. Ponente, Paul Ce\anne, Bologna, 1980,
thunderous compositions of 1870, of which this is one, pi. 3; B. Bernard, The Impressionist Revolution, London, 1986, p. 239, ill.
51 Le Dejeuner sur l'herbe difficulty of realising in actuality, as well as in paint, his
imperative requirements led him to a violent reaction
l'.l870 7 1
and, in fact, to a conception of painting that was the
60 x 80 cm 254X 11J in reverse of imagined retaining only the character of
V. 107
being directly acted-out in response to a situation that
Private Collection
was real. Cezanne's passionate disquiet was on the verge
If the world of Manet was deficient in the place that it
of being sublimated into its opposite. The thunderous
pictures of the later 1860s allow us to gather the emotional
allowed to the artist's own temperament, the milieu in

which the young Cezanne imagined himself certainly re-

t orces which were to be embodied in the new equilibrium.
His recourse was to apprentice himself to his admirer,
paired the lack. He was unconcerned either with current
propriety or its reversal. His Dejeuner sur Pherbe needed to
Pissarro, and to school himself in a closely observed
flout no decency; the painter's offence was already implicit
definition of the naturalenvironment and pictorial struc-
tures of the utmost stability a definition in terms of
in the boldness that made every imagining his own. He
irreproachably objective and emotionally neutral con-
dominated the foreground in the likeness of a Socrates.
stituents. That is another story but the alternatives that
He was already learning to use his persona as his most
private instrument. He gathered round him the tall women
Cezanne resolved retained throughout his life the motive
force that had impelled his art through its terrific trans-
among whom he lived. Each figure materialised in a
formations in the 1860s.
private pool of shadow, and there each was outlined with
the curly caprice of a dream, in which every imagining
pro\ 1 N \N( i Ambroise Vollard, Paris; Bernheim-|cune, Paris; Augustc
takes leave to develop its own disquieting disproportion. Pcllcrin, Paris; Rene Lecomte, Paris.
This disquiet has now been studied by M. I.. Krumrine,
exhibition Paris, Orangerie, 19S4, no. 17, pi. 7.
whose analysis has deepened all previous readings of the
picture (q.v., pp. 25-7). Becoming familiar with Cezanne's bibliography J. Meicr-Graefe, Hiilnicklungssescbicbte der modermn Kunst,
Stuttgart, 1904, pi. 62; Meicr-Graefe, 1910, p. 1, ill.; Meier-Graefe, 1913,
imaginings of 1870-71 when he produced a number of 1

p. 1 1, ill.; Yollard, 1914, pp. 22, 25, 25, pi. 47; Meier-Graefe, 1918, ill. p. 95;
consistently unrestrained private subject-pictures, we meet
Meier-Graefe, 1920, ill. p. 95; Meier-Graefe, 1922, p. 14, ill. p. 107; Meier-
and perplexing one.
a great artist but a greatly perplexed Graefe, 1923, p. 15, ill.; Riviere, 1923, p. 197, listed; Fry, Dec. 1926, p. 399,
It was Manet's spontaneous notation of his provocative ill.; Meier-Graefe, 1927.pl. X; Fry, 1927, pi. VIII, fig. 11; Fry, Samleren,
subjects that led Cezanne to conceive a picture as an 1929, p. 101, ill.; Barnes and de Mazia, 1939, no. 21, ill. p. 160; Dorival,

emotional imagining enacted in paint. At twenty-eight 1948, pi. 14; G. Jedlicka, Ce\a>me, Berne, 1948, fig. 7; L. Guerry, Cezanne el
/'expression de /'espace, Paris, 1950, p. 24; Schapiro, 1952, pp. 34-5,
his way with paint had amounted to acting-out whatever ill.;

P. Feist, Paul Cezanne, Leipzig, 1963, pp. 12, 22, pi. 7; Schapiro, 1973, pi. 2;
extremity engrossed him. When he was thirty-one the
\. Barskaya, Paul Ce\anne, Leningrad, 1975, p. 13, ill.; W'adlcv, 197s, pi. 21;
smouldering urgency of such extremes formed the content Yenturi, 1978, G. Adriani, Paul Cezanne, Der Lieheskampf, Munich,
ill. p. 5 1;

of a succession of landscapes with figures which were by 1980, pi. 6; W. Rubin, 'From Narrative to "Iconic" in Picasso: The Buried
turns compelling or comic, then brooding and painful. Vllegory in "Bread and Fruitdish on a Table" . . .', Art Bulletin, Dec. 1983,
The discomforts of this outcome and, we may imagine, the fig. 16.

172
52 Pastoral (Idyll) London, Tate Gallery, 19S9, The Romantic Movement, no. 50; Paris, Grand
Palais, 1985—6, Amiens et nouveaux choix d'uiirrts acquises par I'elat oil avec sa

(Pastorale Idylle]) participation de 1981 a ipi), no. 128; Brooklyn, Brooklyn Museum, 1986,
lrom Courbet to Ce\anne, A new 19th Century ( Preview of tie Musee d'Orsay,
1. 1 8-70 Paris), no. 2, ill.

6ix8icm i<<l x 5 i
|
bibliography J. Meier-Graefe, Impressionisten, Munich, 1907, p. 177, ill.;
V.104 Meier-Graefe, 1910, p. 19, ill.; Meier-Graefe, 191 3, p. 20, ill.; Yollard, 1914,
Musee d'Orsay, Paris
pi. 7; F. Gregg, unity Fair, Dec. 191 58, Meier-Graefe,
I
5, p. ill.;
J.
Entuicklungsgeschichte der modernen Kimst, Munich, 191 5, p. 490, ill.;

The peak of Cezanne's Romantic imagining shows the K. Scheffler, 'Die Maler 1870 und 1914' Kunst und Kiinstler, 191 5, p. 206 ill.; ',

dreamer, recognisable again as the painter himself, to R. Frj 'Paul Cezanne" by Ambroise Vollard: Paris, 191 5, A Review', The
.

have journeyed (in a boat still under sail in the windless Burlington Magazine, Aug. 1917, pi. 1; Meier-Graefe, 1918, ill. p. 93; Meier-

night) to an abode of love, which if it is not the Yenusberg, Graefe, 1920, ill. p. 95; M. Denis, 'L'lnrluence de Cezanne', Amour de t Art,
Dec. 1920, p. 282, Meier-Graefe, 1922, p. 105; Riviere, 1923, p. 202,
is populated likewise bv the naked personifications of ill.; ill.

listed; Meier-Graefe, 1923, p. 17, ill.; Fry, Dec. 1926, p. 398, ill.; Meier-
passion. He lies down among them to indulge his reverie;
Graefe, 192^, pi. VIII; Fry, 192^, pi. VII, fig. 10; R. Fry, Samleren, 1929,
round the lake the phallic symbols flourish. The atmosphere ill.; Ors, 1936, pi. 4s; R. Huyghe, 'Cezanne et son ceuvre', Amour de
p. 101,
grows heavy with the climax that is impending, made F Art, May 1936, fig. 48; R. Huvghe, Ce\anne, Paris, 1936, pi. 16; Ravnal,
vivid and urgent in the stormy colours, yet still insoluble 1936, pi. XV; A. Vollard, Recollections of a Picture Dealer, Boston, 1956, ill.

and unending, like a long-drawn chordal paroxysm in opp. p. 119; Novotny, 1937, pi. 15; di San Lazzaro, 1938, fig. 45; Barnes

opera like Wagner in fact. and de Mazia, 1939, no. 26, ill. p. 165; G. Schildt, Ce\anne, Stockholm,
1946, fig. 17; Dorival, 1948, pi. is; G. |edlicka, Ce\anne, Berne, 1948, fig. 8;
This most thunderous and intimate of the compositions
L. Guerry, Cezanne et f expression de I' espace, Paris, 1950, pp. 19—21, fig. 1;
bears a date on the hull of the boat which is probably to
L. Venturi, Impressionists and Symbolists, New York and London, 1950,
be read '1870'. The invention linked Cezanne to the tra- fig. 1 18; Schapiro, 1952, p. 22, ill.; Badt, 1956, pp. 77, 19", 224, pi. 38;

dition of pastoral painting from Giorgione and the Concert L. Guerry, Ce\anne et I 'expression de I 'espace (2nd edition), Paris, 1 966, pi. 2;

champetre to Manet. A drawing for the composition survives Meddelelser fra A)' Carlsberg Glyptotek, Copenhagen, 1957, p. 18;

(Ch. 250) and in another sheet (Ch. 249), the still life A. Chappuis, Les dessins de P. Ce\anne an Cabinet des estampes du Musee des
Beaux-Arts de Olten and Lausanne, 1962, 25; Badt, 1965, p. 105;
groups which were to provision the picnic were studied Bale, fig.

M. Schapiro, 'The Apples of Cezanne: An F.ssav on the Meaning of Still-

in detail. The women, as they appeared in this picture,
life', .Art News Annual, 1968, pi. s; Ikegami, Tokyo, 1969, fig. 7;
recurred repeatedlv in later compositions.
Schapiro, 1973, p. 27, ill.; A. Barskaya, Paul Cezanne, Leningrad, 1975,
p. 19, ill.; S. Geist, 'What Makes "The Black Clock" Run', Art International,
i'R()\ lnancl Ambroise Vollard, Paris; Bcrnheim-Jeune, Pans; Vuguste
Feb. 1978, p. 12, ill.; Venturi, 1978, ill., p. 5 5; S. Gache-Patin, 'Douze
Pellerin. Paris; lean-Victor Pellerin, Paris.
iruvres de Cezanne de l'ancienne collection Pellerin', La Reiue du Louvre et

lxhibition^ Paris. Orangerie, 1936, no. 12, pi. X; Paris, Bibliotheque des Musees de Trance, 2, 1984, p. 131, no. 4; Laclotte, Lacambre, Distel, etc.,
Nationale, 19s 2, Emi/e Zola, no. 344; Paris, Orangerie, 1953, Baroque l^a Peinture an Musee d'Orsay, Paris, 1986, p. 90, ill.

provtncal, no. 1 1; Vixen-Provence, Pavilion de Yendome, 1956, no. 5;

1-4
 LW

53 Still life: Green Pot and EXHIBITIONS London, New Gallery, 1906, Exhibition of the International
Society, n.n.; Paris, Manzi, Joyant & Cie, 1912, Exposition a" Art Moderne,

Pewter Jug n.n.; Zurich, kunsthaus, 1917, Eran^osische Kunst des XIX. und XX.
Jahrhunderts, no. 33, ill.; Paris, Galerie Bernhcim-Jeune, 1926, no. 49; Paris,

(Nature morte: pot vert et bouilloire d'etain) Orangerie, 1936, no. 14, pi. XXI; Amsterdam, Stedelijk Museum, 1938,
Honderd Jaar Eransche Kunst, no. 5, ill.; Chicago, Art Institute, 1952, no. 12,

c. 1870 ill. New York, Metropolitan Museum, 1952, no. 12, ill.; Paris, Galerie

63 x 80 cm 24! x 3 1 ] in Bcrnhcim-Jcune, i960, no. 28; Paris, Orangerie, 1974, no. 3.

V.70 bibliography A. Alexandre, 'Exposition d'Art Moderne', Ees Arts, Aug.

Musee d'Orsav, Paris
191 2, p. VII, no. 9; Bernheim- eune 1 (ed.), Ce\anne (with contributions by
(). Mirbeau, Th. Duret, L. Werth, etc.), Paris, 1914, pi. XVII; Bcrnheim-
The way in which the common objects of a household Jeune (ed.), E' Art Moderne et quelques aspects de tart d'autrefois, Paris, 1 9 1 9,
composed into arrangements of the utmost grandeur, pi. 15; Riviere, 1925, p. 202, listed; G. Riviere, 'La Formation de Paul
which in the course of thirty-five years effectively redefined Cezanne', Art Vivant, 1 Aug. 1925, p. 3, ill.; I. Arishima, Ce\anne, Tokyo,

the content and form of western painting, is among the 1926, pi. 32; G. Charcnsol, 'Les Dctracteurs de Cezanne', Art Vivant, 1926,
p. 495, ill.; Iavorskaia, 1935, pi. 5; Ors, 1936, pi. 25; J. Combe, 'L'Influence
miracles and mysteries of art. The Green Pot and Pewter Jug
de Cezanne', Ea Renaissance, May-June 1936, p. 3 1, ill.; R. Huyghe, Ce\anne,
now in the Musee d'Orsav convinced Roger Fry of Cezanne's
Paris, 1936, pi. 14; Novotny, 1937.pl. 1 1; J. Rewald, 'A proposdu catalogue
genius at one sight; The Black. Clock (cat. 49) did somewhat raisonne de l'oeuvre de Paul Cezanne et de la chronologie de cette oeuvre',
the same for Rainer Maria Rilkc. The clutter of pots, l^a Renaissance, March— April 1937, p. 5 5, ill.; di San Lazzaro, 1938, fig. 25;
bottles and fruit now in Berlin (cat. 54), when they re- Barnes and de Mazia, 1939, no. 27, ill. p. 163; Cogniat, 1939, pi. 11; V.

appeared in the background of a Smoker (V.686) painted \\ oolf, Roger Ery, A Biography, London, 1940, pp. 1 1 1-1 2.
J. Rewald, Ehe

more than twenty years later revealed that the experience History of Impressionism, New York, 1946, p. 139, ill.; Dorival, 1948, pi. 18;

G. |edlicka, Ce\anne, Berne, 1948, fig. 11; L. Guerry, Ce\anne et 1' expression
of order derived from them had been lastingly precious
de I'espace, Paris, 1950, pp. 34, 69; J. Rewald, The History of Impressionism
to Cezanne himself. Each aggregation constituted a unity
(second edition), New York, 19; ;, ill. p. 139;!. Elles, Das Stilleben in der
so majestic as to be quite unquestionable and unforeseen. fran^osischen Malerei des 19. Jahrhunderts, Zurich, 1958, p. 100; J. Rewald, The
It seemed that the ordering of the everyday scene would History of Impressionism, New York, 1 96 1 , p. 1 5 7, ill.; Ikegami, Tokyo,
never be commonplace again. Henceforward a napkin or 1969, pi. 5; M. Ginsburg, 'Art Collectors of Old Russia, The Morosovs and
a tablecloth could be depended upon to realise the structural the Shchukins', Apollo, Dec. 1973, p. 470, ill.; \X adley, 1975, pi. 14;
S. Gcist, 'What Makes "The Black Clock" Run', Art International, Feb.
nobility that rumpled linen had first achieved in company
1978, p. 8, ill.; J. Arrouye, l^a Provence de Ce\anne, Aix-en-Provence, 1982,
with the bread and eggs of 1865 (cat. 7).
p. 57; B. Bernard, The Impressionist Revolution, London, 1986, p. 243, ill.;

Rewald, 1986, p. 81, ill.

provenance (?) Ambroise Vollard, Paris; Sergei (or his brother) Shchukin,
Paris; Sale, La Collection d'un Amateur, Hotel Drouot, Paris, 24 March
1900, no. 3; Bernheim- (eune, Paris; Musee du Louvre, Paris.

176
 .

54 Still life: Pots, Bottle, Cup

and Fruit
Nature morte: pots, bouteille, tasse et fruits)

r.is-

64 x 80 cm i% l x ; 1
'
in

V.71
Nationalgalerie der Staatlichcn Museen 2u Berlin,
Hauptstadr der DDR
See cat. 5 ;

provls \m l Ambroisc Vollard. Pans; (?) Paul Cassircr, Berlin; Kdouard

Arnold.

exhibitions Paris. Galeae Vollard, 1899, no. 5^; Berlin, Paul Cassirer,

1904. n.n.; Prague. Sternberg Palace. 196s , Irencb Paintingjrom Delacroix

to Picasso, no. 46, ill.; Berlin. Nationalgalerie, 1 96s , I on Delacroix bis

Picasso, n.n.

bibliography Bernheim- Jeunc (cd.), Ce\anne (nitb contributions by

0. Mirbeau, Tb. Duret, L. Wtrtb, etc.), Paris. 1914, pi. XTV; Vollard, 1914,
pi. 1; Meier-Graefe, 1920, ill. opp. p. 92; Meier-Graefe, 1922, ill. p. 1 1(>;

Riviere, 192;. p. 20s, listed; I. Arishima, Ce\anne, Tokyo, 1926, pi. 25;

Meier-Graefe, London. 192^. pi. XIV; L. \\ aldmann, Dk Kuns/des Kealismus

undoes Impressionisms, Berlin, 1 92^, p. 494. ill.; P. Rave (ed.). Die Malerei des
XIX. Jabrbunderts, Meisterverke der Berliner Museen, Berlin, 194s, no. 198,
ill.; K. Martin, Die Tscbudi-Spende, Munich, 1962, p. 16; P. Feist, Paul
. Leipzig. 196;, pp. 24, 28, pi. 8; A. Barskava, Paul Ce\anne,
Leningrad. 19^. p. 184, ill.; T. RelT, 'Painting and Theory in the Final

Decade' in Ce\anne: The Late W ork. New York, 1977, p. 19, ill.; S. Geist,

"What Makes "The Black Clock" Run', Art International, Feb. 1978, p. 8,

ill.; T. Reff, 'The Pictures within Cezanne's Pictures', Arts .\laga~ine, June

1979, fig. 50.

.-8
 )

55 The Walk the fashion plate style was of interest in itself. Possibly
the patterns of parallel pleats and frills reminded him of
(La Promenade the formulation of the bulging solidity of Louis- Auguste,

1871
which he had invented years before (cat. 4). Neither has
s8 x 4; cm 22 s x 1- in much in common with the styles between.
V.119
PROVENANCE Paul Cezanne tils, Pans; E. |. Van Wisselingh, Amsterdam;
Private Collection
rvnoedler Galleries, New York; Mr and Mrs Charles S. Pavson, New York.

This is a copv of a plate in an illustrated fashion magazine exhibitions Berlin, Secession, 1903, no. 36; Paris, Grand Palais, 1907, Salon

published in May 1871; the Franco-Prussian War does d Automne,

' no. 30; Paris, Orangerie, 1936, no. 21; Lyon, Palais Saint-Pierre,

not seem to have interrupted its issue, but it may have 1939, no. 10, pi. IV; London, Wildenstein Galleries, 1939, no. 10; Paris,

hindered the artist's wish to work from observation. Independants, 1959, no. 6; Kyoto, Municipal Museum — Tokyo,
Isetan Museum of Art, 1980, The Joan Whitney Pavson Collection,
It would not have been easy to associate the
until lately
no. 34, ill.

maturitv of a great painter with the habit of painting

bibliography E. Heilbuth, 'Die Ausstellung der Berliner Secession', Kunst
from fashion plates, but Cezanne had based a plein-airiste
und Kiinstler, 1930, p. 308; Riviere, 1923, p. 203, listed; Barnes and
fantasv on such a plate around the middle of the decade
de Mazia, 1939, no. 37, ill. p. 170; J.Rewald, The History of Impressionism,
(cat. 26) and in 1870-71 he turned back to plates from
New York, 1946, p. 179, ill.; Dorival, 1948, pi. 25; J. Rewald, The History of
L' Illustrations des Dames and La Mode Illustre'e as a basis Impressionism (second edition), New York, 1955, ill. p. 1^9; J. Rewald, The
for paraphrases of a closeness that suggests that not only History of Impressionism, New York, 1961, p. 208, ill.; A. van Buren,
the human material and the Parisian chic, which must 'Madame Cezanne's Fashions and the Dates of her Portraits', Art Quarterly,
both have been hard to come by at L'Estaque in the 1966, p. 1 24, note 2; M. Roskill, 'Letter', The Burlington Magazine, Jan.
1971,0. 46; A. Barskava, Paul Ce\anne, Leningrad, 19^5, p. 162, ill.
circumstances of the war, were of value to him, but that

180
56 Portrait of
Antony Valabregue
(Portrait ci' Antony I 'alabregue)

C.\%1\

58 x48.5 cm 224x19 in

V.127
J.
Paul Gettv Museum, Malibu, Calif.

The portraits that 871-2 are astonishing

Cezanne painted in 1

displays of his mature capacity. carried out with They were

an alia prima vigour that exceeded even the Dominique
pictures (cat. 18-20, 22, 23) and a refinement that was
quite unprecedented in Cezanne's work. Most striking of
all perhaps is the air of substance and dependability that

he observed or imagined in his friends. It was as if the

common disillusion that was felt with the regime and the
generation that had brought the nation to disaster inspired
those in early manhood to develop and display the required
self-reliance in their place. The sobriety of these pictures
has led some critics to detect a reversion to the style of
Manet. The ebullient strength of character that they reflected
was equalled among Cezanne's earlier sitters only by his
father (see cat. 4, 21).

provenance Count Armand Doria, Chateau d'Orrouy; Auguste Pellenn,

Paris; Jean-Victor Pellerin, Paris; \\" lldenstein Galleries, Paris and New-
York; Andre Meyer, New York; Sale, Meyer Collection, Sotheby's, New
York, 22 Oct. 1980, no. 21; Galerie Beveler, Basel.

exhibitions Stuttgart, Kgl. Kunstgebaude, 1913, Grosse Kunstaussteiiung,

no. 530; Brussels, Palais des Beaux- Arts, 1935, Ulmpressionnisme, no. 9;

Paris, Orangerie, 1956, no. 17; London, W'ildenstein Galleries, 1939, no. 9,

ill.; Washington, D.C., National Gallery of An, 1962, Collection of Mr and

Mrs Andre Meyer, n.n., p. 16, ill.; Basel, Galerie Beveler, 1982, Portraits et

figures, no. 16, ill.; Basel, Galerie Beveler, 1983, no. 6.

bibliography 'Kunstausstellungen', Kunst und Kiinstler, 191 3, p. 583, ill.;

M. Bove, 'Cezanne et Antonv Valabregue', Beaux- Arts, 28 Aug. 1936, p. 1,

ill.; R. Huvghe, 'Cezanne et son ceuvre'. Amour de Art, May

I' 1936, fig. 39;

Rewald, 1936, fig. 10; Rewald, 1939, fig. 14; Barnes and de Mazia, 1939,
no. 42, ill. p. 169; Cogniat, 1939, pi. 2-7; Rewald, 1986, p. 53, ill.

182
 1 — s

57 The Man with a straw Hat -

Gustave Boyer
(L' How we an chapeau de paille - Gustave Boyer)

f.1871

s s x 38.8 cm 214 x 15 in

Signed lower right in red: P. Cezanne

V. 1 5

The Metropolitan Museum of Art: Bequest of

Mrs H.O. Havemayer, 1929; The H.O. Havemayer
Collection

See cat. ^6.

provenance Gustave Boyer, (gift from the artist?); Ambroise \"ollard,

Paris (Durand-Ruel); H.O. Havemever. New York.

exhibitions New York. Metropolitan Museum, 1950, The H.O. Haremeyer

Collection, no. 4; Paris. Orangeric, 1956, no. 15; Toledo, Ohio, Toledo
Museum of Art, 1956, Cezanne and Gauguin, no. 2;; Minneapolis,
Minneapolis Institute of Art, 19SO, n.n.; Chicago, Art Institute, 19s 2,

no. 10, ill. New York, Metropolitan Museum, 1952, no. 10, ill.; Aix-en-
Provence, Musee Granet, 19s ?, no. 4, ill. Nice. Musee Massenas, 195},
no. 4 Grenoble, Musee des Beaux-Arts, 1953^0.4; Edinburgh, Royal
Scottish Academy, 19^4, no. 7 — London, Tate Gallery, 1914. no. 7; Zurich,
kunsthaus, 19^6, no. 10, pi. 1 Munich, Haus der Kunst, 19^6, no. 6
The Hague, Gemeentemuseum, 19S6, no. — Cologne, W'allraf-Richartz s

Museum, 19s6--1.no. 2, pi. 7; Vienna, Belvedere, 1961.no. 6, pi. 3.

1

bibliography J. Meier-Graefe, lmpressionisten, Munich, 1907, p. 181, ill.;

Meier-Graefe, 1910, p. 48. ill.; Meier-Graefe, 191 3, p. 46, ill.; Vollard, 1914,
pi. 1 1; Meier-Graefe, 1918, ill. p. 102; Meier-Graefe, 1920, ill. p. 102;

F.. Bernard, 'La Technique de Paul Cezanne', Amour de I' Art, Dec. 1920,
p. 277, ill.; Gasquet, 1921, ill. opp. p. 112; Meier-Graefe, 1922, ill. p. 120;

C. Glaser, Paul Ce\anne, Leipzig, 1922, pi. 1; Meier-Graefe, 1923, p. 41, ill.;

T. klingsor, Ce\amie, Paris, 1923, p. 16; Riviere, 1923, p. 200, listed;

I. Arishima, Ce\anne, Tokyo, 1926, pi. 22; R. Fry, Samleren, 1929, p. 97, ill.;

'From Povertv to Riches at the Metropolitan', Art News, 1 5 March 1930,

p. 43, ill.; Iavorskaia, 193s, pi. VIII; Mack (2nd edition), 1936, p. 183;
R. Huyghe, 'Cezanne et son oeuvre', Amour de t'Art, May 1936, fig. 46,
Barnes and de Mazia, 1939, no. 30, ill. p. 168; Cogniat, 1959, pi. 28;

E. Jewell, French Impressionists, New York, 1944, ill. on cover; E. Jewell,

Paul Ce\anne, New York, 1944, p. 1 1, ill.; Dorival, 1948, pi. 23; Schapiro,
1952, pp. 40-41, ill.; Raynal, 1954, p. 31, ill.; P. Feist, Paul Ce\anne,
Leipzig, 1963, pp. 23, 54, pi. 10; C. Sterling and M. Salinger, French
Paintings, A Catalogue of the Collection of the Metropolitan Museum of Art,
New York, 196^, pp. 97-8, ill.; Ikegami, 1 969, pi. 4; W. Andersen, Ce\anne '

Portrait Drawings, Cambridge, Mass. and London, 1970, fig. 7; Schapiro,

197;, pi. 5; Elgar, 197s, fig. 17; K. Baetjer, European Paintings in the
Metropolitan Museum of Art, 1980, p. 26, ill. p. 614; F. YX'eitzenhoffer, The
Haremeyers: Impressionism Comes to America, New York, 1986, p. 147,

pi. 117.

184
58 Landscape with a Watermill not far from the later works of the 1860s like the Overture
to Tannhiinser (cat. 44). In spirit, in the maturity of its
(Paysage avec won/in a 1'ean) balance, it is utterly new. would be good to be sure
It

r. I S-i
when it was painted. It is hard to imagine Cezanne taking

41 x S4 cm 1(1 J, x 214 in
his pregnant partner to the )as de BoufFan in the teeth of
Y.48 his father's opposition or leaving her alone while he visited
^ ale University Art Gallery, New Haven there in the late summer of 1871, but I cannot follow those
who have regarded the Chestnut Trees (cat. 60) as a work of
The stability of Cezanne's new view of landscape was the middle 1870s, and it appears that we must be content
first apparent in the picture of The Cutting (V.50; see rig. 1 5) to conclude that there were more occasions to visit Aix
now Munich and unfortunately in too fragile a state to
at during these months than we know of.
be available for this exhibition. The mounting lines of the
landscape slant upwards towards the top corners of the PROVENANCE Ambroise Vollard, Paris; Bernheim-Jeune, Paris; Auguste

picture in an equilibrium which was constantly repeated in Pcllcrin, Pans; Jos. Hessel, Paris; Moderne Galeric (Heinrich Thannhauser),
Munich; I lugo Perls, Berlin; Gottlieb Friedrich Reber, Lugano; Sale,
the landscapes of the next few vcars. Structures are wedged
Dr Hans \\ endland Collection and others. Ball & Graupe, Berlin, 24 April
against the pictorial rectangle with a steadv symmetry
193 1, no. 72; Levin, Breslau; Richard H. Zinsser, New York; \X alter Bareiss,
which is the more noticeable after the uneasv designs of New York.
the landscapes at L'Estaque of 18^0 71. The angles echo
exhibitions Berlin, Hugo Perls, 1927, '/.utile Ausstellung, no. 2(?);
one another in svstems of responses which are both new
Providence, Rhode Island, Rhode Island School of Design, 1954, no. 1 1.

and original in shifting the emphasis of a landscape subject

bibliography Moderne Ca/erie Ileinrich Thannhauser, Nach/ragsuerk III ^ur
awav from its identifiable content towards the visual struc-
grossen Katalogausgahe 1916, Munich, 19 18, p. 30, ill.; Meier-Graefe, 191 8, ill.
ture of a picture. The most remarkable of these new pictor-
p. 100; Meier-Graefe, 1920, ill. p. 100; Meier-Graefe, 1922, ill. p. 118;
ial systems developed a pattern of parallels to brace the
Ri\ lere, 1923, p. 200, listed; K. Scheffler, 'Breslauer Kunstlebcn', Kiinst itnd
steep recession into the shadowed avenue of chestnut trees Kiinsller, 1923, pp. 132, 138, ill.; F. Forster-Hahn, Irench and School of Paris
at the J as de BoufFan (cat. 60). In handling, the picture is Paintings in the Yale University -\rt Gallery, New Haven, 1968, p. 3, pi. 14.

186
p . .. ^
59 TheOilmill
(he Moulin a I'httile)

(-.1871

38 x 46 cm 1 s x i8| in
V.136
Private Collection, London

See cat. 58.

provenance (?) Ambroise Yollard, Paris; Bernhcim- )eune, Paris;

Bernheim-Jeune, Paris and )os. Hessel, Paris; Paul Rosenberg, Pans;

Georges Bernheim, Paris; Ambroise Yollard, Paris; Galerie E. Bignou,
Paris; Reid & Lefevre, London; CAY. Boise, London; Sale, Sotheby's,

London, 24 April 1968, no. 70; Sir ]ack Lyons, London; Sale, Sotheby's,

London, 50 |une 1976, no. 47, ill., bought in; Sale, Christie's, London,
50 Nov. 1987, no. 56A, bought in.

exhibitions New York, Montross Gallery, 1916, no. 7; New York, Bignou
Gallery, 1936, no. 7; London, Reid & Lefevre, 1937, no. 4; Edinburgh,
Royal Scottish Academy, 1954, no. 9 —
London, Tate Gallery, 1954, no. 9;
Cardiff, NationalMuseum of Wales, i960. How Impressionism Began, no. 53.
bibliography 'A Representative Group of Cezannes Here', New York
Times Magazine, 2 Jan. 1916, p. 21; 'Cezanne and Montross', American AA
News, 8 Jan. 1916, p.3; W.H. \\ right, 'Paul Cezanne', International Studio,
Feb. 1916, p. CXXX; T. Klingsor, Ce\anne, Paris, 1923.pl. 13.

188
 P\V

60 The Chestnut Trees and the

Pool at the J as de BoufTan
(Les Marronniers at It hassin dn Jas de Bonffan)

f.1871
38. 1 x 46 cm mx 1 Si in
V.47
The Trustees of the Tate Gallerv

Sec cat. s8.

provenanci Georges Bernheim, Paris; Bernheim- |cunc, Paris;

M \\ anamaker; Walter Berry, Paris; Mrs Edith Wharton, Saint-Brice-sous-

Foret; H. |. Bomford, Aldboumc, V ilts.; Rcid & Lefevte, London and
Matthiesen Gallery, London; The Hon Mrs VI.. Pleydell-Bouverie,
I ondon.

1 xhibitions Pans, Galerie Bernheim-Jeune, 1920, no. 18, ill.; Pans, Galerie
Bernheim- |eune, 1920, Paysages imprtssiottnistes, no. 1; Paris, Orangerie,
1936, no. 24; London, W 'ildenstein Galleries, 1944, Constable to Cezanne,
no. 41; London, Royal Academy of Vrts, 1949—50, landscape in French Art
» ".mi. t 1 2; Edinburgh, Royal Scottish Academy, 19s 4, no. 8

London, Tate Gallery, 19s4.no. 8; London, Tate Gallery, 19S4, The Pleydell-
Bouverh Collection, no. 8; London, Wildcnstein Galleries, 196?, The French

Impressionists and some oftheir Contemporaries, no. 19, ill; Edinburgh, National
Ciallcn of Scotland, 1986, Lighting up the Landscape: French Impressionism and
its Origins, no. 9;.

BIBLIOGRAPHY E. Faure, P. Ce\anne, Paris, 192^, pi. 58; Riviere, 1933, p. 93;

R. Huyghe, ( e\anne, Paris, [936, pi. 9; Raynal, 1936, pi. XLII; F. Novotny,
nm unddas b.nde der uissenscbaftlkben Perspektive, Vienna, 1958, fig. 38;

Barnes and de Mazia, 1919, no. 41, ill. p. 1-14; D. Cooper, 'Two Cezanne
Exhibitions', The Burlington Maga^im Nov. and Dec. 1954, p. 549;
.

L. Gowing, 'Notes on the Development of Cezanne', The Burlington

Magazine, |unc 1956, p. 18-7; Schapiro, 1973, p. 1, ill.; A. Barskava, Paul
Ce\anne, Leningrad, 1975, p. no, ill.

190
 2 ;

61 The Road
(La Route)
c.1871
59.8x72.4 cm 23^x282 in

V.,
Private Collection, ISA

See cat. 58.

provenance (?) Ambroise Yollard, Paris; (Count) Enrico Costa, Florence;

Lillie P. Bliss, New York;Museum of Modern Art, New York (Lillie P.
Bliss Bequest); Sale, Museum of Modern Art, Parke-Bernet, New York,
1 1 May 1944, no. 86.

exhibitions Armor)- Shoo-, 1915, no. 1070; Chicago, Armory Show, 1913,
no. 49; Boston, Armory Show, 191 5, no. 24; Philadelphia, Pennsylvania
Academy of Fine Arts, 1920, Paintings and Drawings by Representative Modern
Masters, no. 49; New York, Metropolitan Museum, 1921, Impressionist and
Post-Impressionist Paintings, no. 5; Brooklyn, Brooklyn Academy of Arts and
Sciences, 1926 (Summer Exhibition), n.n.; New York, Museum of Modern
Alt, 1929, Ce\anne, Gauguin, Seurat, van Gogh, no. 1 s, ill.; New York,
Museum of Modern An, 1930, Summer Exhibition, no. 1 9; New York,

Museum of Modern Art, 1931 (Bliss Collection), no. 2, ill.; Andover,

M.iss., Addison Gallery of American Art, 193 1, no. 2; Indianapolis, |ohn
Herron Art Institute, 1952, no. 2; Philadelphia, Pennsylvania Museum of
An, 1934, no. 5; New York, Museum of Modern An, 1954, The Ullie P.
Bliss Collection, no. 2, pi. 2; Pittsburgh, Carnegie Institute, 193;, Paintings,
Drawings and W atercolorsfrom the Eillie P. Bliss Collection, no. 5

Nonhampton, Mass., Smith College Museum of An, 1955, n.n.; Paris,

Orangerie, 1936, no. 19; New York, Paul Rosenberg, 1948,^/ Masterpieces
n; - Great Masters, no. 1, ill.; I tica, Munson-W illiams-Proctor Institute,

1963, Armory Show - joth Anniversary Exhibition, no. 1070, ill. p. 53;

New York, Armorv of the 69th Street Regiment, 1963, n.n.

bibliography G. Rene Du Bois, 'The Lillie P. Bliss Collection', Arts,

1 93 1, p. 608, ill.; Barnes and de Mazia, 1939.no. 36, listed; Painting and
Sculpture in theMuseum of Modern Art, New York, 1 942, no. 84; M. Brown,
The Story of the Armory Show, New York, 963, p. 1 229, no. 1070.

192
62 Paris: the Quai de Bercy -
of his old friend Guillaumin, because the Self-Portrait
he painted there shows in the background,
(cat. 63) that
The Wine Market naturally reversed in the mirror, Guillaumin's picture of

- the Seine with the distant Notre Dame, dated '

1 87 1'
and
(Paris: Quai de Berry la Halle aux vins)
now in the Beck Collection in the Museum of Fine Arts
f.1872 atHouston, Texas. The fury that is apparent in the picture
73 x 92 cm 284 x 364 in was perhaps the rage at lost independence which more
V.56 than one new parent has felt. The Self-Portrait is almost
Private Collection the last that we see of the turbulence of Cezanne's mood
in the 1860s.
The change in Cezanne's circumstances was soon to provide
him with an altogether more consistent self-image and provenance Camille Pissarro, Paris; Augusts Pcllerin, Paris; Rene
Lccomte, Paris.
view of the world. At the end of 1871 he was confronted
with a considerable emergency. He moved with his com- EXHIB1 nONS Paris, Orangerie, 1936, no. 22, pi. XIX; Paris, Orangerie,
panion, Hortense Fiquet, into an apartment on the Quai 19^4, no. 22, pi. IX.

de Bercv opposite the wine market, but when Achille bibliography R. Pry, 'Le developpement de Cezanne', Amour de FArt,
Emperaire came to stay he found that the market made Dec. 1926, p. 396, ill.; Fry, 1927, pi. VII, tig. 9; Riviere, 1933, p. 57, ill.;

enough noise to awaken the dead. Moreover, Cezanne E. Faure, Ce\anne, Paris, 1936, pi. 5; R. Huyghe, 'Cezanne et son CEuvre',

was behaving most strangely. Fmperaire took himself off Amour del'Art, May 1936,%. 5i;R. Huyghe, Cezanne, Paris, 1956, pi. 6;
\ > otny, 193-7, pi. 16; F. Novotny, Cezanne und das Ende der wissenscbafltichen
after one night. The mess in which Cezanne wrote that he
Perspeklive, Vienna, 1938, p. 206, no. 1 13; Rewald, 1939, fig. 29; Cogniat,
found himself in February 1872 was probably nothing
1939, pi. 7; Rewald, New York, 1939, p. 37, ill.; Riviere, 1942, p. 59, ill.;

less than fatherhood; his baby son had arrived a month

G. Bauer, Paris- Peintreset Ecrivains, Lausanne, 1944, p. 93, ill.; Dorival,
before and was possibly as disturbing as the market. In 1948, pi. 30; G. Jedlicka, Ce\anne, Berne, 1948, fig. 10; K. Clark, Landscape
this situation we know that Cezanne withdrew from the Painting, New York, 1950, p. 121-2; Novotny, 1961, pi. 7; Rewald, 1986,
apartment on the Quai and went to paint in the studio p. 94, ill.

194
63 Self-Portrait
(Portrait del' artiste)

f.1872
64x52cm 25^x20^ in

V.288
Musee d'Orsay, Paris

See cat. 62.

The art of Cezanne's twenties was a dream from which

he awoke in the furious temper that he portraved in this
picture - awoke from a nightmare of loneliness and sexual
aggression to insist on being reconciled with life. He was
wakened not only bv the grace of Hortense, the colossal
humility of Pissarro and the beneficent faithfulness of
truth to sensations - he was wakened bv the clear sight
of genius, which at the crucial moment does actually
know its greatness.

provenance Ambroise Yollard, Paris; Cornells Hoogendijk, Amsterdam;

Paul Rosenberg, Paris; Jean Laroche, Paris; Jacques Laroche, Pans; Musee
du Louvre, Pans (Gift of ]. Laroche).

exhibitions The Hague, Eerste Internationale Tentoonstelling, 1901, no. 23;

Amsterdam, Stedelijk Museum, 191 1, Moderne Kunst Kring, no. 1; Pans,

Paul Rosenberg, 1922, Les Maitres du sack passe, no. 5; Paris, 1924, Premiere

exposition de collectionneurs, au profit de la Societe des Amis du Luxembourg,

no. 135; Paris, Galene Pigalle, 1929^0. 31, ill.; Paris, Paul Rosenberg,
1959, no. 4, ill.; London, Rosenberg & Helft, 1939, no. 3; Paris, Pavilion
de Marsan, 19s 2, Cinquante ans de peinture francais, no. 26; Paris, Orangerie,

1953, Baroque provencal no. 19; Edinburgh, Royal Scottish

, Academy, 1954,
no. 11 -London, Tate Gallery, 1954.no. 1 1; Paris, Orangerie, 1974,

no. 17; Madrid, Museo Espanol de Arte Contemporaneo, 1984, No. 10.

bibliography Catalogue des tableaux, miniatures, pastels, dessins encadre's, etc.

du Musee de tEtat a Amsterdam Amsterdam, 191 , 1, no. 688D; Fry, 1927,

pi. VI, rig. 8; T. W'encker, 'Chateau Noir', Kunst und Kiinstler, 1929,
p. 229, ill.; Rewald, 1936, fig. 42; Rewald, 1939, fig. 41; Rewald, New
York, 1939, fig. 56;
J. Rewald, The History of Impressionism , New York,
1946, p. 290, ill.; Rewald, 1948, fig. 56; I . Rewald, The History of
Impressionism, New York, 1961, p. 362, ill. ; 'Chronique des Arts', Gazette

des beaux- Arts, Feb. 1970, p. 19, no. 95, ill.; R. Huyghe, Impressionism,
1971, p. 234, ill.; Schapiro, 1973, frontispiece; A. Barskaya, Paul Ce\anne, '

Leningrad, 1975, p. 165, ill.; Venturi, 1978, ill. p. 59; T. RefF, 'The Pictures
within Cezanne's Pictures', Arts Magazine, June 1 979, fig. 6; P. Bonafoux,
Les Impressionnistes: Portraits et Confidences, Geneva, 1986, p. 96, ill.; Rewald,
1986, p. 104, ill.

[96
64 Seascape
(Marine)

C. 1 864
Pencil, watercolour and gouache on brownish paper:
17X 22.5 cm 1 1
6, ,
,
x 8 S in

RWC.4
Private Collection

Authenticated by the artist's son and thought to have

been executed c. 1864. Perhaps from the large sketch-book
with brownish paper, 18x24 cm, in which many of the
finest earlv drawings were made.

198
\
65 The Orgy or The Banquet
(L'Org/e on Le Banquet)

f.1867
Pencil, black and coloured chalk, watercolour and gouache
on thin cardboard: ^2.4 x 25.1 cm 124 x 9 in
RWC.23
Private Collection, Stuttgart

Preparatory study for the painting, cat. 39.

200
 L\V

66 Woman diving into Water

(Femme piquant me fete dans lean)

c.i St.- -;

Pencil, watercolour and gouache on paper:

12.7 x 1 2. 1 cm \ x 44 in

RWC.29
National Museum of Wales, Cardiff

So bv Felix Feneon. This glimpse of Cezanne's

entitled
favourite pastime mav well represent a youth. Like most
of the earlv water-based studies, this is chiefly in bodv-
colour.

202
67 The Rum Punch
(Le Punch an Kbuw )
f.1867
Pencil, pen, watercolour and gouache on thin cardboard:
1 1 x 14.8 cm 4^ x s\\, in

RWC. h
Private Collection, Stuttgart

Perhaps a study for the rejected submission to the Salon

of 1 867 (cat. 27).

204
 L\V

68 Male Nude
1862
Pencil: 61 x 47 cm 24 x 1 Si in

Signed and dared on verso: \ 86z

Ch. 76
Musee Granet, Vix-en-Provence

The drawing's at the Ecole ties Beaux-Arts at Aix

were more refined than those done .it the Academic
Suisse (cat. 72, 75).

w
69 Alan lying on the Ground
f.1862 5

Black chalk: 22.7 x 29.9 cm 8^ x 1 1

} in

Ch. 81
Museum Boy mans -van Beuningen, Rotterdam

One of the freest of the Paris life drawings, evidently

used in later paintings.

106
70 Venus, after Raphael
c.i 866 9
Pencil: 24 x 17 cm 7
6, 6 x 641 in

Ch. 85
Private Collection, Zurich

An unexpectedly sympathetic drawing from a master

whom Cezanne never lost an opportunity to compare
unfavourably with Michelangelo.

w
71 Study of Nudes diving
f.1863 6
Pencil on yellowish paper: 18x27 cm 7,',, x iojj in

Ch.96
I. os Angeles County Museum ol Art,
Mr and Mrs VV.P. lamson (.ol lee lion
I
\
A model models posed lying on the ground
hi to Study
the appearance of bathers diving.

.t

• I

m
'

207
 I.p

72 Male Nude
c.i 863 -6
Charcoal heightened with white: 49 x 3 1 cm 19J x 12^ in

Ch. 99
The Syndics of the Fitzwilliam Museum, Cambridge

Unusually soft and tonal. A model drawn bv Cezanne, no

doubt at the Academie Suisse, on several occasions.

-
i

73 The Apotheosis of Henri IV,

after Rubens
«•.] 864-5
Pencil: 40.5 x 30 cm ij^xii^in
Ch. 102
Private Collection

Inscribed bv Jacomin as 'given to me

by Paul Cezanne in
1865'. The most highly finished of all his drawings but
stopping short of the figure of Bellona which came to
have most meaning to him in the picture.

208

1.1.
 a) RECTO
K
74 Male Nude, back View
f.1863-6
Pencil: 23 x 17 cm 9^ x 6\l in
Ch. 103
The Picker Art Gallery, Colgate University.
Gift of Mr Joseph Katz.

An early example of Cezanne's continuing preoccupation

with poses in which an arm, or both, is elapsed to the

head.

b) VERSO

74 Sheet of Studies for

The Feast (The Orgy)
Pencil and black chalk:
17x23 cm (>\} t
x 9 ,'„ in

non ( '.h.

The Picker Art Gallery, Colgate I IniversitJ

Gill of Mr Joseph Katz.

It has been pointed out by Mary Lewis ('A Life Drawing

and an unpublished sheet of Sketches by Cezanne in the

Picker Art Gallery', The Picker Art Gallery Annual Report
Bulletin, 19K5 6, pp. iH 27, ill. fig. 12) thai this sheel

contains studies for the figure group in the lower left

foreground of Cezanne's painting The Feast (cat. 39).

!>\V

75 Male Nude

Charcoal on light brown

paper:
)] x47.s cm u,' x (i 1SJ, in
1
,

Ch. no
\rt Institute of Chicago

A life drawing of a pose that

w as studied tor the purposes 1 A

\m Toilettt futuroire (cat. 35). It

is notable that the legs and feet

were redrawn later (Ch. 171) to

provide the extended, frontal
\ ie\\ winch unifies the painting.

209
 76 Painter holding a
Palette
c.1868-71
Pencil: 10.3 x 17 cm 4^ x 6}^ in
Ch. 128
Kunstmuseum, Basel

Perhaps copy of an illustration of Balzac's

a
Frenhofer touching up a painting of St Mary
of Egypt by Pourbus, an episode in 'Le Chef-
d'aiwre inconnii '.

77 The Painter
A
f.1868-71
Pencil: 17.1 x 10.3 cm 6^ x 4^ in

Ch. 129
Kunstmuseum, Basel

Perhaps also suggested by the story of Frenhofer (see cat.

76), but akin in viewpoint to Daumier, who caricatured
the prevalence of Venus as a subject for painters in the
Salon.

210
 \

78 Male Nude
c. 1864 7
Charcoal: 20 x 2 5. 7 cm 7« * u in

Ch. 208
|im and Mary Lewis

A life model in a somnolent or emotional

pose, studied with the utmost exploratory
fluency.

79 Head of Achille
Emperairc
c. 1 867 70
( iharcoal: 43.2 x 2 1.9 cm 17 x 12^ in

( In. 229
Kunstmuscum, Basel

Emperaire was eighteen years older than

Cezanne ami a cripple. Perhaps a presentation
drawing, this was a step towards the full-
length portrait (eat. 46).

1 1
 1

L\V

80 Portrait of Achille Emperaire

r. 1867-70
Charcoal: 49 x 3 1 cm 19J x 1
2 ,',, in

Ch. 230
Cabinet des Dessins, Musee du Louvre, Paris

Cezanne's most spectacular drawing and successful essay

in Baroque portraiture. Almost opposite in approach to
the foregoing classic drawing (cat. 78), the two are com-
plementary and both contribute to the result (see cat. 46).

81 Head of a Man
c. 1867-70
Charcoal: 30 x 23.5 cm 1 1 \\ x 94 in
Ch. 23
Private Collection, Paris

21 2
 w

82 Portrait of the i ^
>v
Painter Guillaumin
(.1869 72 ^ Jl H^ ' '^™^ *

Pencil and black chalk:

23.6x17.2 cm 9^x6;} in

Ch. 233
Museum Boymans-van Beuningen, Rotterdam

A generous supporter who lent Cezanne his studio to "\, '.?> )Vi ^*- .

1 11 aB^ *
paint in on more than one occasion (sec cat. 62, 63).

•'
*

83 Study for Pastoral or Idyll

i.i 870
Pencil: 10.2 x 1 3.4 cm .) x 53 in

Ch. 250
The 1 1 en rv and Ruse Pearlman Foundation

The drawing unusually close to the picture ol the same

is

title (cat. 52) and may have Keen intended to rehearse

possible variations in the background.

2.3
 84 Study for
L ' Eternelfeminin

Pencil and black crayon:

17.7 x 25.6 cm 6 5, x 9 ;
j (
in

Ch. 258
Kunstmuseum, Basel

Typical of the kind of generative tangle

in which Cezanne's early figure com-
positions originated. This one resulted
in UEternel fetninin which Cezanne
painted several times in the seventies.

85 Studies of a
Mourning
Woman
r.1872-3
Pencil and watercolour:
16.2 x 17.2 cm 6g x 64 in

'
non-Ch.
Private Collection, New York

Death and mourning haunt the early

sketch-books. This must be a study
for a figure at the foot of the cross.

214
Chronology

painting included in exhibit ii >n lt.2, j

9 cultural events 9 7 atmhauser mounted at < )pcra. Pans

events
pi ilitical
9 Baudelaire article in defence of \\ agner

1X62 Leaves his father's hank

Takes up painting auain
i s ^ 9 Louis \u-ir.n Cezanne, dealer and exporter of felt hats Friendship with Numa Costc
i lablishcs himself in \i\ November, returns to Paris
19 January, birth ol Paul Cezanne, 28 rue de l'Opcra, Ais-tn- Apparently fails examinations for the Ecoledes Beaux- Vrts
Provence at.4
22 February , baptism in the Church of Sainte Madeleine
1 Xf, Probable in Paris for the entire \ ear
1840 • Birth "i Sisli |anuar\ , father pa\s 3 short visit to his son in Paris
• Birth oi Monet, /."la I « ith Zola
Exhibits at the Salon des Refuses, visits the exhibition
\\ Academic Suisse, where he meets duillaumm.
orks at the
1B41 t I
uly, birth of Marie Cezanne, 55 (.ours Mirabeau, \in (lUillemet and ( lller
9 Birthol Renoir, Bazillc, Morisoi 20 November, requests a student permit to cop) in the I. ou
a pupil of Chesncau; hts address. 7 rue des Feuillantines
1
S44 ig January, marriage of Louis August Cezanne and
Anne- Elizabeth Hubert thcrofhi children in \i\ c.iS6),cat.f

, 1 x 1 1
:
t Paul Cezanne at Primarj School, rut des Epinaux, Aix
9 Salon des Refuses; includes works b; Manet. Pissarro.
|ongkind, Guillaumin, \\ histler, Fantin and Cezanne
1X4X 1 |une, establishment of the bank, Cezanm et Cabassol, in Aix 9 Death ot Delacroix
Louis Augusti runs unsuccessful!) for the municipal council
Rejected at the s
under the short lived Second Republic
Returns to \i\ the summer
9 Birth "i I . .Hi-inn
\ui;ust, in L'l st.iejue,
in
near Marseilles
1 fishing \ illagc
I 1 In 11.11 j K. \ 1 .linn hi
iXCn Spends most of the \car in Pans, 22 rue Beautreillis
|ul\ Revolution,! stablishment of 2nd Republic
()ller. pupil of ( ezanne', h\ es at the same address

1849 Bequest bj Granel ol hii paintings and drawings, enters the \i\ Rejected at the Salon
Museum, subsequent ly bet esaccessibli toCeza \\orks .it the \cademic Suisse
unknovt n) Summer, returns to \i\; friendship with Valabregue, Marion and
the German musician. Morstatl
c. 1849 j 2 Cezanne at th< EcolcSaini |oseph, \i\
.„!.-
[851 I )ecember, Napoleon Bonaparte's coup d'etat
1

1852 |anuary, Establishment of 2nd Empire 9 Mane) exhibits Olympia at Salon

c Xs 1 2 x Cezanne al the College Bourbon; fri< ndship with Emile Zola and |anuary, Guillemet spt nds month at \i\
Baptistin Bailie February,! ezanne returns to Paris, again living al rue Beautreillis
H 50 June, birth of Rose G annc, nu Matheron, \i\ ( ezanne is complimented on Manet
his still life In
1 ^ 4 1
1

Rejected al the Salmi despite the intervention of Daubign; w . rites

[854-6 ( rum .111 \\ ,11
.1 Director ol Fine \rts
letter ol protest to the
iX<,<, 9 I
{position 1 niversellc, Paris; Courbet's 'Pavilion du |ul\ w ith Zola, Valabregue, Bailie, etc. ai Bcnnecoun on the
,

Kc alismi
River Seini icgins to show an interest in working
I

1 Xc 7 < ezanne's first inscription at the Free Municipal School foi out doors 1 it

Drawing, \r. Plans huge painting

Vugusi D \utumn, embarks upon
9 Flaubert prosecuted foi breach of moralit) with \fadam Bovar)
extensive series ol palette knife paintings
.

9 Baudelairi fined foi breach ol morals with Lei I leuri dn Mai ( iuillaumin ci insiders ezanne superii ir to Manet <

t8;8 February, Zola leaves Vix foi Paris, but returns fot his summer iberand November, Guillcmei in Vix; persuades
i acation Louis- Augustc to inci innc's allowance
( i v.iniu fails at the baccalaureat; \ 1 November, passes \i ivembcr, ( ezanne attempts ti paint a lai 1

November 1858 August 1819, Cezanni worl ; at th( li>i u Inch he abandons see ca
Munit ip.il Si hool >i.iw Hi". \i\ ' 'I I

is,., Cezanne studies law at I niversity ol \i\ 1

Louis VugusteG anne acquires Jas de Bouffan 9 \pnl May, Zola publishes Salon criticism in J

Zola again spends \ at ations in \i\ 9 Goncoun Brothers publish \

Novembet August 1860, ezanne onc< mi ire works at

( re< I

Municipal School ol Drawing, obtains second prize for a painted iSd- l.inu.ii \ unc, in Paris, rue Beautreillis
I

figure subject Rejected al the Salon; Zola defends* ezanne in

( lezanne dri ams 1 il be( 1 iming 1 painter \ painting exhibited al Marseilles is « ithdraw n for fear of ii

mi\i .1 1 1 1 1 lus time, < all< d up for military si n ice . but Ins father torn In an angn public
buj s him a substituti \uiunin, returns to Paris
8, becomes acquainted with fellow Provencal, \dolphe
•

[860 < ezanne continues his law studies with inert ising u luctance
\l. mi in. Hi, al the t ate ( iuerbois in Pans
I inns \ui'iisu 111111.1IK agrees to his departure to Paris, then
refuses again
From Novembet spun" 1861, 1 ezannt again works at the 1 re< -'
14
Municipal School ol I )ravi ing 9 I ^position 1 niversellc, Pans
I I
higim work on dti orativt pom A al Jas dt Bouffan {cat.) 1
9 Death of Ingres, Baudel don Rousseau
1
si, 1 (
ezanne abandons his law studies 9 Zola publishi
From \ 1
> 1 1 1 \ 11 in nin, first sojourn in Paris, rue 1 oquillere, later ling of the Sue/ ( anal
in ilcs Feuillantint s
xccutionofl mperor Maximilian of Mexico
1

\1s1is the Sali in

Meets Pissarro at the Icademie Suisse ted ai the Salon

September, returns discouraged to Vix, enters his father's bank 1
j
I ebruary, obtains renewed permission [as pupil ol (

Novembet August 1862, wi rks once more at the ree Municipal I ip\ in the ,ou\ re. address still 22 rue Beautreillis
I

Si In ml ni 1 )i ,iw ing \l December, in Vix, works ai jasde Bouffan

21 N
CHRONOLOGY

Friendship with P.uil Alexis 1877 Probably in Paris most of the \ ear
Often paints with Marion Exhibits with the thirel Impressionist exhibition
Excursion to Saint- Vntoine at the foot of Mont Sainte-Victoire Works with Pissarro in Pontoise
D c.iS6g;eat.jj, ;6 • jrd Impressionist Group exhibition
9 Zola publishes M rat, 'Mon Salon', I.' I .tenement \\ orks m \ix at L'Estaque throughout the year
iltustri, Maj lunc Rejected at the Salon
1869 Spends most, if not all, the war in Pans Zola buys a house at Me elan
Rejected at the Salon • Duret publishes Les Impressionistts
Vbout this time, meets lortense Fiquet (b.1850)
1
Exposition I niverselle, Paris
Cezanne reads Stendhal's Histoirt de la psinture en Italie
1879 \\orks in L'Estaque
c.1869 7o;cat.)f -4-. si
Rejected at the Salon despite intervention of Guillemet, now a
9 Manet and the 'Impressionists' gather at the ("ate Guerbois, jury member
Batignolles March, returns to Paris; April-December in Meleun with visit to
• Zola begins work on the Rougon-Macquarl series Zola at Medan in autumn

Spring, caricature bj Stock of ( a vanne's appears • 4th Impressionist Croup exhibition

; May, Cezanne is a witness at Zola's wedding in Paris
1
iSS Januarv-March in Meleun
I ivesat *; Notre-Dame-des-Champs March-December in Paris
Cezanne avoids the draft to fight in the Franco-Prussian War; he Probably rejected bj the Salon
works in Aix, later at L'Estaque, « here he lives with Hortense Cezanne with Zola at Medan and meets |.-K. Huvsmans
Fiquet; joined brief!) In Zola
ane's father retires from the hank; is nominated member of
• 5th Impressionist Croup exhibition

the Municipal Council of \i\ • Death of Flaubert, Duranty

1 S November, Cezanne elected member of the commission tor the 9 Zola publishes 'Fe Naturalisme au Salon', Le I oitaire, |une
1 ree Municipal School of Draw ing hut does not participate
1SS1 Rose Cezanne marries Aix lawyer, Maxime Conil
nission dissolved 19 April 187
Cezanne in Paris until April
D z.i&j <,cat.4i 1 . is 14 Probably rejected by the Salon
1 ranco Prussian \\ ar; Napoleon 111 abdicates May— October in Pontoise with Pissarro; meets Gauguin
September, Proclamation of ;rd Republic with provisional
4
Cezanne caricatured in short story bv Durantv (published
go\ ernment posthumously)

1S-1 March, Cezanne leaves I. 'I .staquc, apparently returning to \i\

• Creation of Socictc des Artistes francais (Salon des
Champs-Elysecs)
\utumn, back in Pans, impatiently awaited by Zola; lives at s rue
de Chevreuse, then in December, moves to as rue de lussieu, 9 6th ImpressionistGroup exhibition
opposite the Halle aux \ ins, where Fmperaire stavs with him tor I Freedom of assembly, and of the press
a short time.
i\S2 \\ eirks at L'Estaque with Renoir
z.iiji; cat.ff-61 March-October in Paris
9 1st volume of' Zola's 20-vol. cycle, /-</ Kougon-Macquarl Admitted to the Salon as 'pupil' of Guillemet; exhibits a portrait

O 28 lanuarv. Armistice signed or a man (? a Self-Portrait)

Spends weeks in autumn at Medan with Zola
O Pans Commune j

October, returns to Aix to work at (as de Bouffan

Peace of Frankfurt
• 7th Impressionist Croup exhibition
1
872 4 January, birth of his son, Paul • Manet exhibition Ear aux lolies BergeresM Salon
\pparentl\ rejected by the Salon; April, joins Monet, Pissarro,
State primary education
Renoir, |ongkind ami 4s others to request a special hall tor the
Refuses 188? Works mostly in and around Aix
Moves to Pontoise with lortense and Paul; lives at Hotel du
I Probably rejected bv the Salon
Grand (erf, Saint-Ouen, across the river from Pontoise, works at Apparently attended Manet's funeral, 4 May, in Paris
Pissarro's side and sees Guillaumin frequently December, meets Monet and Renoir in the south
Spring, Dr Gachet buys house at Auvers-sur-Oise Gauguin buvs two paintings by Cezanne from 'Pere' Tanguy
Late 8-2, Cezanne and family leave Pontoise and settle in
1
9 Death of Manet, Wagner
Auvers-sur-Oise, where they remain throughout the next year
1884 Works mostlv in and around Aix
Z c.iX-j;cat.Aj,6j
Rejected by the Salon
W ar Reparations: business boom Signac buvs a landscape by Cezanne at 'Pere' Tanguy
[873 Friendship with Dr Gachet • 1 st Les XX in Brussels (held annuallv until 1893)
Duret interested in his work • 1 st Salon des Independants
O Economic Depression (until c. 1 S
-
^) • Huvsman publishes A Rebords
s _4 Cezanne participates in first Impressionist exhibition
1
1885 Most of the vear in Aix except tor |une and julv in the south;
June, returns to Aix probably sees Monet at Civerny
Autumn, back in Paris Probablv rejected by the Salon
• 1st Impressionist Group exhibition 9 ] .a Rente Wagnirietmi
In Aix part of the vear 1886 Cezanne deeph hurt In UOeiwrt and breaks with Zola
Meets Victor Choquet through Renoir 28 April, marries Hortense Fiquet in Aix in presence of his
? has a watercolour rejected by the Salon parents; 29 April, religious ceremony at Saint- |ean-Baptist, Aix
Z Confirmation of France as a republic 1j ( >ctober, Louis-Auguste dies, leaving a sizeable fortune to his

widow and three children

iS-(i Introduces Monet to Choquet
Rejected at the Salon 9 2nd Salon des Independants
Exhibits in second Impressionist exhibition 9 8th and final Impressionist Croup exhibition
End August, leaves Aix tor Pans; works with Guillaumin at
9 Zola publishes L'Otnrn
Ls\ -les-Martineaux
9 Moreas publishes symbolist manifesto
• 2nd impressionist Group exhibition
9 Death of Monticelli
position Universelle, Paris
1886 9 Boulangist Movement

2.6
 CHRONOLOGY

i mmh 1[uysmans publishes short article on Cezanne in \ .u Cravat 1901 Spends the \ear in Aix; 18 November buys land on the (ihemin
from now on ' ezanne's name begins to appear in symbolist des Lauves, dominating \ix, to build a new studio
periodii als; Aurit and eneon mention him i I
r.xhtbits at Les Independants and at La Libre Esthetique in
Brussels
1889 Choquet manoeuvres / m Maison du peadu into the Exposition
I ni\ erselle in Paris
• Maurice Denis exhibits Hornmage a Cezanne at the Salon

Invited to exhibit with l.es XX in Brussels 1902 |anuarv, Vollard Cezanne in Aix \ isits

I xposition I
nil erselle, Paris; opening ol I illcl Tower Gaston Bcrnheim-Jcunc visits Cezanne and buys works from his
son
1890 Januar\ exhibits 5 pictures in l.es X
, X F.xhibirs works at l.es Independants
;
Spring ami Summet in Sv itzi rland Makes his final will and testament (son exclusive heir after his
B [ins to Miller from diabetes widow has obtained her legal si
Autumn in Six., probabl) working on his CardPlayers series
• Death of Zola
1891 < onsiders exhibiting with Les Independants
\\ lie and son settle in Aix
1902 <, Combes reforms: Monasteries, church orders and schools
dissolved
Becomes a d< \ out ' latholic

9 Death ol Victor Choquet 190; Spends year in Aix

March, Zola's collection
-1 sale; Cezanne \ iolentl) attacked in the-
1892 Buys a house in Marlotte, near I on 1 dc Fontainebleau Press
I I February , lectun onl ivi George Lecomte in 7 works exhibited at the Secession in Vienna and ; in Berlin
Brussi Is, published in L' I// Modem
I mill In 1 n, nd publishes artii .nine
• 1 2 November, Death of Pissarro in Pans

1904 Spends most of the \ear in Aix; he is visited there by Emtle

1
693 In Aix and Pari
Bernard, w ith whom he corresponds after his departure-
9 Death of Caillebotte, bequest ol his collection to Musee du Bernard prepares new article on Cezanne
Luxembourg 9 works exhibited at La Libre sthetique in Brussels, and others
I

# I >eath oi 'P< r< ' I anguy at the Salon d'Automne, Pans

' lassirer organises second one-man show in Berlin
1
89 In Aixand Pans
1
( )ctoher November, Impressionist exhibition at the Galerie I. mil
March, auction salt ol Duret's collection; contains thro < ezannes
Richter in Dresden including works b\ ( c/annc
( met Is UK 111 all, Rodin, ( ilisl.n e ( iclll'
.17:111111 ( li i i .
I

Camoin, Bernheim- |eune visit Cezanne in \ix

(ai ..hi ai Monet's 54th birthd

Ambroise Vollard buys works by Cezanne at auction ol 'Pere' 190s Spends almost entire vear in \i\
ranguy'i stocl Sprint; summer, w atcrcolour exhibition at Vollard's
• 1 si Libre I sthetique exhibition, Brussels |anuar\ ( c/annc visited In R. P Ri\ lere .a\d Jacques Schnarb
,

• rks exhibited at the Salmi d' \utomne

• Imbroisc Vollard opens gallery, rue I, .nun Durand Ruel includes 10 works In (evanne in a bit; Impressionist

[89 Du yfui Mi. in '

1898 Zola' /'accuse)
exhibition in London at the Grafton Galleries
1

1902 !9ofi In Aix

189, |. inn. 11 |iiin 111 I'll 1

|amiary, Maurice Denis and K. X Rouss t visit | ( ezanne
J

\ in mint 111 Vix with excursions to Bibemus quart and Mont March, Vollard exhibits 2 « ..rks 1

S.unii\n toin April, Cezanne visited b) Karl Ernst Osthaus

November, begins to pa] rem or the Cabanon at Bibemus quarrj 1

Shows 10 works at the Salon d' \utomnc
November, first one man show opens at Vollard't gallery, Pans; 2; October, dies ai 2; rue Boulegon, \ix
(c/annc sends him f.I « orks j

Twool five works bj ezann( entet Musec du Luxembourg via <

the < aillebotte bequest

1896 In Vix until June; works at Bibemus quarrj

meets poet loachim ( iasquet
Ipril,
Zola publishes an article calling tnne an 'abortivi I 1

1897 Vollard buys entire contents of /nine's ( 1 si mho near ( or he 1

aftei hehad left .11 the i.nA ol M.i\

1
urn end of the year, in Aix; works at Lc Tholonet and at
Bibemus quai 1

21 ( )ctober, death oi ezanne's mother (

1 wo works bj 1 ezanni hung in the Berlin National Gallerj but

banned In the Kaiser

1
Sijs A is, where works at ( li.iic.ui Noir; summet in Paris and at

Ponioise, Marlotte, et< .

# 1 )eath 1 'i \i tulle I mperaire

1899 Spends moSI th( yeai in and around Pans 1 li

Meets Egisto Fabbri, who owns 16 works bj ezanne 1

[as de Houilan sold; Cezanne tries unsuccessfully to buj the

domain "i ( hat< au Noit
Exhibits ; paintings at is Independants I

Sales of the < hoquet and Doria Collections bring good prices fot
( ezanne's w 1
11 It

Durand Ruel buys man; ezannes from the Choquet sale (

Vollard holds a one man exhibition; writes to Gauguin in Tahiti

to tell him that he has bought the entire contents ol ( e/.inne's
studii 1

1900 Spends the year in Aix

I
paintings hung in the Exposition centennale (through the
influence ol Roger Mat x)
1 Durand Ruel to< lassirer in Berlin; Cassiret
2 paintings sent bj
holds first exhibition of Cezannt in Germany; alt 2 paintings 1

returned unsold to Pans in 1901

 5
1 1

Concordance of Works in the Exhibition

1
4 - Les Quatres Saisons The Four Seasons c. 1 860— 6z 22 73 L'Homme au bonnet The Man with the c. 1 866
la s Ete Summer de coton (l'Oncle cotton Cap (Uncle
7
lb 1 liver \\ inter Dominique) Dominique)
1C 4 Prin temps Spring
2; -4 L'Avocat (l'Oncle The Lawyer (Uncle r. 1866
id 6 \utiimne \utumn
Dominique) Dominique)
2 18 Portrait de l'artiste Self' Portrait f.1861 2
24a «9 Portrait de Marie Portrait of Marie ir. 1 866—7
J
non-V Lot et ses rilles Lot and his Daughters c. 1 86 recto Cezanne, soeur de Cezanne, Sister of the
Portrait de Louis- Portrait of Louis- ,.1862 l'artiste Artist
4 2S
Vuguste Cezanne, \uguste Cezanne, 24b 78 Portrait de la mere Portrait of the c. 1866-7
pert de l'artiste Father of the Artist verso de l'artiste (?) Artist's Mother(?)

12S 'La Barque de Dante', 'The Barque of c. 186; 2S- 96 Marion et Valabregue Marion and 1866
5

d'apres Delacroix Dante', after Delacroix partant pour le motif Valabregue setting

-
out for the Motif
6 1 Tete de \ ieillard 1 lead of an old Man r.i 86s
26 1 16 La Promenade The Walk c. 1866
7 59 Nature niorte: pain et Still life: Bread and [865
ceufs |
gg s 27 "4 L'Apres-midi a Afternoon in Naples c. 1866
Naples (avec servante (with a negro servant)
8 $7 Paj sage Landscape (-.186s
noire)
9 non-V. Coin de riviere Landscape by a River f.1865
28 93 Femmes s'habillant \\ omen dressing c. 1867
IO 1 s 10 Paysage-Mont Landscape Mt St f.1865
29 45 La rue des Saules a The Rue des Saules, c. 1867
Ste Victoire Victoire
Montmartre Montmartre
I 1 non-V. Paj sage aux environs Landscape near Vix- f.1865 .
50 1
Le Negre Scipion The Negro Scipion c. 1867
d'Aix-en Pn >\ ence en Provence
*I 101 L'Enlevement The Rape c. 1867
I 2 61 Nature morlc: crane Still life: Skull and c. 1 866
et chandelier ( andlestick JZ 84 Le < hnst aux Limbes Christ in Limbo c. 1867

Nature niorte: pain et Still life: Bread and c.1866 55 86 La Douleur, ou La Sorrow, or c. 1867
1 65
gigol d'agneau Leg of Lamb Madeleine Mary Magdalen
2 Le Meurtre The Murder 1867
U 62 Nature niorte: sucrier Still life: Sugar Pot, f. 1 866 54 1 1 c.

poires et tasse bleue Pears and Blue Cup 55 105 La Toilette funeraire Preparation for the c. 1868

866
ou L'Autopsie Funeral or The
1 s Si Pi irtrait de l'artiste Self-Portrait f. 1

Autopsy
6 126 Portrait d' Antony Portrait of Antony 1 866
Valabregue 56 Route tournante en Winding Road in c. 1868
Valabregue i 5

Provence Provence
17 non-Y. Vue de Bonnieres View of Bonnieres 1866
57 1 '4 Baigneuse debout, Standing Bather, c. 1869
18 80 Portrait de l'( )ncle Portrait of L'ncle 1866
s'essuyant les cheveux drving her hair
Dominique de prohl Dominique (profile)
5 8 "5 Baigneur et Bathers c. 870
'9 76 Portrait de l'Oncle Portrait ofUncle 1866
baigneuses
Dominique Dominique
59 92 Le Festin (L'Orgie) The Feast (The Orgy) c. 870
20 82 Portrait de l'Oncle Portrait of L'ncle 1866
Dominique coiffe Dominique (in a
40 106 I Moderne
;
ne A Modern Olvmpia c. 869

d'un turban turban)

Olvmpia (Le Pacha) (The Pasha)

2 Portrait de Louis- Portrait of Louis- 1866 41 108 Les Voleurs et l'ane The Robbers and c. 1869-70
91
the Ass
Auguste Cezanne, Auguste Cezanne,
pere de l'artiste lisant Father of the Artist 42 87 Contrastes Contrasts c. 1869-70
nement reading PEvenement

21S
< . \ I . V .

43 118 La Lecture dc Paul Paul Alexis reading c. X67 ') 6J 2XX Portrait de I 'artiste Self-Portrait c. 1872
Alexis chez Zola at Zola's 1 louse

44 90 |eune fille au piano Young (drl at the c. 1

869 70
!.'( )uverture du Piano ( Kerturc to awe
Tannhauser Tannhauser 64 4 Marine Seascape c. 1864

45 6X Nature morte: crane Mill hie: Skull and c. ixr.x 7° 65 25 L'Orgie,ouLe The()rgv,or r.1867
el bouilloire \\ aterjug Banquet The Banquet
46 xx Portrait du peintre Portrait of the c. 1868 70 66 29 I emme piquant unc Woman diving into r.186- -

Achillc- Emperaire Painter, Achillc tete dans I'eau Water

Emperaire Rhum
67 $4 I.e Punch au The Rum Punch f.1867
47 117 Paul Alexis lisani a Paul \lexis reading c. 1 sr,
v 1

Emile /.ola to Emile Z< >la

48 iX I sines pres du Monl Factori c. 1

869 70
ile ( cii"li Mom de ( lengle 68 76 Male Nude l 8f>2

49 69 1 .a Pendule tu >in The Hlac k Clock c. 69 Xi Man lying on the Ground 862 j

50 10? La Tentai ii in de The Temptation "I c. iX^o 70 8] Venus, after Raphael f. 1866 9
Si Anionic Si \nilion\
71 96 Study of Nudes diving 56 6
<, 1 107 Le Dejeuner sur I 1 Dejeuner sui c. 1X70 1
72 Male Nude
99 {63 6
I'IkiIh I'herbi
^< 102 The Vpotheosisof Henri IV, after Rubens r. 1864 \

<, 2 104 Pastorale (Id) Ile 1

Pastoral (Idyll) c. 1 870
74a 10} Male Nude, back view S63 6
1 3 70 Nature morte: poi Still lite: ( .re 1 11 Pi it

\ en ei bouilloiri and Pewter |ug

74b nun ( h Sheet of Studies for /
'
r.1863 6
d'etain

^4 71 \.n me morte: puis, Soil hie: Pols, Hoiile, ,.1X^1

10 Male Nude |X(,<
7J 1 t.

bouteille, tasse ei I up nidi ruit

76 12X Painter holding a Palette
fruits
129 The Painter - -1
77
55 119 I .a I'n imenade Hi. \\ .ill ,.1X7,
-
7» 208 Male Nude ..|S(>4
56 127 Pi hi ran d' Vntonj I' 1 ol \nn in) 1 1 X^ 1

-
Valabregue \ alabri '

u 79 229 I lead of \ehille I mperaire - -

-
^7 mi I .'I lc mime an chai 11 LU The Man unli .1 1 raw e. 1 x^ 1
80 230 Portrait of Whillc Emperaire ,.|S(.-

de paille ( iusia\ i I In ( . 1 1 t .1 \ e \\i i\ er Si 2;i I lead 1 'i 1 Man .. 1 Si

-

Boyei
82 2;< Pori ran of the Painter ( ruillaumin -1
58 fl l'a\ sagi ave< moulin 1 ,andsi ape u nil a r.1871
X; 230 Stud) tor Pastoral (Idyll) C. I 870
a IV. 111 \\. iu. null
-
X| 2S8 Stud) for /.'/ '.ternet fiminin
59 136 1 i Moulin a I'huile TheOilmill c. 1 87
8; 111 ill ( h Studies ol a Mourning \\ oman 2 ;
So 47 1 es Mai Tonnii is el le lli. < liesinul Trees r.1871
bassin i\u |as de and thl Pool al the
lioullan |as de lloull in

to W La Route The Road ,

1871

62 56 Pans: Quai de Bercj Pans: die Quai de r.1871

la 1 lalle aux \ ins Ben j The \\ ine
\l irkei

2I 9
 1

List of Exhibitions including Cezanne's Ear/)' Work

Months of the exhibitions are given where known. Paris, Orangerie, Monticelli et le Baroque provencal

1914 Edinburgh, Royal Scottish Academy Aug— Sept. —

i 89 s Paris, Galerie Yollard, Paul Cezanne, Nov. -Dec.
London, Tate Gallery, Sept. -Oct. Cezanne's Paintings

1899 Paris, Galerie Yollard, Paul Cezanne Paris, Orangerie, Ho mm age a Ce\anne, July-Sept.

190- Paris, Grand Palais, Salon d'Automne, ieme Providence, RI, Rhode Island School of Design,
exposition, Retrospective de Cezanne Ce\anne, Sept.— Oct.

1912 Munich, Moderne Galerie (Heinrich Thannhauser) [955 New York, \\ ildenstein Galleries

1 91 6 New York, Montross Gallery, Cezanne 1956 Aix-en-Provence, Pavilion de Yendome, Exposition
pour commemorer le cinquantenaire de la mart de Ce\anne,
1920 Paris, Bernheim- |eune, Cezanne, Dec.
July- Aug.
1921 Berlin, Galerie Paul Cassirer, Cezanne - Austellnng,
1956-7 The Hague, Gemeentemuseum, June— July-
Nov. -Dec.
Zurich, Kunsthaus, Aug. -Oct. —
Munich Haus des
192 s London, Leicester Galleries, Paintings and Drawings by
kunst, Oct. — Cologne, Wallraf-Richartz Museum,
Paul Cezanne, June-July
Dec- I
an, Paul Ce\anne

1926 Paris, Galerie Bernheim- |eune, Retrospective Paul New York, Wildenstein Galleries
1959
Cezanne, June
i960 Paris, Galerie Bernheim-Jeune, Cezanne — Aquarelliste
1929 Paris, Galerie Pigalle, Ce\anne, (? Dec.)
et Peintre, May— June
1954 Philadelphia, Pennsylvania Museum of Art, Cezanne,
1961 Yienna, Belvedere, April- June — Aix-en-Provence,
Nov. Dec. Yendome,
Pavilion de Cezanne, July-Aug.

1935 London, Reid and Lefevre, Cezanne, July New York, Solomon R. Guggenheim Museum,
1963
Paris, Renou and Colle, Aquarelles et Baignades de Cezanne and Structure in Modern Painting, June- Aug.
Cezanne, )une
1971 Washington D.C, Phillips Collection, Feb-March —
1956 Basel, Kunsthalle, Paul Cezanne, Aug. -Oct. Chicago, Art Institute, April-May — Boston,
Paris, Galerie Bignou Museum of Fine Arts, June- July, An Exhibition in
Paris, Orangerie, Cezanne, May— Oct. Honor of the Fiftieth Anniversary of the Phillips Collection

[937 London, Reid and Lefevre, Ce\anne, June 1 9^4 Paris, Orangerie, Ce\anne dans les muse'es nationaux,

San Francisco, San Francisco Museum of Art, Cezanne, July-Oct.

Sept. -Oct. Tokvo, National Museum of Western Art,

1939 London, Wildenstein Galleries, Homage to Cezanne, March— May — Kvoto, Municipal Museum,
July June- July — Fukuoka, Cultural Centre, July-Aug.,
Paul Cezanne
Lvon, Palais Saint-Pierre, Centenaire de Paul Cezanne
Paris, Galerie Paul Rosenberg — London, Rosenberg 1 98 New York, Metropolitan Museum of Art

and He Ift, Ce\anne Tubingen, Kunsthalle, Paul Cezanne, Aquarelle,

Paris, Grand Palais, 5oeme Exposition de la Societe 1S66- 1906, Jan-Mar.

des Artistes Independants, Centenaire du peintre 1982 Liege, Musee Saint-Georges, March-May — Aix-en-
independant Paul Ce\anne, March- April Provence, Musee Granet, June— Aug., Ce\anne

i9_p New York, Wildenstein Galleries, Ce\anne, 1983 Basel, Galerie Beyerler, Paul Ce\anne, Peintures,
March-April Aquarelles, Dessins, June-Sept.

1950 Minneapolis, Minneapolis Institute of Art 1984 Madrid, Museo Espanol de Arte Contemporaneo, Paul
1952 Chicago, Art Institute, Feb.— March — New York, Ce\anne

Metropolitan Museum of Art, April-May, Cezanne 1986 Tokvo, Isetan Museum of Art, Sept. -Oct. Hyogo, —
Paintings, W'atercolours and Drawings, Loan Exhibition The Prefectural Museum of Modern Art, Oct-Nov.
1953 Aix-en-Provence, Musee Granet, July— Aug. — Nice, - Nagoya, The Aichi Prefectural Art Gallery,

Musee Massenas, Aug-Sept. — Grenoble, Musee des Nov. —Dec., Ce\anne

Beaux-Arts, Sept. -Oct. Cezanne, Peintures, Aquarelles,
Dessins

110
Select Bibliography

1X92 E. Bernard, 'Paul ' ezanne', L* i Homme i

d'aujourd' hui, vol. VIII, 192^ E. Bernard, Sur Paul Cc\anne, Pans, 1925.
no. 5X7, 1892
J
(jouhnat, 'Technique picturalc: I'Evolution du Metier dc

[899 (• Lecomte, 'Paul Cezanne', Catalogut ek lavtntt E»£ene /iA//, 9 and

Cezanne', UArt I nan/, 1 March 192s, pp. 18. 22-4.

10 M;u 1 B99, pp. H 1 7. L. Lanj/ricr, Le Dimancbeavec PaulCe\amu, Paris, 192s.

G. Lecomte, 'Paul Cezanne', Revue tFArl, Dec. 1899, pp. xi 7, (.. Rn iere, 'La Formation dc Paul Cezanne', UAri I nant.
Vug. 1925, pp. 1-4.
1903 1 1. Rochefort, 'L' Amour du Laid', Flntramigeant, 9 March 1905.
1926 I. Anshima, Ce\annt, Tokvo. 1926.
1906 duret, 1906: T. Duret, I ln/oiri des peintres impressionnistes, Paris,
I . Bernard, Souvenirs sur Paul Ce\anne, line conversation arte Ce\amtc,
1
91 16
Paris, 1926.

1907 M. Denis, 'C .•.. I Occident, Sept. 19

|. Borely, 'Cezanne a \i\ 1902 ', /.' \rt \ 'want, 1 |ul\ 1920.

T. Duret, 'Paul Cezanne', Kunst und Kunstler, Dec. 1907, pp. 9} 104.
pp. 491-3.
A. Perate, 'Le Salon d'Automne', Ga lr//, 1 Nov. I . Faure, P. Cezanne, Pans, 1926.
1907, pp. 585 90. rv, Dec. 1926: R. Frj Dcvcloppemcnt dc Cezanne', \mour dc
1 . 'Le

[910 Bl rger, 1910: F, Biirger, C< -1111111 undHodler, Einfuhrungin die

/' lr/, Dec. 1926.

Problemedti Malereidei Gegenwart (1st ed , Munich, 1910. gasquet, 1926: |. Gasquet, Ctvymnt, Paris, 1926.
\n 11 .ii-i,i( \ 1 1 1 , 19 1 1: J.Meicr-Graefe, Pauli >anne, Munich, 191a G. Riviere, 'Les Impressionnistes chez eux', /.' \rt I nant,

( Dec. 192C1, pp. 92

&
1
j

191 \ F. Biirgi r, ami undtlodler, Einjubmngindii Problemt det Maltrei

,1, 1 < ,, >< 1111, n 1 (znded.), Munich, 1913. 1927 1 ky, 192-: R. Frj . ( i'lpnttnt. New ,
> ork.

A. Cezanne', |une 191 192^.

I )rej fus, 'Paul Zeits< hi ift fih bildendt Kunst, ;,

pp. 197 206. meier-graefe, 192-: |. Meier-Graere, Ce\ame, London and

New York. 192-.
1
9 i
1
Item I uii 11 |eune (ed.), Ci anm |
« ith contributions by O. Mirbeau,
pfister, 1927: K. Pfister, C< rsdam,
Th. Duret, L. \\ erth, et< ), Paris, 1914
1
92-.
vol lard, 19 1
4: A. Vollard, Pauli e\anne, I '.ins,

1929 \. Bertram, Ce\anne, London, 1929.

1917 E. Stuart(?), 'Cezanni and His Place in Impressionism', / //;. \rls
V. Burroughs, D.u id and Cezanne, Presenting the Case >t'
I,iiiiii,i/, Maj 1917.
Thought versus Feeling', Sept. 1929.
19 1 x mi 11 n i.k \i 1 1 , 191 x I
Mi 11 . t ( .1 .11 1
1 ,
/', 1 < .
am mded.), 191 8.
KY. Samlirm, 1929: R '< e/.innes drikling',
1 I r\ . I 19Z9.

1919 I Biirgi 1
G id Ho, 1 ifuhrungindh Probleme der Malerei
1930 oks, 1930: I < >rs, Pom 1

del ( ri "t iiir.n t (jrd ed I, Munich, 1919

19(5 riviere, 1933: G. Riviere, Ce\ani* Paris, 1933.
coqoiot, 1919: G. Coquiot, Paul < < *anm (5th ed I, Paris, 1919.

MEIER-GRAEFE, 1 919 I Meier-Graefe, Ce\ mm mill um Kreis, Munich, 19 is iavorskaia, 1935: N. lavorskaia, < e\anne, Moscow , 1933.

1919 mm k, 1931 : (1. Mack, /'.;.•.

N< w York, 1933.
V. Popp, ' 1 -.111111 , I lemente seines Stiles, aus lassich cine t Kritik I Venturi, Paul < lezanne', /.' \rte, Jul) \n<] September 1 <> ? \

erortet', Die bildenden Kunste, II, 1919, pp 177 X9.

hi.
pp
vollard, 1919: V. Vollard '' 1 yme (2nd ed.), Paris, 1919.
195(1 M Boye, 'Cezanne el Vnton\ Valabrcguc', B 28 Vug.
1920 E. Faure, 'Toujours Cezanne', \mourdef lr/, Dec. 1
1936.

pp. 265 70. I Faure, ( P

meier (.nun, [920: |. Meier-Graefe, Ci \anne undsein Kreis (md R, I luj fin
ed.), Munich, 1920.
R. Huyghe, 'Cezanni .re'. Imo,

1921 Bernard, [921: I Bernard, Souvt nil 1 ran Paul I 1 jymnh ,

I'.ms, 1921 pp. i<>\ !

gasqui 1 , 1921: |. Gasquet, ( 1

,
,,11111 . I'.ms, 1921. m m k. New York, 1936: G. Mack. /'

\i w l ork. 19;
V, Zeisho, Pauli ezanne, T<>k\<>,
E. Ors, 'Crise de Cezanne", G 1
une 1936,
1922 mi 11 i< i.k mi I-, 1922: I Meier Gracfc, ( • ;</««< undsein Kreis (3rd
pp. 361 -2.
ed.), Muni< h, 1921
oks, 1936: I '..
i >rs,
.'

, New ^ ork, 19
I I
von \\ eddcrkop, 'Paul ( ezanne', ( ictrone, 16 Aug. 1922.
id w M i), 1936: |. Rew aid, (

H. von Wcdderkop, Pauli e\anne, Leipzig, 1922,

|. Rewald, 'Sources d'inspiration dc ( ezanne', I \n.

1923 'I' Klingi 01 1

m , Paris, 192 ;. Ma) i9;(>.

I I 1 In ! 1 {anne, Budapest, 1923. k u\u, 19 (6: M Raj nal,

meier-graefe, 1923: J. Meier-Gi • '• •

<im (5th ed.), Munich, riviere, 1936: G. Riviere, 1

1923. Pans, 1936.

ki\ 11 in , 1 •» - y. G, Ri\ iin, I 1

W,. ', Pauli Pari venturi 1936: L. Venturi, < t vols, Paris,

19 1 vollard, 1
H •
1
\ Vollard, P ( ,. te (3rd ed.), Paris, 1924.
 . ;

9 $7 V. Barr •in<-' M. Scolari, 'Cezanne apres les lettres de Marion a 195 T. Rousseau Jnr., Paul ( e~anne rSjf—ifof, New York, 1953.
Morstatt', Ga~>tt, dts Beaux- 4rts, Jan. 1957, pp. 37 s8.
'9M RAYNAL, 1 9 s 4 : M. Ra\ nal, t e~anne, Geneva, Pans. New York,
I Loran, 'San Francisco's first Cezanne Show', Magazine of l/v.
1954.
Sept. 19^.
19s D.Cooper.'Au |as de Bouffan', Oeil, 15 Feb. 1955.
novotni , 1937: F. Novotny, ( e\anne, Vienna, 1957. j

( EZANNE, CORRESPONDANI I . 1 937: J.

Rewald, ed., C i~anne, 1956 badt, 1956: K. Badt, Dn Knnst Ce\annes, Munich. 1956.

( orrtspondanee. Pans, 19;-*. I . Gowing, 'Notes on the Development or Cezanne', The Burlington

|. Rewald, 'A propos du catalogue raisonne de I'oeuvre de Paul line, June 1956, pp. 1 S s rt".

inne ct de la chronologic de cette ocuvrc'. \ m Renaissance,

1958 G. Berthold, Cezanne mid die alien Meister, Stuttgart, 1958.
March- \pril, 19;^, pp. 5 ; 6.
I. L.lles. Das Stillehen in der fran~osischen Malerei des iq jahrhunderls,
vol 1 m<i>. 1937: A. Yollard. Paul ( e\anne, His Life and Art,
Zurich, 19s 8.
\m York, 1937.
i960 |. Adhcmar, 'Le Cabinet de travail de Zola', Gazette des Beaux- Arts,
\. Bart and M. Scolari, '< lezanne in the Letters of Marion to
Nov. i960, p. 288f.
Morstatt, 1 sc. s 8", Maga~i>h oj Art, Feb., April, May 1938.
S. L schula, Ce\atme, Tokyo, i960.
R. Goldwater, 'Cezanne in \merica', Art News, 26 March 19;*.

pp. 135 54, 156, 158, 160. 1961 I Novotny, Ce~anne, London, 1961.
\i u k, i9;S: G. Mack. Vault e\anne, Paris, 19*8.
1962 A. Chappuis, I.es Dess/ns de P. Cestamu an Cabinet des estampes du
I Novotnj . ( e\anne mid das I :ndt dir Wissenscbaftlicben Perspektht, Musee des Beaux- Arts de Bale, Olten and Lausanne, 1962.
Vienna, 1
1; ; S
reff, 1962: T. Reff, 'Cezanne, Flaubert, St Anthon) and the
disan lazzaro, 1938: G. di San Lazzaio, Paul ( i-~anm. Pans, [938. Queen of Shcba', The -\rt Bulletin, lune 1962, pp. 1 13—25.

barnes and de mazia, 19^9: A. Barnes and V. de Mazia, The Art R. W alter, "Cezanne a Bennecourt en 1 866", Gazette des Beaux-Arts,
1939
Feb. 1962, pp. 103 — 18.
<il C ,~anne. New York. 1959.

cogniat, 1939: R. Cogniat, Cie^jmw, Paris, 1939. 196; P. H. Feist, Paul C e~anm, Leipzig, 1963.

ri w \l t). 1
9 59: I
. Rewald, ( ,~ann, . sa vie, son oeuvre, son amitie pour R. \\ alter, 'In vrai Cezanne: "La Yue de Bonnieres'", Gazette des
Zo/a, Paris, 1939. Beaux-. -Iris, May 1963, pp. 359-66.

ki w aid. New York. 1939: I. Rewald, Piuil Cezanne, a Biography,

"Dream of Hannibal'", Art
1964 T. Reff. 'Cezane's Bulletin, June 1963,
New ^ ork. 1939.
pp. 148—52.
I. Rewald, 'Paul Cezanne: New documents tor the years 1870-71",
\\ . \ndersen, "Y Cezanne Self-Portrait Drawing Reidentitied',
The Burlington Maga~mt, April [939, pp. i(>; 71.
The Burlington Magazine, June 1964, pp. 284-5.

1941 CEZANNE, CORRESPONDANI l, 1 94 1 :

J.
Rewald, ed., P. (e~anne. S. Lichtenstein, 'Cezanne and Delacroix', The Art Bulletin, March
Letters, London, 1941 1964, pp. 55-67.

1942 H. Grabcr. Paul Ce~anne nach eigenen und fremden Zeugnissen, Basel, 196 s badt, 1965: K. Badt, The Art of Cezanne, transl. Sheila AnnOgilvic,
1942. Berkeley and Los Angeles, 1965.

riviere, 1942: G. Riviere, Cezanne, le peintre solitaire (2nd ed.),

'Madame Cezanne's Fashions and the Dates of her
1966 R. van Buren,
Paris, 1942.
Portraits', Art Quarterly, [966, pp. 11 1-12.

194; PISSARRO, LETTERS, 1 945: |. Rewald, ed., Camillt Pissarro, Letters to K. Leonhard, Paul Cezanne in Selhst\eugnissen und Bilddokumenten,
his son Tucien, London, 194;. Rheinbek bei Hamburg, 1966.

T. Reff, 'Cezanne and Hercules', The Art Bulletin, March 1966,

1944 E. |ewell, Paul Cezanne, New York, 1944.
PP- 3^-44-
riviere, 1944: G. Riviere, Ce~anne. le peintre solitaire (3rd ed.).

Pans, 1944. 1968 R. |. Neiss, Zola, Cezanne and Manet, Ann Arbor, 1968.

Stockholm, 1946. C. Ramus, Ce\annes Formes, Lausanne, 1968.

1946 G. Schildt. C e\anne,
M. Schapiro, 'The Apples of Cezanne: An F.ssay on the Meaning
194^ \Y. Kuhn, 'Cezanne: Delayed Finale', Art News, April 194-,
of Still-Life', The Arant-Garde An News Annual, X\ YIY. 1968,
pp. 5-16.
1

pp. 35-53; reprinted in Modern Art, New York, 19^8, pp. 1-38.

1948 dorival, 1948: B. Dorival, Ce~anne, Paris, 194H.

1969 ikegami, Tokvo, 1969: C. Ikegami, Ce\anne, Tokyo, 1969.
G. ledhcka. Cezanne, Berne, 1948.
1970 \Y. Andersen, Cezanne's Portrait Drawings, Cambridge, Mass. and
L. Johnson, 'The Formal Sources of Delacroix's "Barque de
London, 1970.
Dante'", The Burlington Magazine, 1948, pp. 228-52.
C. Ikegami, 'Le Dessin de Paul Cezanne', Bijutsushi (Journal of the
rewald. New York, 1948: |. Rewald, Paul Cezanne, New York,
|apan Art History Society), no. 76, 1970.
1948.
1971 A. d'Harnoncourt. 'The Necessary Cezanne', The Art Gallery,
19*0 L. Guerrv, Ce\anne et f expression de I'espace, Paris, 1950.
April 1971.
F. lourdain, Ce\awie, Paris and New York, 1950.
M. Hours, 'Cezanne's Portrait of His Father', Studies in the History

1952 R. M. Rilke, Brie/e idler Cezanne., Wiesbaden, 1952. \rt, National Gallery of Art, Washington D.C., 1971,

schapiro, 19s 2: M. Schapiro, Cezanne, New York, 1912. pp. 63-88.

 I Rewald, 'Cezanne and His Father', Studies in tbi History oj \rt, (.. Kiefer, 'Cezanne's "Magdalen": A New Source in the Musee
National Gallerj of \n, \\ ashing ton D.C., 1971 i, reprinted in Granet, Aix-en-Provence', Ga^etti dts Beaux-Arts, Feb. 1984.
|. Rcwald, Studies in Impresssionism, London, 198^, pp. 69 101. pp. 91-4.

( ezanne, correspONDAN< i. 1984: J.

Rcwald, ed., Ce\amK,
1073 < n. i happuis, 197}: ^. Chappuis, Tbt Drawings of Paul Cezanne: I

Correspondence, New York, 1984.

< atalogm Raisonne, 2 vols., Greenwich, Conn, and London, 1975.
R. Schiff, Cezanne and the l_:nd of Impressionism, Chicago, 1984
si hapiro, 1973: M. Schapiro, Vault. e\anne, Paris, 1
yt 5

August 1974, 1986 hi w m.i), 1986: |. Rcwald. Cezanne, a biography, New York, 1986.
1974 D. Sutton, 'The Paradoxes of Cezanne', Ipollo,

Rewald, 'Paintings In Paul Cezanne in the Mellon Collection',

pp. 98
|.
107.
in Essays in Honor oj Paul Mellon, ( olleclor and Benefactor, \\ ashington
197^ A. Barskaya, Cittanne, Leningrad, 191s.
l).( ... [986.
BLGAR, I975: F. Elgar, ( I
ruin,. New } ork, 197s.
198^ R. Kirsch, Paul Cezanne: " |eune fillc au piano" and some Portraits
S. Lichtenstein 1 ezanne'i copies and variants aftei Delacroix',
of his wife: An Investigation of his Painting dts Beaux-
Ipollo, I eb. [975, pp. 1 16 17.
4rts, |uly-Aug., 198^, pp. 21 6.

wadley, 1975: N. Wadley, G -mini and bis In. London, 1971

M. Lew is, 'Cezanne's "I [arrow ing of I lell and the Magdalen*",
1976 CEZANNE, CORRESPONDANi I Ri « aid, 1 (I . I'iihI 1 1 ~nnn, , Gazette des Beaux- Iris. April 198-, pp. 1-1-8.

Correspondence, ( tatford, 1976.

1978 S. Geist, 'What makes "Th« Bl '

ck"Run', \rt International,

Feb. 1978, pp. 8 1

1

I) Gordon, 'The Expressionist ( IrtForum, March 1978.

\10\NiKi 1 , 1978 80: S. Monneret, < ., \anne, Zola . . I .,1 Fraternite

duginie, Paris, 1978.

1 I
ZANNE, ( ORRESPONDANI I . I 9-18: |, Rett aid, ed., Willi ( 1 yum, .

1 orrespemdanci (Rci ed.) Paris, 1978.

K, S< lull, 'Seeing ( < zanni ', ( ritical Inquiry, Summer 19-8,

pp. 765 8. 18.

VENTURI, 1978: I \ 1 ill in 1, I • ,i)llli . ( H'lK \ 1, 19-8.

cezanne, correspondani Rcwald, ed., Paul (

1979 i, i'; Ti ; I
-

Supplementary Bibliography (Literature)

Brief , Zurich, 1979.

T. Reff, 'The Pictures within Cezanne's Pi< tures', Ir/j Magazine, H.dcBn\zzc,Oem>rescompl rule ed . Paris, 1967.
[une 9 '9, pp 90 i-
C. Baudelaire, Oeuvres comp
1

Pichon, ed rev. ed.), Paris, i960.

1

[080 Mini vm, 1980: G. Vdriani, Paul 1 1 \anm Dtr I Jebi rkantpt, Munich, ( I I.iuIkii. I .1 I cntatinn de Saint Vntoine' 1856), 1 6 7-

981
1
1.
( Flaubert, I .,1 Ventationdt \,mn- Ik/mw, Paris, 18-4 trans, k Mrosovsky,
S. Geist, 'Cezann< Metamorphosis of the Self, [rlserik I )i 1

Ithaca, m x

1980, pp. 10 17.

( Flaubert, Otian \ 1 Le Dautec and C. Pichon, ed., Paris,
N. Ponente, PauH e^anne, Bologna, 198 1
9(1 1

1981 \Di11\Ni, 1981: (,, \ ( 1 11.1111, Wuil ( r~,ninr. lquare/U,( ologne, 1981. I Duranty, 'Le Peintre Louis Martin', I
publ.

posthumous!)
G. Ballas, 'Paul ' i .nun 1 1 la Ki 1 u< "I '

\«iste"\ (,,i~,n, ,1, 1

Beau* l//i, Dec, 1981, pp. in, ,2. \l Pi 1 nine, '"La Double Vue de Louis Seguin" de Duranty', 1

Beaux Irts, LXXXV1I1, 1976, pp. 235 9.

1982 Arrouyej / t Provtmedit (sranne, \i\ en Provence, 1982.
I

ItsoJ Vbeopb, 1 Sumichrast, trans, and ed.. New ^ ork.

V, Bettendorf, '< iezanne's Earl) Realism: "Si ill life with Bread and
1902.
Eggs" re-examined', \rti W 19 |an. 1982, pp. 138 41.
D. Ln :e .\nd \\ . \\ il'i'i, uls ., II .,;•;, rism in I nropum <

[983 T. Reff, 'Cezanni rhe Severed Head and the Skull', Iris, Dec. Ithaca and I .ondon, 11)84.

198 i, pp. 84 100.

K. Korn, Zola n; I rankfurt,
rwi . id w m 11, 1983: |. Rewald, Pau/i htannt: Vbt II atercolours,
I , Zola, Oem>res completes, ed.,M. Leblond, Paris, 1927 29 vol. Ill, La
Boston and 1 ,1 mdi in, 1983. ( in,,, vol. \ . / 1 vol. VI, /-; / ant . vol.

<,.. W Aix-en-Provence, 1984 XV, Oeuvre; vol. XVIII, La Bite bnmaine; vol XXXIV, mm;
i,,S| D. Coutagni 1 .
„, ,/' \ix,
Mid,/, in, vol \1 \ Documents litteraii
S. ( rache Patin, 'Douze mm res de 1 ezanne ck- I'ancienne
I ,
. .

|. C. Lapp. Zola before the R I I tart', Toronto, n)(>4-

collection Pellerin', La Revue du Louvre etdes Muse'is d< I rant*, 2.
'

9B 28 46. I Zola, ( orrespondance, ed., B. 1 1 Bakker, j \ ols . Montreal,

1 1, pp. 1
 : 1 1 , 1 1 1 1

Index

Numbers in bold refer to the pages of catalogue Boch, Eugene, S4, 57, 60; Van Gogh's portrait of, dealers, Paris, 60-1
entries ofworks exhibited. 57 i, I dgar, s, 20, 4(1, 57, sS, S9; Bellelli Family,
Figures are indicated by (fig.) after page number. Bock. Hans, All :. 12 14. "J*
Bonvin, Francois, /.< Dejeuner sur I' herbe (cat. 51), 16, 24. 2s 7, 28,
Abbatc. Niccolo dell'. I ;i Book of 'Da>:. 4S 9, 60, 1 so, 172
Academic Suisse, Pans. S. i i. (6 -7, 12(1, ijo, 140, Sandro, Tht Seasons, ascribed
Botticelli, to, (> Delacroix, F.ugenc. S. 9, ;, 46; Cezanne's copies 1

206, 208 Boudin, Eugene, of The Bouquet, Hamlet and Horatio, and Medea
Achilk Emperaire, set Portrait of the Painter Boy Leaning on his Elbow, <i\ b\ -8; Cezanne's Tin Baram oj Dante' after, 9,
, '

\dhcmar. llelene. 6 s Bovcr, Gustave, Cezanne's portraits of, 17, 62 s6, 78; gouache of Tannhauser, attributed to, 37,
\dnani. Gotz, 41- s j 38; He/iodorus driven from the Temple, 34, 54(fig.)
10011 in Saples (with a negro servant) (cat. 2- . Guerbois, Paris, 20, 26, j6, 37 Denis, Maurice, s 9 63, 162;
, Homage to Ce\anne, 60

21,33,45,61,62,134,2 . ho The Rum Camoin, Charles, S9 Detain, Andre, 59

Punch Camondo, ("nuni Isaac de. ! dogs in Cezanne's paintings, 26, 47
Ux-en-Provence, 4,7, 9, 15, 21,41, 42. s2n, j j (>, Caravaggio, Death of tht 1 irgin, is, 140 Dominique, Uncle, set Aubert and Portraits of
- 80, Vcademy, 5 ; College Bourbon, 2 1
, : Card Players, 26, 27 I 'ncle Dominique
i\, s(>; F.colc des Beaux-Arts. 206: Museum. 7, Cassatt, Mars, (m Doria, Count, s8, 60
10, ->o; Pcnsionnat Saint-Joseph, 56; set also |as Cassirer, Paul, 62 Dou, Gerard, Dropsical Woman, 1 s6
de BoulTan iinarv, lules- \ntoine, 4- Dreyfus, Captain, 44
Album Stock, see Stock Cezanne, Elisabeth [net Aubcrt: mother), 5 s; Druet, F.ugene, 60, 61
\ lexis. Paul, 14. ss. s8, 156, 164 Portrait of (cat. 24b), 118 Druick, Douglas, 37
I
.'
A Ilee tin Jas dt Boa •
Cezanne, Mme Hortense (net Fiquet: wife), is, 16, Drunkenness, 4 s
.
;6, 57, (>2 24, 25, 2", 55, 194, 196; / lead of, 24(hg.) Durand-Ruel, Paul, dealer, 61, 62
The Apotheosis of Delacroix, 26 Cezanne, Louis- Auguste (father), 5 14,41,4s. ss, , Duranty, Fdmund, 20, 26; La Double I ue de
'
IpotbeosisofHciin l\ ', after Rubens (cat. -o, is8, 180; Portrait of (cat. 4), 6(fig.i, -, ss, l^onis Se'guin, 26
208 (>2, -o, 76, 180; Portrait, reading Ll.venement, of Duret, Theodore, s6, s -7 , s8, 61
Arc I 'alley with Mont Sainte-\ "utoire, ; (cat. 21), 9, 10, is, 60, 92, 96, no Dyck, Van, Sir Anthony, Portrait of Lucas
r, 56 Cezanne, Mane (sister), 12, 26, is 8; Portrait of I orsterman, 1 s

/.' Irtish (journal), 22, ;<>. 4- (cat. 24a), 9, 61, 116

\ubcrt. Dominique, 100, 1 s8, see also Portraits of Cezanne, Paul, photograph of (1864), 7, 7(fig.). F.mperaire, Achillc, 18, 194; Cezanne's Portraits
I ncle Dominique -2,98 of, 14-1 s, S4, 57, 60, 6s n, 110, 162, 211, 212
Preparation for tin Funeral Cezanne, Paul, self-portraits, see Self-Portraits L'Estaque, 17, ss, 180, 1 86; Cezanne's house at,

Autumn (cat. id), 6, 70, 71 Cezanne, Paul.yfA, s s 60 , 1 s, 1

-(fig.), 166
Auvers-sur-Oise, ;. ss. 54, 56, 60, (>;. 142. 150 Cezanne, Rose sister 14, 5 8 , 1 L'Lstaqiie, Evening Effect, s8, 62
Cezanne exhibitions: 'The Collection of L' Eterneifeminin c. 1875—7; oil, 29, 29(fig.)

Badt, Kurt. 24. 26 M. Pellenn' (1907), S9; at Yollard's gallerv /.' Eternei feminin r.1875— 7; watercolour, 49(fig.),
Bailie, Bapnstin, 4, s,-, S8.46, iin (189s), s^, bo, 148 49-50
Bakwin. Harrv (Bakwin Collection), 62, to6 Champrleury, Jules, 4(1 /.'
Ett rnel feminin. Study for (cat. 84.. 214
Ballas, Giula, 36 Chardin, |ean-Baptiste, 18 Lliurope (magazine;, 44
Baltens, Pieter, Dana 0/ I^ad) World, engraving Le Charivari, 4-, 1
37 L'Evenement (newspaper), 10, 21, 43 -4
atler, jo, s : 1 Charpentier, Georges, s8, 60 Exposition Univereelle, 12
Bal/ac, Honore de, 2 : wre inconnu, 28, Chateau of Barben, 6 F.xpressionism, 18, 128
210 The Chestnut Trees and the Pool at the jas de Bouffan
Barbizon School, 8, 88, 120 (cat. 60), 18, 186. 190 Fabbri, Egisto Paolo, 61-2
Baroque, 11, ii. ;2. ;s. 46, 48, 1 s 2, 166, 21 2 Chocquet, Victor, collector, 18, 57, s8 Factories at L'Estaque, isftig.), 14, 166
'
Tht Bare/lit of Dant,
'.
a/tt r Delacroix (cat. s ), 9, s 6, Christ in Limbo (cat. 52), 12, s s, 60, 50, 136-7 1 Factories near Mont dt Cengle (cat. 48), 14. 166
78 Christ in Limbo with the Magdalen (cat. 32-3), fantasy paintings, Cezanne's, 32-9
Bartolommeo, Fra, 140 12-15, is (rig.,, 136-7 Fantin-Latour, Henri, 20, 34, 36; Tannhauser:
bather compositions. 16, 29, si: Bather and Rocks, Chrvsler Museum, Norfolk. Virginia, 10 enusberg, ;-. s- tig.), 38
I

5,6 fig - 70; Bathers (cm. 58), 26, ;2. Clairiere, 1 fashion plates, painting from, 122, 180
.
38, 39, 51, 146; Bathing, 4(fig.); Cochin, Baron Denys, s8, 60 Fauvism, 14
The Great Bathers, 3, 29: Standing Bather, drying collectors and owners of Cezanne's earlv works, The Feast I The Orgy) (cat. 59), 16, 32, 33, 34 5,
her litiir cat. 3-'), 144 S4-6S; classmates and friends from Aix, 5S-6; 36, 39, 42, 60, 148; Sheet of studies for (cat

Baudelaire, Charles, 16, 21, 27, 36, 37, 43,4;, j I, close relatives, s s; first collectors, s8; foreign 209, see also The Orgy
.;.', 46; Ijs Flenrs du Mai, 2 collectors, 61-2; great 20th-century collectors, Femme nue also Nn a la puce (lost), I4(fig.), is, S4,
Bazille, Frederic, s, 36; La Famil/e de /'artiste a 62-3; painters in Pans and first defenders of 138
MontptHer, 2< Impressionism, s6-8; Pans dealers, 60-1; Feneon, Felix, 202
Beccafumi, Domenico, Roman Tribune Cremating, Pellerin Collection, S9— 60 Feti, Domenico, Melancholy, 12, i2(fig.). 1 37
1 2 Concerts Populaires, Paris, 36 46
ijro, 44,
Beethoven, Ludwig van, 21 Contrasts (cm. 42 71, 154 . figure scenes, Cezanne's early, 41-5
Belsh.sxzar's feast, theme of, ; s Corot, |ean-Baptiste, 8, S9, 88 Fiquet, lortense, set Cezanne, Mme
I

Bennccourt, 80, 102 Corsy, Dr. 61 The fishing I 'illagt at L'Estaque, s s, 60

Bernard, Emile, 7, 1-. 28. 38—9, 59, 162 couillarde style, see palette-knife pictures Flaubert, Gustave, 21, si, s8: Tht Temptation of
Bcrnheim de Villers, Gaston, 61 Courbet, Gustave, 7, 8, 9. 10, 1 s. 4;. 44. 4-, s 1, St Anthony, 16, 22. S4 6, 57, S9. 49. 148, ro
Bcrnheim-lcune, Alexandre, 61 82, 92; I' Atelier, so-i; Bather, <,, -o; Young looters, foreign collectors, 61-2
Bernheim-Jeune, Joseph ( Josse), 61 our Seasons (cat. 1), 6(fig.), 6— 7, 12. 55,70—1,
154
Bernheim-leune Gallerv, 60, 61 -6
The Courtesan, 6
Bignou, Ftienne, dealer, 61, 62 courtesans and prostitutes, 4s. 46, 4-, so
Franco-Prussian War (1870— 1), z, ;, is. 17, 37,

Black and White Still Life, 62 s6, 180

Couture, Thomas, Romans of the Decadence, 3 5 (fig.),
1

black cat, symbol of, 46 Frillie, Felix-Nicholas, Reve dupoitt, -4

-
ack Clock (cat. 49), 1 8, 22, s s, 168. 76 Fry, Roger, 18, S9, 98, 1 so, 1-6
1
Tht Cutting, is, i6(fig.), 18, 186
'black' pictures, Cezanne's, 2
Blanc, Charles, L'EcoA Espagnole, 12, 1 56 - Daudct, Alphonse. 8 s G.ichet, Dr Paul, 56, s8, 60, 1 50; collection •

Blisv, I.illieP., 62 Daumier, Honore, 8, 12, 16, 51, 112, 132, 137, s 6; Portrait of, ! - fig

Blot. Eugene, sS, 62 1 s 2. 1 S4, 2 1 o; Tin Kiss, 1 Galeric Charpentier, 6;

224
 INDEX

( ialerie Le Portique, 65 Lecomte, Georges, 5X National Gallery, London, 7

< iasqui 1, [( mi, sd, 52 I 1
/ ,,-da and the Swan, 60 Navarrete, 'el Mudo', |uan Fernandcv. 12
( Iasqui i
,
foachim, 11, 18, ;6, 152 Leroy, Louis, 47 The Negro Scipion(ax. 30;, 11-12, sd -, 16, 130 1

Gauguin, Paul, 2 1, 162 Lewis, Mary Tompkins, 12-15,52 40, 1 52, 136, ,\'/< a la puce flost), see Femmt nut

Gautier, Theophile, si, Lei Jeunes France, 32 148, 209

( le, N.N., 140 Lewisohn, Adolph, collection of, 62 ( )ffcnl>ach, Jacques, Orpbie aux Enfers, j 2

( leffroj Gustave, 57, ,

s Lichtenstein, Sara, 34 OilmiU(ax. $9), 188
( iiiii juli ["hi odore, 1 1 Lot and his Daughters (at. 3;, 74 Old Woman with a Rosary, ;

( liorgione, 5 1 ; Concert champitrt , attributed to, 25, La Lutte d' Imour, 2d, 41 (fig.), 42, s 1 Oiler, Francisco, sd, 57
( )pera. Pans: first production of Tannhduser at
27. '74 Lyon, Edouard, f>2

Gogh, Van, Vincent, 12, sd, 57 I. von, Victor, 62 (1861), 36, J7, 58
Goncourt, Edmond and [ulesde, 21, 25, jon Louvre, Pans, 9, 12, 15, 1 s, 25, 33, 59, 78, 94, 157, orgy theme, ,2 6

Gowing, Sir Laurence, 2, \, 4 19, 162 140; He-line anil Victor I. son Donation, 62 :;l or Hit Banquet 'cat. 65), 200; ,e a/so

'..- t, Francisco de: The Naked Ma/a, 1'., Sti, / The I east

Magallon, Xavierde, 36 Overfurt to Tannhduser, umo

with a Sheep' i I lead, 9 1

< Irani I, Louis, o Maier, Michael, Hermapbroditui mortuo, illustration

Granct, F.-M., 7 H; Interior I Vw*/ .'/" < o/osietm, from .Atlanta Fagiensby, 23 ] l„ Painter (ax. 77), 210
In Seasons', 6 Maitn dmond, sd The Painter holding a Pa/rtt, (cat. 76 , 210
7, 9(fig
I
1
I;

The Great Bathers, 5, 29 \lalf Sudt 206 palette-knife pictures (couillarde sts le), 9, 10 it,

Co,// [pplet, (6 Mai, Nude (cat. -<i>. 208 17,80,92,98, iio, 102, 104, 110, 112, lid
'Le Groupe des Batignolles', 20, 2 Mai, Sudl 211 parallelism, systematic, is

Guillaumin, Armand, 18, 56, 58, 6}, 124,19 \lair Suae, Had- I '/fie (cat. 74), 209 Paris: the Quai de \ Wine Marl
Cezanne's Portrait ol < at. 82), 213 .Wan lying on the Ground (ax. 69), 206 94
Man la/ Gustave Boyer (cai Pastoral (Idyll) (ax. 52), 32, 36, 38 '"4
Guillemct, Antoine, ro, 21, 56, 92, 100, 102, 1
; I,, with ,1 'trair I v.

1 7, e.2, 166, 184 Stmh fol 213

fan a ith tbt otton Cap n, It Dominiqm) Patin, Svlvie, S4 ds
I [avemeyer, I [enry ()., (12 / b, \ < 1 1

112 Paul Alexis r,adin« at '/.ola's loi, 156

Uadofa Man
I
/ (< at. Bi), 212 (cat. 22), 9, 61,

Headoj Ichille Emperaire (cai ••>,. 1

-.
. 2 1 Manet, Edouard, 9, 10, 14, s, 16, 17, 20, 21, 1 Paul liexis reading to Emile Zola (ax. 47), 14. ss.

/Uadoj an Old Man (cat. 6), 9 61 , 80, 102 jo 1n.36.43 1,46,47,51,39,82,140,172, 60, 164

1
er, lean Jacques, s<; 174, 182; I ., Dlfeuner sur I'berbe, 2s, 21, 4;, Pellenn, Auguste (Pellcrin Collection), 16, S4.

I lessel, 1 1 is, dealer, 5, 60, 6l, 62, 63 44(fig.), 4X, 172; Nana, j(<, Olympia, 28, 45 4. . 62; Matisse's Portrait, of, su. 59
5

Hoffmann, E.T. A., Lebensansh bten des I Wurt 45(fig). H 6.47.48. Mo Pellenn, |ean- Victor, 60, d.jn
\l 1111 1, Mine, sd Pellenn, luhette, 60
,6
Mannerism, 11,12,50 Picasso, Pablo, 63
I lorn, Van, colle< tion, Mi mtn al, (>i

l/i, House 0/ the Hanged Wan, sk Marion, \11i01n1 Fortune, io 11.14, S2 sn, ss. pictorial definitions, Cezanne's \ ocabulan 1

98, 100, is «; 11 h of l/.v, 100 Piss.irro, ( amille, 2, 21, 4;. s:n, s s,

1 lugo, Victor, 2 1, 34
I

Malum ami 'alabregm telling out for tin Motif Sd, S- 1

SX, SI;. I
2d. 1-2. 1 t)6;
I [uysmans, |. K., 58 I .

(cat. 25), 10 11,58,60,100,120 ( ezannc's friendship with, sd, 57; and Portrait
ir, at l*i Kocht-Guyon, 10,
Idyll, see Pastoral Maimer, George, 2-1 of,

Impressionists, 2, 5, 12, 17, sd, J7, 54. 56. 57i i". Matisse, 1 lenri, S9. 162; Pur trait ml luguste Pellenn, 1 1 1.

39,61,62,63, 102, 104, no, ijoifirsi exhibition 59, 59

"' Pitcairn, Raymond, d:

thud exhibition Melting Snow at L'Estaque, 60, 166 Poi. Edgar Allan. / ',46
(1874), 28, 47, 57, sX;
Ingres, |ean Auguste, 46; Jupiter and Tbetis,6,yo Mentmore, Rothschild collection at, 6
Mi nun iii'i ni known as Murer), Port,.. Portraits o) I teiqm
L'lntransigeant (newspaper), ss 1 , I !
|

,< Metropolitan Museum ol Vrt, 62 Portrait of a If owan, 9

[sabi 1
,
I
ug< ii< ( labrii I,

Portrait of a ) '//<«;' II oman.

Millet, I
I
.,8, 126 9
Mirbeau, )ctave, 62 Portrait ol Xcbill draw Ulg .

[acomin, 9, 208 1 s 7,

Mistral, Frederic, aiendau, 212. Painter, I.

|as de Bi mil. in (< ezanne famil) home), tz, 1 1. jj,
( 1

61,92, 136, M4, isx, 186; //" Chestnut Trees and I Modern Olymj Emfr
.Hard. d d
the Pool at {ax. 60), ix, sc>, 190; ( bristin Umbo 1 |6, ! 8, do, I50 I s . 1 , 1

Modern Olympia (The Pasha), r.1873 3,21 Port, ,21,

(cat. (2), 12 13,60, 1 3<'»; Thi Four Seasons I

70- 1; 150 SS, 60, i)2. IOO

(cat. i),6, 55, Portrait of Louh luguste, 28(fig.), 20,
Monet, l.mile, 8, 12, 20, 21, 25,48, 35, 56 Port 1.
3;, 6z, 70, 1 j, 7,
(
Father of thi lrHst(a\ i), 6 fig .

(i 100, 166, 182

7f> S8, J9, 1 1

Montifaut, Marc de, Portrait ol ( amilh P

|eand< Dieu called Saini |ean, Imorom Scene, 1

|S,I, Mi irisot, Berthe, S9 Portrait ol Or I

: ,

lull, Paris, )6, ojn Morozov, Ivan and Mikhail, colli tion of, 62 Portrait of I "in, / .... : ; 1

|0( I. e\ (

Morstatt, leinrich, 2n, 55,92, 98, 158 Portrait ol Lost

Jouem 1 d( tarU 1
series, tee I hi < ard PI I 5

Mortier, Irnold, 44, 4s U ,7, 55, 62, 7 -'

The Murdei cai 13, 27,42, 138, 140 Portrait ol Lot

Kaganovitch, Max, 63; portrait of, '12 1

Kami, Alphonse, ollet tion of, 62 .

Mush d'( irs.is. Pans, [6, 18, ; s, S4, sd, S7, (9- If

Kru 111 line, Mary Louise, id, 20 (J, 140, 1 50, 172 60,61,62,63 96, no, 1(12. 1S2

Musee du |eu de Paume, Pans, 62; Max and Rosj I rtist

Lancret, Nicolas, 6 7, 71 Kaganovitch Donation, 63; Museum ol .,, 1.1. 1 1(1

Impressionism, 6 Portrait ol P
Landscape (cat. x),84
Port 1 .iid.
/ andscapi by a Kiim (< al 9), 86 Musee du Petit Palais, Pans, 6, 6i
Landscape \AtSt I
• toiri (cat. 10), 88 Musee Granet, \i\ n Pto\ ence, 37,6 i Il8

(at 10,90 Musee Rodin, s^ Portrait of the Painter.

Landscape near lix-en Provence
Museum of Modern Art, New ork, d2 14 s. S4. s-. 60, ds n.1 1 10, 162: draw ing ol
Landscape with a Fisherman, s, s(fig.). 7'
1

Landscape with a II atermill (cat 58), is, 186 Mussei, Alfred de, 2 1, 26, >on, ; i. 'La Nun de I lead (cai 79), 1 -. 211

Decembre', 2d Portrait of the Painter Gui/laumh 213

I ,aro( In, |acques, collet tion of, 18 62
Port,
lit, Lawyei (Unc/t Dominiqm I (cai 13) 9 60, 112,
Nabis, id: Porn Dominique,
114
NapoU on HI, mpi ror, (6 1 1 2 1 . nnican I >
I ,ci l.nu lii , Maui ii e, 58, 62 I
[, 13, i

225
 1 , 1 6 . 9 ;

INDEX

io4(lig.), 1 1 2; The lawyer (cat. 25), 9, 60. 1 1 2. Seascapi (cat.

(>4 198 I, \ elazquez, Diego, 1 s

114: Tbt Man with the Cotton Cap (cat. 22), 9, 6 1 Sebastiano del Piombo, 12, 1 56 7 Venetian painting, 17, ;;, 54, si, 148
112; Portrait of I neit Dominique (cat. 19), 9, 62. Self-Portrait (cat. 21, 7, do, 72 Vcntun, Lionello, ;<. s s, s8, 60, 116; Ce~anne. son
106; Portrait of Vnclt Dominique ( in a turban j 'ortrait (cat. 1 5), 9, 98 art. son tiurrt: 'Academic and Romantic Period

cat. 20), 9, 60, 108; Portrait of { nele I Dominique _. 194, 196 (1858—71)', 54,60
I profile) (cat. 1 8), 9, 104; ( ncle Dominique Self-Portrait r), s s I tims. after Raphael (cat. 70), 207
(cat. 18), I04(fi; self-portraits, 2-, s s, 60 I'tnus and Cupid, 57
Post-Impressionism, 12 Shchukin, Sergei, collection of, (12 Vermccr, Jan, 56 1

Poussin, Nicolas, s 1 tiectt (newspape t . 1 z .

47 Veronese, Paolo, 16; Wedding I east at Carta, \ \,

Prado, Madrid, 12 Sisles , Alfred, 10, sS, 59 53 |ig-). ; 4. 148

Preparation for a Banqu, I. ; ; , ; ; •
Smoker. 1 -"6 La I it Moderne (periodical), s8
Preparation for the Vuneral. or The Autopsy cat. ;
I I, Songe d' Anmbal (poem I, 54 I 'iewoj Bonnieres (cat. 17), 102
1 ;. 22, do, 140, 209 Sorrow, or Mary Magdalen (cat. 33). 12-1;, s s , 62 I 'iewoj the Colosseum, Rome, 7, 8 (fig.
Puget, Pierre, 11, 156; Andromeda, 1 150, 136,137 \ irgil, 17, 21

Spring (cat. 1 c), 6, 70 \ ollard, Vmbroise, 9, s s, 57, 60- 1, 6;, 148;

Quai de Bercy, Cezanne's apartment on. 194 Standing Bather, drying her I lair (cat. $7), 144 Cezanne's Portrait ot, 1 5,61, 61 (fig

Quinn, |ohn, 62 Stein, Michael and Sarah, S9 \ uillard, F.douard, 59

Stendhal. 21
The Rapt (cat. i !
), 1 1 12,22, 42, 55, 6l, 62, 80, Still Life: Bread ana I gj, 1;. So, 82 \\ agner, Richard, 16, ;6 -7, s s, 92, 1 s8; Tannhduser,
1 26, 132
1 ;o, Stilt Life: Bread and Leg oj Lamb 'at. 13), 92 14, is, 18, 21, 27, }6, 37—
Raphael, 2-, 20^ Stilt Life: Green Pot and Pewter jug cat. 53), 18, 176 tier society, Marseille, ;6
Realism, 20, ;- Still Life: Pot,. Bottle. Cup and Fruit (cat. S4), 18, Waldron-Elder, Louisine (Mrs LLC). Havemcver),
Rert, Theodore, ;4. ;s. j6 [76, 178 62
Renaissance an, 6, s, ;2, -6 Still Life: Skull and Candlestick teat. 12,1, ss.92 I II alk (cat. 2(>), 42, 60, 122
Remind. Georges, 62 ; Still Life: Skull and Watering (cat. 4s :. 160 The W"alk. (cat. s si, 1 22, 180
Renoir, \uguste. 10, 18, 20, $6, 57, sS, 59; Cabaret Still Lm: Sugar Pot, Pears and Blue Cup (cat. 14 , \\ atteau, Antoine, t.mbarquement pour /Tie de
de la Mir, Antony, 10 10, 60, 92, 96, 1 10 Cytbere, 2 s

Rewald, John, 2 }, 24, 54, 5 5, 56, 158, 166 Stock, caricature of < c/annc by, I4(tig.), 15,47, Winding Road in Provence (cat. 56.1. 62, 142
Ribera, lost. 1;; Entombment, 140 162 Tbt Uiiit Grog, see The Rum Punch
Ribot, Augustin, K2 \lovt in ll'i Studio. 1 5, 55, 60, 62 Winter (cat. 1 b), 6, 70, 71
Rilke, R. uner Maria, 18, 100, 176 The Strangled Oman, 27, 61, 63, fi3(fig.)
If If oman at a Mirror, s 7, 60
Riviere, Georges, sS. 116 Studies 01 a Mourning II oman (at. Ss 214 . Woman Bather drying herself and Head of ,

Tbi Road (cat. 61), 192 Study for L'Eternel Fe'minin (cat. 84), 214 Mmt t e\anne, 24 fig.
Tbe Robbers and lb, \u cat. 41 |, id, 152, 1 s 4 Study for Pastoral or Idyll (at. 85), 213 Woman diving into Water (cat. 66), 202
Rochefort, Henri, s s Study of a II Oman, s s Woman with a Coffee Pot, 64n
- women, Cezanne's attitude towards, 24-
Rodin, \ugustc. ; Study of Nudes Piling (cat. - 1
), 207 s, 27-9;
Romanticism, 11, ;2. ;;, ;s, 56, ;-. ;S, 59, 166 Summer (at. ta), 6, 70. 71 and theme of opposing sexes, 42 s

Rosebery, Lord, 6 Women (t\\ o sketches), ;

}(fig.

Rou.irt, Henri, 57, 60 Tanguy, Pen. |ulien, 54, s(>. 57, s8,6o, 162; Women dressing (cat. 28), 8, s6, 126, 1 52
Rosenberg, Paul, 61, 63 Van Gogh's portraits of, 57
Rouvel, Pcre, Portrait of, set Portrait 0/ Peri Rome/ Tavernier, Adolph, 5 7 8 Young Girl at the Piano Overture to Tannhduser
Rubens. Sir Pciir Paul, 9, 51, 208 The Temptation of St Anthony (cat. so), c. i8->o, 16, (cat. 44), 14, is, 18, 26, 5-, 62, 158, 186
7 he Rue des Sautes. Montmartre (cat. 29), 1 o, 56, 65, 22-4. 25, 2-. ;2. 56, ;s, 59, 49, 62, 170
128 The Temptation of St Anthony (f.1874 s), 35, Zola, Emile, 4, s, 6, 7, 9, 10, II, 14, 16, n, 18, 20,

Tbe Rum Punch (cat. 67), ;s, 44,4s 6, 4-, 61, 62, 55 fig.), 1-0 21-5, 26, 28, 36, 42, 43,46, 51, 5 2n, 57, 58,
} 8,

204: see also Afternoon in Xaples Tbe Temptation of St Anthony 1877), 35— 102, 110, 120, 132, 150, 156, 158, 166, 168;
(nt terrible histoire (poem), s . 1 articles on the Salon, 10, 21,43-4; Cezanne's
Salon, 21,4?, 46, ;n, 92; 184-: 33; [863: 43;s Thannhauser family, 62 friendship with, 21-5, 26, 41-3, 5 zn, 55, 70;
1864: 8. 21, 37, ;S, 4;; 8 (S s 28. 43; 1866: 21, 1 : Tintoretto, |acopo, 6, 1 32; Removal oj the Body 0/ and Cezanne's portrait of, 23,23
4?, 44, 100; 1867: 44, 124, 204; 1868: 2s; S: Mark, 1 1; Self- Portrait , is La Confession de Claude, 46; his judgement ot

i8->o: 14—15,47, S4, 60; Zola's articles on, 10, Titian, s 1, 76; I enusoj L rhino, 46 Cezanne's work, 44 -
s, 46; Madeleine I eral. 22,

21.4: 4 The Two Children, 61 24; Mon Salon, 21, 26, s s; Sana, so; L'Ceuvre,

Salon d'Automne (1907 59 ,

24-s, 28, 57, 42, ss; (. 'it Page d amour, 5 3 n;
Salon des Refuses, 7, 2 1 45, 44 ,
I Ibach, Louis, 46 paintings of Cezanne owned by, 21, s s, s8, 60,
Scene /rum the Tannhduser Saga, 42, 42(fig.) 61, 62, 164; and the Temptation of St Anthony,
of Rape. Study of a Hand, 42, 42 (fig.) Yalabregue, Antony, 102, 104; Marion and 23-4; Tberest Raquin, 22, 2s. 46, 140
Schapiro, Meyer, 24, ion 'alabrigue setting out for the Motif (at. 2 5 ),
1 Zola, Mme, 9, 14, 166
Schuffenecker, Emile, S4, 57 10-1 1, s8, 60, too, 120; Portrait oi (at. 16),
Seipion, negro model. Portrait of (cat. 30), 1 1-12, 9-10, 21, 58, 60, 82, 92, 100; Portrait of
s6 -->, 16, 1301 (cat. 56), 17, s8,6o, 100,182

226
 BOSTON PUBLIC LIBRARY

3 9999 00808 278 4

A Boston Public Library

ND55 3
BRIGHT i ^" 3

BRANCH Lll
89001233-22
BR

The Date Due Card in the pocket in-

dicates the date on or before which
this book should be returned to the
Library.
Please do not remove cards from this
pocket.
About the Authors
and teacher, Lawrence Gowing has
Artist, writer,
been Professor of Fine Art at Leeds University and
Slade Professor of Fine Art, University College,
London. Now Curatorial Professor at the Phillips
Collection, Washington, D.C., he is the author of
many books and exhibition catalogues, among
them works on Vermeer, Thomas Jones, Constable,
Turner, Matisse, and Cezanne.

The other contributors are John Rewald, who is

currently preparing a catalogue raisonne of

Cezanne's oil paintings; M.
Krumrine, professor
L.
at Pennsylvania State University; Mary Tompkins

Lewis, fellow at The Center of Advanced Studies

for the Visual Arts at the National Gallery, Wash-
ington; Gotz Adriani, director of the Kunsthalle,
Tubingen; and Sylvie Patin, conservator at the
Musee d'Orsay.

>me Other Abrams Art Books

Cezanne: A Biography
By John Rewald
270 illustrations,
including 118 plates in full color

Cezanne
By Meyer Schapiro
66 illustrations,
including 50 tipped-in full-color plates

Renoir: His Life, Art, and Letters

By Barbara Ehrlich White
391 illustrations,
including 125 plates in full color

Monet
By Robert Gordon and Andrew Forge
365 illustrations,
including 125 plates in full color

Jacket front: Portrait of Uncle Dominique (profile).

1866 Lent by the Provost and Fellows of
Kings College, Cambridge (Keynes Collection),
on loan to the Fitzwilliam Museum, Cambridge

Jacket back: Bathers, c. 1870. Private collection

Harry N. Abrams, Inc.

100 Fifth Avenue
New York, NY. 10011

Printed in Great Britain

0-8109-1048-S