Paul Cezanne

French, 1839 - 1906

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French painter (1839–1906)

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A bearded man with a coppery-peach completion, wearing a dark, navy-blue brimmed cap, vest, jacket, and pants sits on a wooden bench or chair against a green background in this vertical portrait. The scene is loosely painted with thick, visible brushstrokes in kelly and shamrock green, deep, midnight blue, tawny brown, and charcoal gray to create a mottled effect. The man’s body is angled to our right and he looks in that direction. His legs are crossed and are cropped below the knees by the bottom right corner of the canvas. His fingers are interlaced in his lap with one thumb hooked between buttons on his vest. He has a long nose and his lips are closed. Touches of vibrant robin’s egg blue, sage green, pumpkin orange, and brick red enliven the dark clothing and shadows on the man’s features.
Paul Cezanne, The Gardener Vallier, 1906, oil on canvas, Gift of Eugene and Agnes E. Meyer, 1959.2.1

The Gardener Vallier

Paul Cezanne · 1906 · oil on canvas ·  Accession ID  1959.2.1

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Histoire des Peintres Impressionistes

Various Artists, Théodore Duret, Paul Cezanne, Camille Pissarro, Alfred Sisley, Auguste Renoir, Berthe Morisot, Jean-Baptiste-Armand Guillaumin, H. Floury · 1906 · bound volume with text, etchings, and photomechanical reproductions ·  Accession ID  1964.8.1691

About a dozen rust-orange and golden yellow apples and peaches are arranged on a white plate next to white and floral-patterned cloths nestled around a white pitcher and bowl, all on a wood tabletop that tilts toward us in this nearly square still life painting. A curtain patterned with royal blue, olive green, and beige falls along or near the back wall of the room and rests on the table to our left. The white pitcher is painted loosely with the suggestion of harvest-gold and pale lilac-purple flowers, and it sits amid the pooling folds of the curtain to our left. The white tablecloth is bunched under and next to it to our right, at the middle of the composition. The fruit is arranged on and around a white plate next to the tablecloth. A tall bowl with fluted sides and a ruffled, scalloped rim sits behind the fruit, near the right edge of the table. The curving skirt of the table reaches nearly to the bottom edge of the canvas. All the objects in the painting are outlined with dark blue and the shadows are painted with patches of spruce and cobalt blue.
Paul Cezanne, Still Life with Apples and Peaches, c. 1905, oil on canvas, Gift of Eugene and Agnes E. Meyer, 1959.15.1

Still Life with Apples and Peaches

Paul Cezanne · c. 1905 · oil on canvas ·  Accession ID  1959.15.1

We look down onto nine pieces of fruit, a pitcher, a goblet, and a dish arranged on a rustic wood table in front of a floral curtain in this nearly square, loosely painted still life. The table extends off the left edge of the composition and the back, right corner of the table just touches the right edge of the canvas. At the center of the composition, five pieces of marigold-orange fruit with yellow highlights and scarlet-red shading are piled in the dish. The side of the dish to our right is slightly tipped up so the fruit settles near the rim to our left. The dish is painted with loose strokes of sky blue, shell pink, pale yellow, and parchment white. Three more pieces of fruit, including a lemon, sit to our left of the dish and one more piece of fruit sits near the back corner of the table, behind the dish, to our right. Immediately behind the dish is a stemmed glass with a tall, rounded bowl. To our left, between the fruit on the table and in the platter, is a tall, angular, tapering pitcher. The pitcher is painted with emerald and moss-green leaves against a background painted with strokes of light peach, blush pink, slate blue, and one wide stroke of amber orange. The wooden table is peanut brown streaked with strokes of apricot orange and pale sage green. One drawer at the front has a round, wooden pull. There seem to be at least two panels of curtains hanging behind the table. Down the center of the background is a panel of coral peach and saffron orange with a floral pattern painted in wheat brown and denim blue. To our right, the panel is streaked with vertical strokes of teal, midnight, and navy blue. The area to our left, behind the table, could be the panel of a door, painted with pale turquoise. The fruit, dish, vessels, table, curtain, and door are all outlined with cobalt blue.
Paul Cezanne, Still Life with Milk Jug and Fruit, c. 1900, oil on canvas, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.5

Still Life with Milk Jug and Fruit

Paul Cezanne · c. 1900 · oil on canvas ·  Accession ID  1972.9.5

We look across a forested ravine painted in deep greens and blues at a terracotta-orange building at the top of a hill at the center of this nearly square, loosely painted landscape. Spring and moss-green trees grow along the ravine in front of us and up the left side of the canvas. Shadows within the densely forested area are painted with slate and royal blue with touches of plum and lavender purple, and the blue continues into the sky in the upper right quadrant of the composition. The sky is visible through the pointed, arched windows on the upper level of the building, giving the impression that it might be incomplete or in ruins. The building is made up of two stories over a protruding base, which could be a fortress-like structure below or a cliff face. Loose, thick brushstrokes are visible throughout.
Paul Cezanne, Château Noir, 1900/1904, oil on canvas, Gift of Eugene and Agnes E. Meyer, 1958.10.1

Château Noir

Paul Cezanne · 1900/1904 · oil on canvas ·  Accession ID  1958.10.1

A bouquet of at least six red and pink-edged white flowers in a blue bottle is at the center of this vertical, still-life watercolor. Some petals are picked out with blue-gray lines, and the blooms are touched with areas of golden yellow, emerald green, and sky blue around a graphite sketch. The bottom portion of the bottle itself fades away with sketchy lines and washes about three-quarters of the way down the painting. The space behind the flowers is painted with loose strokes making widely spaced, overlapping, diagonal bands filled in with frosty green, mauve pink, smoky pale purple, and muted blue. Another set of bands angling into the composition from the left edge could represent the corner of a table.
Paul Cezanne, Roses in a Bottle [recto], 1900/1904, watercolor over graphite on wove paper, Collection of Mr. and Mrs. Paul Mellon, 1995.47.26.a

Roses in a Bottle [recto]

Paul Cezanne · 1900/1904 · watercolor over graphite on wove paper ·  Accession ID  1995.47.26.a

A road or path curves away from us, past a tall formation, perhaps rocks, to our left, and into a valley filled with trees and a low hill beyond in this stylized, vertical landscape. The painting is created almost entirely with patches of vibrant colors mostly in burnt orange, peach, salmon pink, cobalt and sky blue, and lime and spring green. Most of the patches are applied with visible vertical strokes. Areas of unpainted canvas create white patches, especially on and around the path in front of us. The tall formation to our left is painted mostly in oranges and pinks. The trees in the valley are painted entirely with blues and greens, and the low hill enclosing the scene in the distance comes about three-quarters of the way up the canvas. The sky above is blocked in with pale aquamarine blue and a few touches of shell pink along the horizon.
Paul Cezanne, The Bend in the Road, 1900/1906, oil on canvas, Collection of Mr. and Mrs. Paul Mellon, 1985.64.8

The Bend in the Road

Paul Cezanne · 1900/1906 · oil on canvas ·  Accession ID  1985.64.8

Paul Cezanne, Vase of Flowers, 1900/1903, oil on canvas, Gift of Eugene and Agnes E. Meyer, 1958.10.2

Vase of Flowers

Paul Cezanne · 1900/1903 · oil on canvas ·  Accession ID  1958.10.2

Paul Cezanne, Self-Portrait, 1899, lithograph, Gift of Mr. and Mrs. Burton Tremaine, 1971.86.6

Self-Portrait

Paul Cezanne · 1899 · lithograph ·  Accession ID  1971.86.6

Paul Cezanne, Self-Portrait, 1898, lithograph in black, Rosenwald Collection, 1950.16.17

Self-Portrait

Paul Cezanne · 1898 · lithograph in black ·  Accession ID  1950.16.17