Cornelis Hoogendijk, Amsterdam
Riet Van Blaaderen-Hoogendijk, Laren, The Netherlands
Etienne Bignou, Paris
Alex. Reid & Lefevre (The Lefevre Gallery), London & Knoedler & Co., Inc. New York
Mrs. William A. Clark, Washington, D.C. (December 1928)
Acquavella Galleries, Inc., New York
Mr. & Mrs. John T. Dorrance Jr., Gladwyne (acquired from the above on February 9, 1970 and sold: Sotheby's, New York, October 18, 1989, lot 16)
Fujii Gallery, Tokyo
Sale: Christie's, New York, May 10, 1994, lot 43
Acquired at the above sale
New York, M. Knoedler & Co., Inc., A Century of French Painting, 1928, no. 25, illustrated in the catalogue
San Francisco, California Palace of the Legion of Honor, French Painting from the XVth Century to the Present, 1934, no. 70
New York, Wildenstein, Six Post-Impressionists,1948, no. 3, illustated in the catalogue
Philadelphia Museum of Art , Cézanne, 1983, no. 8
Sandra Orienti, The Complete Painting of Cézanne, New York, 1972, no. 488, illustrated p. 109
Ronald Pickvance, Cézanne, Tokyo, 1986, illustrated p. 38
H. Henkels, Bulletin van het Rijksmuseum, Amsterdam, 1993, fig. 55, illustrated
John Rewald, The Paintings of Paul Cézanne, A Catalogue raisonné, vol. I, New York, 1996, no. 476, catalogued pp. 317-318; vol. II, illustrated p. 152
Cézanne's primary concern is with the sophisticated interplay of form and space. Botanical classifications are secondary here, and John Rewald suggested that the blossoms that he used for the composition were probably artificial. For Cézanne, the flowers are primarily a vehicle for the artist to explore the underlying geometry of the natural world. This picture demonstrates an intentional economy of form that would be characteristic of his oil paintings in the mid-1880s, when he used thinner, more transparent application of paint in order to stress the role of the negative space. His decision to integrate the areas of primed canvas into the composition and his abbreviated application of pigment is an example of this tendency.
According to Rewald, the vase depicted in the present work is identical to the one depicted in the picture belonging to the Norton Simon Museum (Rewald no. 478). In that picture, the floral arrangement is set against a background with wallpaper from Cézanne's home at 32, rue de l'Ouest in Paris, where he lived intermittently between 1880 and 1882. Rewald tells us that for those still lifes he did in this premises, Cézanne "took certain 'liberties' with the background motif where the need for this arose." In the case of the present work, he "solved the problem of the indiscreet wallpaper by eliminating it altogether or setting the arrangement against a neutral background." (J. Rewald, op. cit.,p. 319).
In a letter to Emile Bernard, Cézanne provided the following description of his artistic approach to his paintings: “While one paints, one draws; the more the color harmonizes, the more precise becomes the drawing. When the color is rich, the form is at its height. The contrasts and relations of tone comprise the secret of drawing and form,” for “the form and contour of objects are conveyed to us through the opposition and contrast resulting from their individual colors.” (quoted in J. Rewald, Cézanne, A Biography, New York, 1986, p. 225).
Fleurs dans un vase rouge once belonged to Mrs. William A. Clark (née Anna La Chapelle, 1878-1963), the second wife of the late Montana senator and industrialist, who donated much of his expansive art collection to the Corcoran Art Gallery in Washington, D.C.
A Retro Racing Watch for the Modern Man
First Look: A Nearly Impossible Collection of the Most Legendary Wines
10 Dazzling Jewels from the Bourbon Parma Family Collection
First Look: Relive the 1990s Through the Collection of Damien Hirst’s Legendary Manager
Market-leading Contemporary Art Sales in Asia
Please call 1-800-555-5555 to order a print catalog for this sale.
L'inscription pour l'enchère en ligne est fermé pour cette vente . Voulez-vous regarder la vente en direct?Visionner La Vente En Temps Réel