Jas de Bouffan, Aix-en-Provence
Henri Boissin, Aix-en-Provence (gift of Maxime Conil, the artist's brother-in-law, 1965)
Mme Marquetty, née Boissin (by descent from the above)
Mme Bachollet, née Marquetty, Paris
Sale: Sotheby's, London, December 1, 1982, lot 8
Insel Hombroich, Germany
Galerie Beyeler, Basel
Gana Art Gallery, Seoul (sold: Sotheby's, New York, November 17, 1998, lot 243)
Acquired at the above sale by the present owner
London, Royal Academy of Arts; Paris, Musée d'Orsay & Washington, D.C., The National Gallery of Art, Cézanne, The Early Years, 1988-89, no. 11, illustrated in the catalogue
Paris, Musée d'Orsay, Cézanne, les anneées de jeunesse, 1988-89, no. 11
John Rewald, The Paintings of Paul Cézanne, New York, 1996, no. 79, vol. 1, catalogued p. 87; vol. II, illustrated p. 26
An exceptionally verdant view of the Provençal landscape is Cézanne's focus in this rare canvas from the mid-1860s. The abundance of surface texture, invoking the sensory appeal of the landscape, is achieved with thick layers of paint applied by palette knife and broad, vigorous strokes. It is as if Cézanne was so overwhelmed with the richness of what he saw that he needed to capture it by means of more than just his paintbrush. John Rewald provided the following analysis of the artist's working method: "The foreground is of an extremely bright and "troweled" green, and the mountains are of a uniform gray, whereas the lightly clouded sky seems executed with a palette knife In other places, particularly the foliage and shadows of the very dark trees, the artist appears to have used a small spatula" (J. Rewald, op. cit., p. 87).
In the exhibition catalogue in 1988, Lawrence Gowling wrote the following about this early period in Cézanne's career: "Cézanne was the first man [among the Impressionists], perhaps the first man in history, to realize the necessity for the manner in which paint is handled to build up a homogenous and consistent pictorial structure. This is the invention of forme in the French modernist sense -- meaning the condition of paint that constitutes a pictorial structure. It is the discovery of an intrinsic structure inherent in the medium and the material," (Lawrence Gowing, op. cit., p. 10).
Please call 1-800-555-5555 to order a print catalog for this sale.
Online Registration to Bid is Closed for this Sale. Would you like to watch the live sale?Watch Live Sale