Lot 11
  • 11

Paul Cézanne

Estimate
400,000 - 600,000 USD
Sold
1,565,000 USD
bidding is closed

Description

  • Paul Cézanne
  • Pommes et poires
  • Pencil and watercolor

Provenance

Ambroise Vollard, Paris

McNeill Reid, London

Reid & Lefevre, London

Pearson & Westergaard, London

Sam Salz, New York

Acquired from the above on June 16, 1952

Exhibited

London, Reid & Lefevre, Cézanne, Derain, Vicky, Guy, Masson, 1937, no. 10

Aix-en-Provence, Musée Granet & Grenoble, Musée de Grenoble, Cézanne: peintures, aquarelles, dessins, 1953, no. 36

New York, Fine Arts Associates (Otto Gerson), Cézanne, 1956, no. 4, illustrated in the catalogue

New York, Wildenstein & Co., Inc., Cézanne, 1959, no. 63, illustrated

Pasadena Art Museum, Cézanne Watercolors, 1967, no. 8, illustrated in the catalogue

Los Angeles, The J. Paul Getty Museum, Cézanne in the Studio, Still Life in Watercolor, 2004-05, illustrated in color in the catalogue

Literature

Lionello Venturi, Cézanne, son art, son oeuvre, vol. I, Paris, 1936, no. 1619, p. 344; vol. II, illustrated pl. 404

J. R. Mellow, "Cézanne Watercolors," Arts, New York, March 1956, illustrated p. 58

John Rewald, Paul Cézanne. The Watercolours: A Catalogue Raisonné, Boston, 1983, no. 195, catalogued pp. 132-33, illustrated

Catalogue Note

Using a relatively narrow range of elements, in every composition Cézanne rearranged them in such a way as to create a pictorial statement of remarkable grandeur and profundity. In each new composition, the artist viewed the objects at his disposal with a fresh eye, arranging them in unexpected ways, changing proportions and establishing new formal and spatial relationships. Pommes et poires exemplifies the subtle power of this series while also revealing the artist's unparalleled facility with watercolor as a medium.

With economic use of line and color, Cézanne is able to create a sense of space in this watercolor that transcends the sum of its parts. Gottfried Boehm has written on the Modernism of Cézanne's open forms: "Cézanne paid tribute to the idea of an 'open' work, which did not become an established notion until the twentieth century. This idea follows an aesthetic of the provisional, the amorphous. Today's viewers, familiar with works of Art Informel and Action Painting, automatism and so on, are inclined to project their experiences back on Cézanne's oeuvre. The history of his work's influence affects our perception of it, in some cases making us more sensitive to his problems and way of working" (Gottfried Boehm, "Precarious Balance: Cézanne and the Unfinished, in Cézanne: Finished, Unfinished (exhibition catalogue), Kunstforum, Vienna & Kunsthaus Zürich, 2000, p. 30).
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