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PAUL CEZANNE. 1839-1906

174 ROAD TO PONTOISE. 1875-77

Oil on canvas. 58 X 71 cm. Inv. No 3410 In 1872 Cezanne came to join Pissarro and Guillau-min at Auvers-sur-Oise and lived there for two years. Road to Pontoise depicts the same locality as The Hermitage Pavilion at Pontoise (1875) by Pissarro. The canvas was in the Viau sale at Durand-Ruel's in Paris on March 4, 1907 (lot 12). Provenance: until 1907 The G. Viau Collection, Paris; until 1909 The E. Druet Collection, Paris; 1909— 18 The I. Morozov Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1903 Vienna, Cat. 58; 1926 Moscow, Cat. 6; 1956 Leningrad (Paul Cezanne), Cat. 3; 1960 Moscow, Cat., p. 34; 1974 Moscow, Cat. 44 Bibliography: Кат. ГМИИ 1957, p. 127; Кат. ГМИИ 1961, p. 168; Кат. ГМНЗИ 1928, No 556; Аполлон, 1912, March, pp. 36—37; T. L. Klingsor, Cezanne, Paris, 1923, ill. 21; H. Яворская, Сезанн, Moscow, 1933, ill.; А. Воллар, Сезанн, Leningrad, 1934, ill.; Venturi 1936, No 172, ill.; J. Rewald, Cezanne, sa vie, son ceuvre, Paris, 1936, ill. 33; Dorival 1948, p. 43; P. Feist, Paul Cezanne, Leipzig, 1963, ill. 19; Сезанн 1975, No 5

174 ROAD TO PONTOISE. 1875-77
174 ROAD TO PONTOISE. 1875-77

175 INTERIOR WITH TWO WOMEN

AND A CHILD (SCENE D'INTERIEUR) Oil on canvas. 91 X 72 cm. Inv. No 3409 The picture was painted at the beginning of the 1860s. According to Venturi, it depicts the artist's sisters Marie and Rose. The picture was bought by Ivan Morozov from Ambroise Vollard in Paris in 1913. Provenance: until 1913 The A. Vollard Collection, Paris; 1913—18 The I. Morozov Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1926 Moscow, Cat. 1; 1956 Leningrad (Paul Cezanne), Cat., p. 4; 1960 Moscow, Cat., p. 34 Bibliography: Кат. ГМИИ 1961, p. 168; Ternovetz 1925, p. 464; Ettinger 1926, part 2, p. 114, ill.; Кат. ГМНЗИ 1928, No 553; Reau 1929, No 735; Venturi 1936, No 24, ill.; Dorival 1948, pp. 19, 133, ill. 5; Sterling 1957, ill. 87; Сезанн 1975, No 1; Antonova 1977, No 108

175 INTERIOR WITH TWO WOMEN
175 INTERIOR WITH TWO WOMEN

176 BATHERS. Study

Oil on canvas. 26 X 40 cm. Inv. No 3414 This is one of Cezanne's numerous studies for an unrealized picture on the same theme. A pencil sketch (1875—77) for the central figure with a towel in his hand is in the collection of the artist's son. A sketch, dated 1885, for the standing figure with raised arms is in the A. Chappuis Collection in Paris. The light palette and the abundance of blue tones permit the Moscow canvas to be dated to the early 1890s. Provenance: until 1910 The A. Vollard Collection, Paris; 1910—18 The I. Morozov Collection, Moscow;

1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1926 Moscow, Cat. 12; 1956 Leningrad (Paul Cezanne), Cat. 16; 1972 Otterloo, Cat. 3; 1973 Washington, Cat. 3

Bibliography: Кат. ГМИИ 1961, p. 169; Маковский 1912, p. 23; Ternovetz 1925, p. 466, ill.; Кат. ГМНЗИ 1928, No 565; Reau 1929, No 747; Venturi 1936, No 588; Sterling 1957, ill. 94, p. 118; Сезанн 1975, No 15; Antonova 1977, No 107

176 BATHERS. Study
176 BATHERS. Study

177 THE AQUEDUCT

Oil on canvas. 91 X 72 cm. Inv. No 3337

From 1885 on Cezanne often worked at Bellevue, not far from Aix, where Maxim Conil, his brother-in-law, had bought an estate. According to A. Barskaya, the Moscow picture presents a view of the aqueduct and Mount Sainte-Victoire from Bellevue. The same locality is depicted in Cezanne's Mount Sainte-Victoire of 1885—87 (The Metropolitan Museum of Art, New York). The Moscow canvas was obviously completed in 1885—87.

Provenance: The A. Vollard Collection, Paris; 1913— 18 The S. Shchukin Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1904 Paris (Salon d'Automne), Cat. 15; 1926 Moscow, Cat. 21; 1936 Paris (Orangerie), Cat. 103; 1939 Moscow, Cat., p. 46; 1955 Moscow, Cat., p. 56; 1956 Leningrad (Paul Cezanne), Cat. 10; 1966— 67 Tokyo, Kyoto, Cat. 57; 1972 Otterloo, Cat. 1; 1972 Prague, Cat. 6; 1973 Washington, Cat. 2 Bibliography: Кат. ГМИИ 1957, p. 127; Кат. ГМИИ 1961, p. 168; R. Marx, "Le Salon d'Automne", Ga-zette des Beaux-Arts, 32, 1904, ill. p. 464; Кат. собр. С. Щукина 1913, No 206, pp. 46—47; Vollard 1914, ill. 45; Перцов 1921, No 206, p. 115; Тугендхольд 1923, ill. p. 91; Ternovetz 1925, p. 471; Кат. ГМНЗИ 1928, No 548; Reau 1929, No 730; Venturi 1936, No 477; Sterling 1957, ill. 85, p. 116; Прокофьев 1962, ill. 160; Сезанн 1975, No 10

177 THE AQUEDUCT
177 THE AQUEDUCT

178 SELF-PORTRAIT

Oil on canvas. 45 X 37 cm. Inv. No 3338 Signed lower right: P. Cezanne

Various scholars date this self-portrait 1879—82. Most probably it was painted in the early 1880s. Provenance: The A. Vollard Collection, Paris; 1908— 18 The S. Shchukin Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow Exhibitions: 1895 Paris (Vollard Gallery); 1926 Moscow, Cat. 7; 1955 Moscow, Cat., p. 56; 1956 Lenin-

grad, Cat., p. 55; 1956 Leningrad (Paul Cezanne),

Cat. 7; 1974-75 Moscow, Cat. 45

Bibliography: Кат. ГМИИ 1957, p. 127; Кат. ГМИИ

1961, «p. 168; Кат. собр. С. Щукина 1913, No 207, pp. 46—47; Тугендхольд 1914, p. 45, ill. (on the frontispiece); Vollard 1914, p. 58, ill. 19; Перцов 1921, No 207, p. 115; Тугендхольд 1923, ill. p. 7; Ternovetz 1925, p. 468, ill.; Кат. ГМНЗИ 1928, No 547; Reau 1929, No 729; Venturi 1936, No 368, ill.; Прокофьев 1962, ill. 158; Сезанн 1975, No 7; Antonova 1977, No 110

178 SELF-PORTRAIT
178 SELF-PORTRAIT

179 THE BANKS OF THE MARNE

Oil on canvas. 71 X 90 cm. Inv. No 3416 Cezanne painted this place on more than one occasion. A similar picture of the same title is in The Hermitage in Leningrad; the same locality is depicted in the landscapes which are in the collections of Lecomte and Goldschmidt-Rothschild in Paris. On Vollard's evidence, cited by Henri Perruchot, the Moscow landscape was hung at Cezanne's exhibition in the Vollard Gallery in November — December 1895 in Paris. Completed around 1888, it is regarded as the finest representation of this subject. Provenance: The A. Pellerin Collection, Paris; until 1912 The A. Vollard Collection, Paris; 1912—18 The I. Morozov Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1895 Paris (Vollard Gallery); 1912 St Petersburg; 1936 Paris (Orangerie); 1937 Paris, Cat. 254; 1939 Moscow, Cat., p. 46;' 1955 Moscow, Cat., p. 56; 1956 Leningrad, Cat., p. 55; 1956 Leningrad (Paul Cezanne), Cat. 13; 1960 Moscow, Cat., p. 34; 1974 Leningrad, Cat. 50; 1974—75 Moscow, Cat. 46

Bibliography: Кат. ГМИИ 1957, p. 127; Кат. ГМИИ 1961, p. 169; Die Kunst, 1910, No 1, ill. p. 164; Я. Ty-гендхольд, "Пейзаж во французской живописи", Аполлон, 1911, No 7, р. 10; Маковский 1912, р. 23; Vollard 1914, pp. 25, 58; Ternovetz 1925, p. 468, ill. p. 472; Кат. ГМНЗИ 1928, No 559; Reau 1929, No 741; Venturi 1936, No 631, ill.; Dorival 1948, p. 137, ill. 160; Sterling 1957, ill. 98, p. 116; Cat. Impression-nistes 1959, p. 22; Прокофьев 1962, ill. 161; ГМИИ 1966, No 100; Сезанн 1972, ill. 36; Сезанн 1975, No 11

179 THE BANKS OF THE MARNE
179 THE BANKS OF THE MARNE

180 PEACHES AND PEARS

Oil on canvas. 61 X 90 cm. Inv. No 3415 The picture was presumably painted in 1888—90. A canvas of the same year, similar to this still life, is in the Nasjonalmuseet, Oslo.

Provenance: until 1912 The A. Vollard Collection, Paris; 1912—18 The I. Morozov Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1926 Moscow, Cat. 10; 1936 Paris (Oran-gerie), Cat. 68; 1955 Moscow, Cat., p. 57; 1956 Leningrad, Cat., p. 55; 1956 Leningrad (Paul Cezanne), Cat. 15 Bibliography: Кат. ГМИИ 1957, p. 128, ill.; Кат. ГМИИ 1961, p. 169; Маковский 1912, p. 23; Ternovetz 1925, p. 465; G. Charensol, "Les Detracteurs de Cezanne", L'Art Vivant, 37, 1926, p. 494, ill.; Кат. ГМНЗИ 1928, No 562; Reau 1929, No 744; Venturi 1936, No 619; Sterling 1957, ill. 92; Прокофьев 1962, ill. 159; ГМИИ 1966, No 101; Сезанн 1975, No 16; Antonova 1977, No 109

180 PEACHES AND PEARS
180 PEACHES AND PEARS

181 MAN SMOKING A PIPE

Oil on canvas. 91 X 72 cm. Inv. No 3336

Cezanne turned to this theme several times. There is a painting entitled The Smoker in The Hermitage in Leningrad. The Moscow canvas may be dated to 1895—1900.

Provenance: The A. Vollard Collection, Paris; 1913— 18 The S. Shchukin Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow Exhibitions: 1926 Moscow, Cat. 17; 1955 Moscow, Cat., p. 57; 1956 Leningrad, Cat., p. 56; 1956 Leningrad (Paul Cezanne), Cat. 19; 1965 Bordeaux, Cat. 56; 1965—66 Paris, Cat. 48; 1970 Osaka, Cat., p. 254 Bibliography: Кат. ГМИИ 1961, p. 169; Кат. собр. С. Щукина 1913, No 205, pp. 46—47; Тугендхольд 1914, p. 45, ill. p. 39; Grautoff 1919, ill. p. 89; Пер-ЦОЕ 1921, No 205, p. 115; Тугендхольд 1923, ill. p. 87; Ternovetz 1925, p. 470, ill.; Кат. ГМНЗИ 1928, No 551; Reau 1929, No 733; Venturi 1936, No 688; Dorival 1948, p. 61; Сезанн 1975, No 18

181 MAN SMOKING A PIPE
181 MAN SMOKING A PIPE

182 MARDI GRAS (PIERROT AND HARLEQUIN)

Oil on canvas. 102 X 81 cm. Inv. 3335 The models who sat for the picture were Louis Guil-laume as Pierrot and Paul Cezanne, the artist's son, as Harlequin. On the evidence of the latter the work was painted in 1888 in Cezanne's studio in the Rue du Val-de-Grace in Paris. There are three oil studies and numerous drawings relating to this picture. The study closest to it is in the Auguste Pellerin Collection in Paris.

Provenance: 1888—89 The V. Chocquet Collection, Paris; 1899—1904 The P. Durand-Ruel Collection, Paris; 1904—18 The S. Shchukin Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1903 Vienna; 1904 Paris (Salon d'Au-tomne), Cat. 19; 1926 Moscow, Cat. 13; 1936 Paris (Orangerie), Cat. 72; 1955 Moscow, Cat., p. 57; 1956 Leningrad, Cat., p. 55; 1956 Leningrad (Paul Cezanne), Cat. 11; 1974 Leningrad, Cat. 52; 1974—75 Moscow, Cat. 47

Bibliography: Кат. ГМИИ 1957, p. 127; Кат. ГМИИ 1961, p. 169; Vente de la collection Mme Chocquet, Paris, 1899, July 1—4, No 1, ill.; Heilbut 1903, p. 191, ill.; Искусство 1905, ill. p. 7; Кат. собр. С. Щукина 1913, No 204, pp. 46—47; Тугендхольд 1914, p. 45, ill. p. 36; Перцов 1921, No 204, p. 115; Тугендхольд 1923, p. 90, ill. p. 80; Ternovetz 1925, p. 469, ill.; Ettinger 1926, part 2, p. 113, ill.; Кат. ГМНЗИ 1928, No 549; Reau 1929, No 731; R. Huyghe, "Cezanne", L''Amour de I'Art, 1936, I, ill. 57; V, p. 176, ill. 157; Venturi 1936, No 552; Dorival 1948, p. 137, ill. 123; Sterling 1957, ill. 89, p. 116; Прокофьев 1962, ill. 162; ГМИИ 1966, No 102; Сезанн 1972, ill. 38; Сезанн 1975, No 13; Antonova 1977, No 106

182 MARDI GRAS (PIERROT AND HARLEQUIN)
182 MARDI GRAS (PIERROT AND HARLEQUIN)

183 LANDSCAPE AT AIX

(MOUNT SAINTE-VICTOIRE) Oil on canvas. 60 X 73 cm. Inv. No 3339 According to M. Raynal, Cezanne painted or drew Mount Sainte-Victoire almost fifty times; it was one of his favorite subjects. The Moscow picture is dated about 1905 and is one of the finest views of Sainte-Victoire. It is reproduced in Portrait of Cezanne with His Son and the Artist K. X. Roussel, painted by Maurice Denis at Aix in 1905.

Provenance: 1905 The artist's collection, Aix; the A. Vollard Collection, Paris; 1913—18 The S. Shchu-

kin Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow Exhibitions: 1926 Moscow, Cat. 25; 1956 Leningrad (Paul Cezanne), Cat. 25; 1965 Bordeaux, Cat. 58; 1965—66 Paris, Cat. 50; 1972 Otterloo, Cat. 7 Bibliography: Кат. ГМИИ 1961, p. 169; Кат. собр. С. Щукина 1913, No 210, pp. 46—47; Маковский 1912, p. 23; Тугендхольд 1914, p. 45; Перцов 1921, No 210, p. 115; Кат. ГМНЗИ 1928, No 552; Reau 1929, No 734; Venturi 1936, No 803; Sterling 1957, p. 116; Сезанн 1972, ill. 56; Сезанн 1975, No 25

183 LANDSCAPE AT AIX
183 LANDSCAPE AT AIX

184 FIELD BY MOUNT SAINTE-VICTOIRE

Oil on canvas. 58 X 72 cm. Inv. No 3412 The picture may be dated to 1882—85. A pencil drawing done for the right-hand part of the canvas is now in the Kunstmuseum, Basel.

Provenance: until 1907 The A. Vollard Collection, Paris; 1907—18 The I. Morozov Collection, Moscow; 1918—48 The Museum of Modern Western Art, Moscow; since 1948 The Pushkin Museum of Fine Arts, Moscow

Exhibitions: 1904 Paris (Salon d'Automne), Cat. 7; 1926 Moscow, Cat. 8; 1956 Leningrad (Paul Cezanne), Cat. 8; 1967—68 Odessa, Kharkov, Cat. 32; 1972 Prague, Cat. 5

Bibliography: Кат. ГМИИ 1961, p. 168; Маковский 1912, p. 23; M. Denis, "Cezanne", Knnst und Kunstler, 1914, 4, ill. p. 211; Vollard, 1914, ill. 45; Ternovetz 1925, p. 465; Кат. ГМНЗИ 1928, No 557; Reau 1929, No 739 (entitled La Montagne de Sainte-Victoire); Venturi 1936, No 423; Прокофьев 1962, ill. 165; Сезанн 1975, No 8; Antonova 1977, No 103

184 FIELD BY MOUNT SAINTE-VICTOIRE
184 FIELD BY MOUNT SAINTE-VICTOIRE

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