Art Institute of Chicago, Картина
Оверс, Панорамный вид
Paul Cezanne, 1873–75
Данные: Art Institute of Chicago (открытые данные музея)
Музейные сведения
Источник: Art Institute of Chicago
- Автор
- Поль Сезанн (француз, 1839-1906)
- Дата создания
- 1873–75
- Место создания
- Франция
- Материалы и техника
- Холст, масло
- Размеры
- 65.2 × 81.3 cm (25 5/8 × 32 in.); Framed: 79.7 × 97.5 × 7.7 cm (31 3/8 × 38 3/8 × 3 in.)
- Стиль
- Импрессионизм
- Тип произведения
- Картина
- Классификация
- картина
- Отдел
- Живопись и скульптура Европы
- Место в музее
- Галерея 248
- Инвентарный номер
- 1933.422
- Credit line
- Мемориальная коллекция мистера и миссис Льюис Ларнед Коберн
- Статус прав
- Общественное достояние. Изображение действительно по лицензии CC0.
- Страница в музее
- Art Institute of Chicago (откроется в новой вкладке)
О произведении
Перевод подробных сведений загружается…Краткое описание музея
Поль Сезанн создал эту работу под руководством импрессиониста Камиля Писсарро. Он изобразил необычную перспективу — вид сверху на крыши Овера и отдаленную сельскую местность — с помощью ярких, энергичных цветовых пятен и неровных мазков, которые могут показаться незаконченными. Этот выбор знаменует попытку Сезанна передать не только внешний вид пейзажа, но и ощущение от того, что он видит и рисует.
Музейное описание
Paul Cezanne made this work during his first prolonged stay at Auvers, where he was mentored by Impressionist painter Camille Pissarro. Cezanne rendered the unusual perspective—looking down onto the rooftops of Auvers and out to the distant countryside—using blocky, energetic patches of color and areas of ragged brushwork that seem unfinished, especially at the lower left and center. These choices, which were radical at the time, mark his attempt to communicate not merely the landscape’s appearance but also the feeling of seeing it and painting it.
Текст описания © Art Institute of Chicago, лицензия CC BY 4.0.
Провенанс (история владения)
Dr. Paul Gachet, Auvers-sur-Oise (1828–1909), c. 1873/74 [this and the following information according to New York 1999]; by descent to his son, Paul Gachet (1873–1962); sold by him before 1912. Ambroise Vollard (1866–1939), Paris [the painting is included in Vollard photographic archives as no. 209; Vollard lent the painting to Paris 1912; see also Rewald 1996;]. Alfred Strolin, Paris and Lausanne, Switzerland, 1912; his sale, Paris, Hôtel Drouot, July 7, 1921, lot 7 (ill.), as Auvers-sur-Oise Vue panoramique du village, sold for 65,500 francs [according to Annuaire des Ventes, vol. 3, Paris, 1920/21 and Bulletin de l’Art Ancien et Moderne, vol. 23, no. 672, Aug. 10, 1921]. Hector Brame, Paris [according to Rewald 1996]. Galerie Durand-Ruel, Paris and New York [stock no. 4703 and no. 11906, based on labels on reverse and Registrar archival card, copy in curatorial file]. Annie S. Coburn (Mrs. Lewis L. Coburn; 1856–1932), Chicago by 1932; bequeathed to the Art Institute of Chicago, 1932.
Источник: Art Institute of Chicago
История выставок
Paris, Manzi, Joyant & Cie, Exposition d’art moderne, June 6–July 6, 1912, cat. 15, as Auvers–sur–Oise (Vue panormaique).
Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, Apr. 6 – Oct. 9, 1932, cat. 1 (ill.), as Auvers–sur–Oise, Village Panorama, 1873.
Art Institute of Chicago, A Century of Progress: Exhibition of Painting and Sculpture, June 1–Nov. 1, 1933, cat. 304, as Auvers–sur–Oise, Village Panorama, 1873.
Philadelphia, Pennsylvania Museum of Art, Exhibition of the Works of Cézanne, Nov. 10 – Dec. 10, 1932, cat. 4, as Auvers–sur–Oise, Village Panorama, 1873. Art Institute of Chicago, Cézanne, Paintings, Watercolors and Drawings: A Loan Exhibition, Feb.7– Mar. 16, 1952; New York, Metropolitan Museum of Art, April 4– May 18, 1952, cat. 15 (ill.), as Auvers: Village Panorama, 1873––75.
Paris, Musée de l’Orangerie, Van Gogh et Les Peinters d’Auvers sur Oise, Nov. 26, 1954 – Feb. 28, 1955, cat. 12 (ill.), as Vue d’Auvers, 1873–74.
Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. 16, 1984, cat. 69; Art Institute of Chicago, Oct. 23, 1984–Jan. 6, 1985; Paris, Galeries Nationales du Grand Palais as L’Impressionnisme et le paysage français, Feb. 8–Apr. 22, 1985, cat. 35, as Auvers, vue panoramique. –.
Tokyo, The Seibu Museum of Art, The Impressionist Tradition: Masterpieces From The Art Institute of Chicago, Oct. 18–Dec. 17, 1985, cat. 26 (ill.), as Auvers: Panoramic View, 1873–75; Japan, Fukuoka Art Museum, Jan. 5–Feb. 2, 1986; Japan, Kyoto Municipal Museum of Art, Mar. 4–Apr. 13, 1986–.
Paris, Galeries Nationales du Grand Palais, Cézanne, Sept. 25, 1995––Jan. 7, 1996, cat. 31; London, Tate Gallery, Feb. 8––Apr. 28, 1996; Philadelphia Museum of Art, May 26––Aug. 18, 1996.
Glasgow, Mclellan Galleries, The Birth of Impressionism: From Constable to Monet, May 23–Sept. 7, 1997, no cat. no., as Auvers: Village Panorama, c. 1873.
Sydney Art Gallery of New South Whales, Classic Cezanne, Nov. 28, 1997–Feb. 28, 1999, cat. 3, as Panoramic view of Auvers (Vue panoramique d’Auvers–sur–Oise), c. 1873–74.
Paris, Galeries Nationales du Grand Palais, Un ami de Cézanne et de Van Gogh: Le Docteur Gachet, Jan. 28–Apr. 26, 1999; New York, Metropolitan Museum of Art, as Cézanne to Van Gogh: The Collection of Dr. Gachet, May 25–Aug. 15, 1999, cat. P.G. II–4; Amsterdam, Van Gogh Museum, Sept. 24–Dec. 5, 1999, cat. P.G. II–4, as Panorama (Auvers), 1873 [New York and Amsterdam only].
Newcastle–upon–Tyne, Laing Art Gallery, long–term loan, Aug. 15, 2001–June 2, 2002, no. cat.
New York, Museum of Modern Art, Pioneering Modern Painting: Cézanne & Pissarro, 1865–1885, June 26–Sept. 12, 2005, cat. 66, as Auvers–sur–Oise, Panoramic View (Vue panoramique d’Auvers–sur–Oise), c. 1875–76; Los Angeles County Museum of Art, Oct. 20, 2005–Jan. 16, 2006 ; Paris, Musée d’Orsay, as Cézanne et Pissarro, 1865–1885, Feb. 27–May 28, 2006.
Madrid, Museo Thyssen–Bornemisza, Van Gogh: Los últimos paisajes; Auvers–sur–Ois, June 12–Sept. 16, 2007, cat. 1.
Fort Worth, TX, Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 14. Paris, Musée Luxembourg, Cezanne et Paris, Oct. 12, 2011––Feb. 26, 2012, cat. 33, as Vue panoramique d’Auvers–sur–Oise.
Treviso, Italy, Museo di Santa Caterina, Storie dell'Impressionismo: I grandi protagonist da Monet a Renoir da Van Gogh a Guaguin, Oct. 29, 2016––Apr. 17, 2017, cat. 83, as Veduta di Auvers.
Dresden, Germany, Albertinum, Galerie Neue Meister, Constable, Delacroix, Friedrich, Goya: Die Erschütterung der Sinne / A Shock to the Senses, Mar. 16–July 14, 2013, no cat. no.
Art Institute of Chicago, Cezanne, May 15–Sept. 5, 2022, cat. 27; London, Tate, Oct. 5, 2022–Mar. 12, 2023.
Источник: Art Institute of Chicago
Публикации
Journal des Arts 43 (July 9, 1921), p. 2.
Daniel Catton Rich, “The Bequest of Mrs. L. L. Coburn,” Bulletin of The Art Institute of Chicago 26 (1932), p. 70, as Auvers-sur-Oise, 1873.
Lionello Venturi, Cézanne: son art, son oeuvre vols. 2 (Paris, 1936), no. 150 (ill.), as Auvers, vue panoramique, 1873-75.
R. Goldwater in Art News Annual (March 26, 1938), p. 146 (ill.).
Albert Barnes and Violette de Manzia, The Art of Paul Cézanne (New York, 1939), no. 47, as Auvers-sur-Oise: Village Panorama, 1873-75.
Coronet (May 1939), p. 12 (ill.).
John Rewald, “Cézanne’s Theories About Art,” Art News 47, 7 (November, 1948), fig. 53.
Charles Fabens Kelly, “Chicago: Record Years,” Art News 51, 4 (June-July-August 1952), p. 54, as Auvers-sur-Oise.
Mayer Schapiro, Paul Cézanne (New York, 1952), pp. 44-45 (ill.), as View of Auvers, c. 1874.
M. Raynal, Geneva, 1954, p. 40 (ill.).
David Cooper, “The Painters of Auvers-sur-Oise,” Burlington Magazine 97 (April 1955), p. 103, fig. 8 (ill.).
The Art Institute of Chicago, A Brief Guide to the Collections (The Art Institute of Chicago, 1956), p. 36, as Auvers, Village Panorama.
Paul Gachet, Deux Amis des Impressionistes: Le Docteur Gachet et Murer (Paris, 1956), p. 56, n. 2, as Panorma (Auvers).
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 71, as Auvers: Village Panorama, 1873-75.
John Rewald, “Choquet and Cézanne,” Gazette des Beaux-Arts (July-August 1969), p. 82, under no. 6, reprinted in John Rewald, Studies in Impressionism (London, 1985), p. 165, under no. 6.
Alice Bellony-Rewald, The Lost World of Impressionists (London, 1976), pp. 150-51 (ill.),
John Rewald, Post-Impressionism: From Van Gogh to Gauguin (New York, 1978), p. 362 (ill.), as
René Huyghe, La Relève du reel: impressionnisme, symbolisme (Paris, 1974), no. 179.
F. Elgar, Newe York, 1975, fig. 29.
N. Wadley, London, 1975, pl. 26.
R. Shikes and P. Harper, Pissarro, His Life and Work (New York, 1980), p. 119, ill.
Richard Shiff, Cézanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art (Chicago and London, 1984), pp. 112, fig. 22, 113-115, as View of Auvers also called Auvers: Village Panorma, c. 1874.
Paul Cézanne, exh. cat. (Madrid, Museo Epañol de Arte Conemporáneo, 1984), p. 232 (ill.), as Vista de Auvers desde lo alto, 1873-75, illustrated only.
B. Bernard, The Impressionist Revolution (London, 1986), p. 247, ill.
Richard Brettell, French Impressionists (Chicago, 1987), pp. 18 (ill.), 19, 117, as Auvers: Village Panorama, c. 1873.
R. Wollheim, Painting as Art (Princeton, 1987), fig. 1.
Hajo Düchting, Paul Cézanne 1839-1906: Natur wird Kunst (Cologne, 1990), pp. 66 (ill.), 72, as Blick auf Auvers, c. 1874.
Michael Howard, Cézanne (London, 1990), p. 66, 67 (ill.), as Auvers, Panoramic View, 1873-75.
Philippe Dagen, Cézanne (Paris, 1995), p. 57 (ill.), 59, as Auvers, vue panoramique, 1873-75.
Charles de Lartigue, Les paysages de Paul Cézanne (Lyon, 1995), pp. 74, as Auvers, vue panoramique, c. 1873-75.
John Rewald, The Paintings of Paul Cézanne: A Catalogue Raisonné (New York, 1996), vol. 1, p. 161, no. 221, vol. 2, p. 73, as Vue panoramique d’Auvers-sur-oise, 1873-74.
Guillermo Solana, Van Gogh: Los Últimos Paisajes, (Museo Thyssen-Bornemisza), p. 58 (ill.), cat. 1.
The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 14, pp. 50, 51 (ill.).
Marco Goldin, ed., Storie dell'Impressionismo: I grandi protagonist da Monet a Renoir da Van Gogh a Gauguin (Linea d’ombre, 2016), 322-23 (detail ill.), 423-30 cat. 83.
Achim Borchardt-Hume, Gloria Groom, Caitlin Haskell and Natalia Sidlina, eds., Cezanne, exh. cat. (Chicago: Art Institute of Chicago, 2022), 43, 96-97 cat. 27.
Источник: Art Institute of Chicago
Сведения о произведениях предоставляются музеями и могут обновляться. Энциклопедический контекст предоставляется Wikipedia и не заменяет музейную классификацию.
