Art Institute of Chicago, Картина
Марсельский залив, видимый с Л'Эстака
Paul Cezanne, c. 1885
Данные: Art Institute of Chicago (открытые данные музея)
Музейные сведения
Источник: Art Institute of Chicago
- Автор
- Поль Сезанн (француз, 1839-1906)
- Дата создания
- c. 1885
- Место создания
- Франция
- Материалы и техника
- Холст, масло
- Размеры
- 80.2 × 100.6 cm (31 5/8 × 39 5/8 in.); Framed: 107.4 × 127.4 × 10.5 cm (42 1/4 × 50 1/8 × 4 1/8 in.)
- Стиль
- Постимпрессионизм
- Тип произведения
- Картина
- Классификация
- холст, масло
- Отдел
- Живопись и скульптура Европы
- Место в музее
- Галерея 248
- Инвентарный номер
- 1933.1116
- Credit line
- Коллекция мистера и миссис Мартин А. Райерсон
- 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…Музейное описание
In a letter to his friend and teacher Camille Pissarro, Paul Cézanne compared the view of the sea from L’Estaque to a playing card, with its simple shapes and colors. The landscape’s configuration and color fascinated him. This painting is one of more than a dozen such vistas created by the artist during the 1880s. Cézanne divided the canvas into four zones—architecture, water, mountain, and sky. Although these four elements are seen repeatedly in Impressionist paintings, Cézanne’s work is very different from that of his fellow artists. Whereas their primary purpose was to record the transient effects of light, Cézanne was interested in the underlying structure and composition of the views he painted. Filling the canvas with shapes defined by strong, contrasting colors and a complex grid of horizontal, vertical, and diagonal lines, he created a highly compact, dynamic pattern of water, sky, land, and village that at once refers back to traditionally structured landscape paintings and looks forward to the innovations of Cubism. Using blocklike brushstrokes to build the space, Cézanne created a composition that seems both two- and three-dimensional. Not locked tightly in place, his forms appear to touch and shift continually, creating a sense of volume and space that strengthens the composition and brings it to life.
Текст описания © Art Institute of Chicago, лицензия CC BY 4.0.
Провенанс (история владения)
The artist; sold to Ambroise Vollard (1866–1939), Paris, c. 1899 [according to New York 2006–7]; sold to Cornelis Hoogendijk (died 1911), Amsterdam, possibly in May 1899 [according to New York 2006–7, see also Musée d’Orsay, Fonds Vollard, MS 421 (4,3) fol 31, May 17, 1899, copy in curatorial file]; by descent to his heirs, on deposit at the Rijksmuseum, Amsterdam [see Henkels 1993]; sold in shares to Paul Rosenberg, Jos Hessel, and Galerie Durand-Ruel, Paris, 1920 [according to New York 2006–7]; sold through Jos Hessel to Martin A. Ryerson (1856–1932), Chicago, June 12, 1920 [see purchase receipt, copy in curatorial file]; bequeathed to the Art Institute of Chicago, 1933.
Источник: Art Institute of Chicago
История выставок
Amsterdam, Stedelijk Museum, Moderne Kunst Kring, Oct. 6–Nov. 5, 1911, no cat. no.
New York, Museum of Modern Art, First Loan Exhibition, Cézanne, Gauguin, Seurat, Van Gogh, Nov. 1929, cat. 18 (ill.), as Landscape at Estaque.
Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June 1–Nov. 1, 1933, cat. 309 (ill.), as L’Estaque, c. 1886–8.
Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June 1–Nov. 1, 1934, cat. 293, as L’Estaque, c. 1886–8.
Philadelphia, Pennsylvania Museum of Art, Cézanne, Nov. 10–Dec. 10, 1934, cat. 26, as L’Estaque.
Art Institute of Chicago, Masterpiece of the Month, June 1942, no cat.
Art Institute of Chicago, Cézanne: Paintings, Watercolors, and Drawings; A Loan Exhibition, Feb. 7–Mar. 16, 1952, cat. 50 (ill.), as L’Estaque, 1886–90; New York, Metropolitan Museum of Art, Apr. 4–May 18, 1952.
Seattle World’s Fair, Masterpieces of Art, Apr. 21–Sept. 4, 1962, cat. 50 (ill.), as The Gulf of Marseilles, Seen from L’Estaque, 1886–90.
Washington, DC, The Phillips Collection, Cézanne: An Exhibition in Honor of the Fiftieth Anniversary of the Phillips Collection, Feb. 27–Mar. 28, 1971, cat. 21 (ill.), as The Gulf of Marseilles, Seen from L’Estaque, c. 1891; Art Institute of Chicago, Apr. 17––May 16, 1971; Museum of Fine Arts, Boston, June 1–July 3, 1971.
Art Institute of Chicago, The Artist Looks at the Landscape, June 22–Aug. 25, 1974, no cat.
Albi, France, Musée Toulouse–Lautrec, Trésors impressionnistes du Musée de Chicago, June 27––Aug. 31, 1980, cat. 35 (ill.), as Le Golfe de Marseilles vu de L’Estaque, 1886–90. Los Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28–Sept. 16, 1984, cat. 129 (ill.), as 1886–90 ; Art Institute of Chicago, Oct. 23, 1984–Jan. 6, 1985; Paris, Galeries nationales du Grand Palais, as L’Impressionnisme et le paysage français, Feb. 4–Apr. 22, 1985.
Portland, ME, Westbrook College, Joan Whitney Payson Gallery, May 1–Oct. 4, 1985, no cat.
Edinburgh, National Gallery of Scotland, Cézanne and Poussin: The Classical Vision of Landscape, Aug. 9–Oct. 21, 1990, cat. 45 (ill.), as The Gulf of Marseilles, Seen from L’Estaque, c. 1886–90.
Paris, Galeries nationales du Grand Palais, Cézanne, Sept. 25, 1995–Jan. 7, 1996, cat. 114, as Le Golfe de Marseilles vu de L’Estaque, c. 1886; London, Tate Gallery, Feb. 8–Apr. 28, 1996, cat. 114, as The Gulf of Marseilles Seen from L’Estaque, c. 1886; Philadelphia Museum of Art, May 26–Aug. 18, 1996.
Saint Petersburg, The State Hermitage Museum, Cézanne and the Russian Avant–Garde of the XX Century, Aug. 8–Sept. 24, 1998, cat. 20 (ill.) , as Le Golfe de Marseilles vu de L’Estaque, c. 1885–86; Moscow, The Pushkin State Museum of Fine Arts, Oct. 5–Nov. 15, 1998.
Washington, DC, National Gallery of Art, Cézanne in Provence, Jan. 29–May 7, 2006, cat. 48, as The Gulf of Marseilles Seen from L’Estaque; Aix–en–Provence, Musée Granet, June 9–Sept. 17, 2006.
New York, Metropolitan Museum of Art, Cézanne to Picasso: Ambroise Vollard, Patron of the Avant–Garde, Sept. 14, 2006–Jan. 7, 2007, cat. 37 (ill.); Art Institute of Chicago, Feb. 17–May 13, 2007; Paris, Musée d’Orsay, as De Cézanne à Picasso: Chefs–d'Oeuvre de la galerie Vollard, June 19–Sept. 16, 2007, cat. 27, as Le Golfe de Marseille, vu de l’Estaque.
Fort Worth, TX, Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 63 (ill.).
Philadelphia Museum of Art, Cézanne and Beyond, Feb. 26–May 17 2009, no cat. no., pl. 197.
Art Institute of Chicago, Cezanne, May 15–Sept. 5, 2022, cat. 79; London, Tate, Oct. 5, 2022–Mar. 12, 2023.
Источник: Art Institute of Chicago
Публикации
F. Jourdain, Cézanne (Paris, 1914), pl. 42.
J. Gasquet, “Ce qu’il m’a dit…le motif,” L’Amour de l’Art 1, 8 (December 1920), p. 263 (ill.).
A. Fontainas and L. Vauxcelles, Histoire générale de l’art français (Paris, 1922), p. 235.
Daniel Catton Rich, “Poussin and Cézanne,” Bulletin of The Art Institute of Chicago 24 (December 1930), pp. 114-117 (ill.).
Clarence Bulliet, Art Masterpieces vol. 1 (Chicago, 1933), p. 91.
Clarence Bulliet, Significant Moderns and Their Pictures (New York, 1936), pl. 14.
John Rewald in Amour de l’Art (May 1936), fig. 105.
Lionello Venturi, Cézanne: son art – son oeuvre (Paris, 1936), vol. 1, no. 493, vol. 2, pl. 115.
Bernard Dorival, Cézanne (New York, 1948), pl. 77.
Josephine Hancock Logan, Sanity in Art (Chciago, 1937), p. 106 (ill.).
Bernard Dorival, Cézanne (New York, 1948), p. 76 (ill.).
H. F. MacKenzie, Masterpieces of Painting, XIX Century, in the Collections of The Art Institute of Chicago (Chicago, 1946), pp. 26-27 (ill.).
Theodore Rousseau, Jr., “Cézanne, 1839-1906,” Journal of the American Association of University Women 46, 2 (January 1953), pp. 75-77.
The Art Institute of Chicago, A Brief Guide to the Collections (The Art Institute of Chicago, 1956), p. 36.
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 72, 291 (ill.).
Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (September 1966), p. 202.
René Huyghe, La Relève du reel: impressionnisme, symbolisme (Paris, 1974), p. 195, fig. 171.
Diane Kelder, The Great Book of French Impressionism (New York, 1980), p. 401 (ill.).
Michael Wilson, The Impressionists (Oxford, 1983), pl. 160.
Paul Cézanne, exh. cat. (Madrid, Museo Epañol de Arte Conemporáneo, 1984), p. 234.
Bob Niss, “Payson shows 2 ‘gems’,” Portland, Maine, Evening Express (June 7, 1985), p. 10.
Richard R. Brettell, Post-Impressionists (Chicago, 1987), pp. 41-42, ill., 117.
The Impressionist Tradition: Masterpieces from The Art Institute of Chicago, exh. cat. (Tokyo, Seibu Museum of Art, 1986-87), p. 17.
Richard Verdi, Cézanne (London, 1992), p. 127 (ill.).
Herbert Henkels, “Cézanne en Van Gogh in het Rijksmuseum voor Moderne Kunst in Amsterdam: de collectie van Cornelis Hoogendijk (1866-1911),” Bulletin van het Rijksmuseum 41, 3-4 (1993), p. 221 (ill.).
Isabelle Cahn, Paul Cézanne: L’art et la manière (Paris, 1994), p. 65 (ill.).
John Rewald, The Paintings of Paul Cézanne: A Catalogue Raisonné (New York, 1996), vol. 1, p. 57, pl. 51, p. 412, no. 626, vol. 2., p. 211 (ill.).
Philip Conisbee and Denis Coutagne, Cézanne in Provance, exh. cat. (Washington: National Gallery of Art; Aix-en-Provence: Musée Granet; Paris: Reunion de musées nationaux, 2006), 15, 55, 134–35, 154 cat. 49, 319.
The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 63, pp. 134–35 (ill.). Katherine Sachs, "Cezanne and Marden: The Almost Perfect Painting," Cézanne and Beyond, Exh, cat (Philadelphia Museum of Art, 2009), Pl. 197, p. 502.
Achim Borchardt-Hume, Gloria Groom, Caitlin Haskell and Natalia Sidlina, eds., Cezanne, exh. cat. (Chicago: Art Institute of Chicago, 2022), 38, 151 cat. 79.
Madeleine-Perdrillat, Alain. “À Propos Des Vues De La Mer à L'estaque Par Cezanne.” Société Cezanne, January 2023. https://www.societe-cezanne.fr/2023/02/06/a-propos-des-vues-de-la-mer-a-lestaque-par-cezanne-alain-madeleine-perdrillat/>
Источник: Art Institute of Chicago
Сведения о произведениях предоставляются музеями и могут обновляться. Энциклопедический контекст предоставляется Wikipedia и не заменяет музейную классификацию.
