Art Institute of Chicago, Картина
Тарелка с яблоками
Paul Cezanne, c. 1877
Данные: Art Institute of Chicago (открытые данные музея)
Музейные сведения
Источник: Art Institute of Chicago
- Автор
- Поль Сезанн (француз, 1839-1906)
- Дата создания
- c. 1877
- Место создания
- Франция
- Материалы и техника
- Холст, масло
- Размеры
- 45.8 × 54.7 cm (18 1/8 × 21 1/2 in.); Framed: 71.8 × 82.6 × 10.2 cm (28 1/4 × 32 1/2 × 4 in.)
- Стиль
- Постимпрессионизм
- Тип произведения
- Картина
- Классификация
- холст, масло
- Отдел
- Живопись и скульптура Европы
- Место в музее
- Галерея 248
- Инвентарный номер
- 1949.512
- Надписи
- Надпись внизу справа: П.Сезанн
- Credit line
- Подарок Кейт Л. Брюстер
- 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
В этом натюрморте Поль Сезанн разрушил представления о живописи конца 1870-х годов, наклонив столешницу и тарелку вперед, к зрителю, и сконструировав стол с неровными краями. Эти дезориентирующие детали дополняются массивными скульптурными формами, которые он создал, используя заостренный инструмент для вырезания контуров вокруг тарелки и некоторых яблок.
Музейное описание
The lozenge-shaped pattern of the wallpaper identifies the setting for this still life as the Paris apartment where Paul Cezanne and his family lived between 1875 and 1879. Here, the artist disrupted expectations for painting at the time by tipping the tabletop and plate forward toward the viewer and constructing a table with edges that don’t quite align. These disorienting details are complemented by the heavy, almost sculptural forms he created by using a pointed tool—possibly the end of his brush handle—to incise contours into semi-dry paint around the plate and some of the apples.
Текст описания © Art Institute of Chicago, лицензия CC BY 4.0.
Провенанс (история владения)
Eugène Murer, Auvers–sur–Oise and Paris, before Oct. 1887 [see Trublot 1887 and Rewald 1996]. Galerie Heinrich Thannhauser, Munich, by 1916 [Berlin 1916]. F. Schoen, Berlin [accordind to correspondence from P. Rosenberg and Co. to W. Brewster, Feb. 25, 1930, copy in curatorial file]. Paul Cassirer, Berlin, Sept. 29, 1925 [this and the following according to Rewald 1996; Paul Cassirer archive, PC18965]. J. K. Thannhauser, Lucerne, Switzerland, Feb. 2, 1926. Paul Rosenberg and Co., New York and Paris, by 1930 [this and the following according to Rosenberg to Brewster, Feb. 25, 1930]; sold to Walter S. Brewster, Chicago, (1872–1954), Feb. 15, 1930; Kate L. Brewster (Mrs. Walter S. Brewster; 1879–1947), Chicago; bequeathed to the Art Institute of Chicago, 1949.
Источник: Art Institute of Chicago
История выставок
Berlin, Galerie Thannhauser, Erste Sonderausstellung in Berlin, Jan. 9–mid-Feb., 1927, cat. 14 (ill.) as Stilleben.
Chicago, Brewster residence, The Collection of Mr. and Mrs. Walter S. Brewster, Jan. 20–22, 1933, cat. 6, as Assiette des Fruits, about 1883.
New York, Museum of Modern Art, Fruit and the Flower Paintings, May 13–31, 1933, no cat.
New York, Marie Harriman Gallery, Chardin and the Modern Still Life, Nov. 1936, cat. 12.
Cedar Rapids, IA, Coe College, Centennial Exhibition, May 15–June 9, 1952, cat. 14.
New York, Fine Arts Associates, Cézanne: Rarely Shown Works, Nov. 10–29, 1952, cat. 4 (ill.), as Le Plat de Pommes.
Aix-en-Provence, France, Musée Granet, Cézanne: Peintures, Aquarelles, Dessins, July 5–Aug. 5, 1953, cat. 21, as Le Plat de Pommes, c. 1887; Nice, France, Musée Massena, Aug. 8–Sept. 10, 1953 ; Grenoble, Musée des Beaux-Arts, Sept. 15–Oct. 6, 1953.
Worcester, MA, Worcester Museum of Art, The Dial and the Dial Collection, Apr. 30–Sept. 8, 1959, cat. 10.
Memphis, TN, Dixon Gallery and Gardens, Impressionists in 1877: A Loan Exhibition, Dec. 4, 1977–Jan. 8, 1978, cat. 8 (ill.).
Albi, Musée Toulouse-Lautrec, Trésors impressionnistes du Musée de Chicago, June 27–Aug. 31, 1980, cat. 33 (ill.), as 1877.
Sydney, Art Gallery of New South Wales, Classic Cézanne, Nov. 28, 1998–Feb. 28, 1999, cat. 9 (ill.).
New York, Museum of Modern Art, Pioneering Modern Painting: Cezanne and Pissarro 1865–1885, June 26–Sept. 12, 2005, cat. 25 (ill.), as c. 1874; 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.
Fort Worth, TX., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 34 (ill.).
Paris, Musée Luxembourg, Cezanne et Paris, Oct. 12, 2011–Feb. 26, 2012, cat. 55 (ill.).
Art Institute of Chicago, Cezanne, May 15–Sep. 5, 2022, cat. 33 (ill.); London, Tate, Oct. 5, 2022–Mar. 12, 2023.
Источник: Art Institute of Chicago
Публикации
Trublot [Paul Alexis], “La Collection Murer,” Le Cri du people (October 21, 1887), no. 7.
Katalog der Modernen Galerie Heinrich Thannhauser (Munich 1916), p. 30 (ill.).
The Dial 81 (1926), p. 359.
Kurt Pfister, Cézanne: Gestalt, Werk, Mythos (Potsdam, 1927), pl. 76.
Eugenio d’Ors, Paul Cézanne (Paris, 1930), pl. 23.
Lionello Venturi, Cézanne, son art, son oeuvre (Paris, 1936), no. 210.
Robert J. Goldwater, “Cézanne in America: The Master’s Paintings in American Collections ,” Art News Annual 36, no. 26 (Mar. 26, 1938): 158 (ill.).
Daniel Catton Rich, “The Kate L. Brewster Bequest,” Bulletin of the Art Institute of Chicago 44, 3 (1950), p. 51
The Art Institute of Chicago, A Brief Guide to the Collections (Chicago, 1956), p. 36.
Kurt Badt, Die Kunst Cézannes (Munich 1956), p. 123.
P. Gachet, Deux Amis des impressionistes–Le Dr. Gachet et Murer (Paris, 1956), p. 171.
L. Gowing in Burlington Magazine (June 1956), p. 188.
Robert William Ratcliffe, Cezanne's Working Methods and Their Theoretical Background. Dissertation Thesis, University of London, 1960, 247-48
The Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 71.
Frederick A. Sweet, “Great Chicago Collectors,” Apollo 84 (September 1966), p. 203.
Richard Shiff in Critical Inquiry (Summer 1978), fig. 12.
Richard Shiff, Cézanne and the End of Impressionism (Chicago, 1984), p. 209, fig. 48.
Michael Howard, Cézanne (London, 1990), p. 73 (ill.)
John Rewald, The Paintings of Paul Cézanne: A Catalogue Raisonné (New York, 1996), vol. 1, p. 223, no. 328, vol. 2, p. 105.
The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 34, p. 82 (ill.).
Rpbert Storr, "La Famille Cezanne," Cézanne and Beyond, Exh, cat (Philadelphia Museum of Art, 2009), Fig 2.4, p. 48, p. 50.
Achim Borchardt-Hume, Gloria Groom, Caitlin Haskell and Natalia Sidlina, eds., Cezanne, exh. cat. (Chicago: Art Institute of Chicago, 2022), 52-53, 59n33, 104 cat. 33.
Источник: Art Institute of Chicago
Сведения о произведениях предоставляются музеями и могут обновляться. Энциклопедический контекст предоставляется Wikipedia и не заменяет музейную классификацию.
