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Detail images: Paul Cézanne, 1839 Aix-en-Provence – 1906 ebenda

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Paul Cézanne, 1839 Aix-en-Provence – 1906 ebenda
Detailabbildung: Paul Cézanne, 1839 Aix-en-Provence – 1906 ebenda
Detailabbildung: Paul Cézanne, 1839 Aix-en-Provence – 1906 ebenda
Detailabbildung: Paul Cézanne, 1839 Aix-en-Provence – 1906 ebenda
Detailabbildung: Paul Cézanne, 1839 Aix-en-Provence – 1906 ebenda
Detailabbildung: Paul Cézanne, 1839 Aix-en-Provence – 1906 ebenda

8
Paul Cézanne,
1839 Aix-en-Provence – 1906 ebenda

LES DEUX ENFANTS, D’APRES PRUD‘HON, 1858 - 1860 Öl auf Leinwand.
55 x 45 cm.

Catalogue price € 450.000 - 550.000 Catalogue price€ 450.000 - 550.000  $ 486,000 - 594,000
£ 405,000 - 495,000
元 3,519,000 - 4,301,000
₽ 44,770,500 - 54,719,500

Beigegeben eine Expertise von René Millet in Kopie.

Im schattigen Hof hinter einem gutbürgerlichen Haus zeigt der bedeutende Maler zwei kleine Kinder, ein Geschwisterpaar, das gerade dabei ist ein Kanninchen zu streicheln. Ein weiteres Kaninchen rechts im Bild bleibt dicht bei den beiden und wartet, bis es an die Reihe kommt. Dass sich die Szene in gut situierten Verhältnissen zuträgt, zeigt nicht nur die Kleidung der Kinder, sondern auch der schmiedeeiserne Handlauf und die mit Wein bewachsene Pergola im rechten Mittelgrund. Von rechts fällt auch das Licht ein. Die hell beleuchteten Geschwister stehen etwas im Widerspruch zu der natürlichen Lichtführung. Es ging dem Maler offenbar weniger um eine naturalistische Darstellung, als um die Würdigung der möglicherweise zur Familie gehörenden Kleinen.
Paul Cézanne gehört zu den bedeutendsten Malern des 19. Jahrhunderts. Sein kontroverses Werk bildet einen wichtige Drehpunkt in der Entwicklung der westlichen Malerei. Zunächst für eine juristische Laufbahn vorgesehen, verließ er mit 23 Jahren Aix-en-Provence, um nach Paris zu gehen. Hier wurde er jedoch von der École des Beaux-Arts zurückgewiesen. Er pflegte Umgang mit Camille Pissarro (1830-1903), Auguste Renoir (1841-1919) und Claude Monet (1840-1926) und eröffnet mit ihnen zusammen 1872 die erste Ausstellung der Impressionisten, auf der er zwar von seinen Malerkollegen starken Zuspruch erfuhr, vom Publikum jedoch abgelehnt wurde. Cézanne verläßt darauf Paris, um in seine Heimatstadt zurück zu kehren und dort einen eigenen malerischen Weg zu bestreiten und den ihm eigenen Stil zu entwickeln. Das vorliegenden Gemälde entstand zum frühesten Zeitpunkt seiner malerischen Entwicklung, noch bevor er nach Paris ging und noch die Zeichenschule in Aix-en-Provence besuchte.

Literatur:
Ambroise Vollard, "Souvenirs sur Cézanne", cahier d'art 6, Nr. 9-10 (1931), S. 387, ill.
New York Times, 29. Oktober 1933, S. 10.
Clarence Joseph Bulliet, The Significant Moderns and Their Pictures, New York, Covici, 1936, pl. 1.
Ambroise Vollard, Recollections of a Picture Dealer, Translated by Violet M. MacDonald, New York, Dover Publications, 1936.
Lionello Venturi, Cézanne: Son Art, Son Ouevre, 2 Bände, Paris: Editions Paul Rosenberg, 1936, Nr. 10, Band 2.
John Rewald, The History of Impressionism, New York: The Museum of Modern Art, 1961, S. 61, ill.
Schapiro, Meyer, Paul Cézanne, Translated by Louis-Marie Ollivier, Paris: Nouvelles Editions Francaises, 1973, S. 56, ill.
Anna Barskaya, Paul Cézanne. Leningrad: Aurora Art Publishers, 1975, S. 7, ill.
John Rewald, The paintings of Paul Cézanne, 2 Bände. In Zusammenarbeit mit Walter Feilchenfeldt und Jayne Warman, New York.

Provenienz:
Ambroise Vollard, Paris.
Galerie E. Bignou, Paris.
Hôtel Drouot, Paris, 21. Juni 1950, Lot 79.
Sam Salz, New York.
Martin and Henry Zimet, New York.
Ader, Picard, Tajan, Tokyo, 7. Dezember 1989, Lot 20.
Loudmer, Paris, 26. November 1990, Lot 48.

Ausstellungen:
Knoedler Galleries, New York, Paintings from the Ambroise Voilard Collection, November - Dezember 1933, Nr. 3.
Arts and Crafts Club, Detroit, Dezember 1933 - Januar 1934.
Bignou Gallery, New York: The Post-Impressionists, Oktober - November 1940, Nr. 1.
Wildenstein Galleries, New York, USA, Children of France, 16. März - 4. April 1942.
Galerie Beyeler, Basel, Paul Cézanne: Peinture, Aquarelles, Dessins, Juni - September 1983, Nr. 1.
Complesso dei Vittoriano, Rom, Cézanne: Il padre dei moderni, 7. März - 7. Juli 2002, S. 97.

Anmerkung:
Das Gemälde wird vom 16. Juni - 19. November 2017 während der großen Werkschau Paul Cézanne in der Fondation Pierre Gianadda in Martigny präsentiert.
† (1100069) (10)


Paul Cézanne,
1839 Aix-en-Provence – 1906 ibid.

LES DEUX ENFANTS, D’APRES PRUD’HON [The Two Children after Prud’hon], 1858 - 1860

Oil on canvas.
55 x 45 cm.

Accompanied by an expert's report by René Millet.

This important painter shows two small siblings stroking a rabbit in the shaded court of a bourgeois house. Another rabbit is standing close to the other two and is waiting its turn. The surroundings with a wrought-iron handrail and a pergola overgrown with vine tendrils in the right middle ground as well as the fine clothing of the children suggest that this scene is set in well-off circumstances. The scene is lit from the right and the brightly illuminated siblings are slightly in conflict with the natural direction of light. The artist was therefore less interested in creating a natural depiction but in honouring the portrait of these children that are possibly part of his family.
Paul Cézanne was one of the most important 19th century painters. His controversial oeuvre is a crucial turning point in the development of Western painting. Initially predestined for a legal career he left Aix-en-Provence aged 23 and moved to Paris where he was, however, refused entry to the École des Beaux-Arts. He was acquainted with Camille Pissarro (1830-1903), Auguste Renoir (1841-1919) and Claude Monet (1840-1926) and together with these artists opened the first Impressionist exhibition in 1872, where he enjoyed great popularity with his colleagues but was rejected by the public. Subsequently Cézanne left Paris to return to his hometown where he cut his own career as a painter and developed his unique style. The painting on offer in this lot was created early on in his painting career, when he was still attending the drawing school in Aix-en-Provence before his relocation to Paris.

Literature:
Ambroise Vollard, "Souvenirs sur Cézanne", cahier d'art 6, nos. 9-10 (1931), p. 387, ill.
New York Times, October 29, 1933, p. 10.
Clarence Joseph Bulliet, The Significant Moderns and Their Pictures, New York, Covici, 1936, pl. 1.
Ambroise Vollard, Recollections of a Picture Dealer, Translated by Violet M. MacDonald, New York, Dover Publications, 1936.
Lionello Venturi, Cézanne: Son Art, Son Ouevre, 2 volums, Paris: Editions Paul Rosenberg, 1936, no. 10 vol. 2.
John Rewald, The History of Impressionism, New York: The Museum of Modern Art, 1961, p. 61, ill.
Schapiro, Meyer, Paul Cézanne, Translated by Louis-Marie Ollivier, Paris: Nouvelles Editions Francaises, 1973, p. 56, ill.
Anna Barskaya, Paul Cézanne. Leningrad_ Aurora Art Publishers, 1975, p. 7, ill.
John Rewald, The paintings of Paul Cézanne, 2 vols. In collaboration with Walter Feilchenfeldt and Jayne Warman, New York.

Provenance:
Ambroise Vollard, Paris.
Galerie E. Bignou, Paris.
Hôtel Drouot, Paris, 21 June 1950, Lot 79.
Sam Salz, New York.
Martin and Henry Zimet, New York.
Ader, Picard, Tajan, Tokyo, 7 December 1989, Lot 20.
Loudmer, Paris, 26 November 1990, Lot 48.

Exhibitions:
Knoedler Galleries, New York, Paintings from the Ambroise Voilard Collection, November - December 1933, No. 3.
Arts and Crafts Club, Detroit, December 1933 - January 1934.
Bignou Gallery, New York: The Post-Impressionists, October - November 1940, No. 1.
Wildenstein Galleries, New York, Children of France, 16 March - 4 April 1942.
Galerie Beyeler, Basel, Paul Cézanne: Peinture, Aquarelles, Dessins, June - September 1983, No 1.
Complesso dei Vittoriano, Rom, Cézanne: Il padre dei moderni, 7 March - 7 July 2002, p. 97.

Note:
The painting will be presented in the Fondation Pierre Gianadda in Martigny from 16 June to 19 November 2017. †

This object has been individually compared to the information in the Art Loss Register data bank and is not registered there as stolen or missing.

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