It was there he painted his first seascapes in 1876 and, in the late 1870s, produced watercolours and paintings with viewpoints looking down over the bay, as in this example. Printed artwork to the dimensions you choosed and will also include a white border. At the beginning of the century, Fauves and Cubist painters (Braque, Dufy, Derain), would also set up their easels on the shores at L'Estaque.Close. 1, no. The two most important were the Mont Sainte-Victoire and the Bay at L'Estaque, a place the artist had known since his childhood. (80.2 × 100.6 cm) Credit Line Mr. and Mrs. Martin A. Ryerson Collection Reference Number 1933.1116 Extended information about this artwork 1 White cloud: lead white and carbon black. https://www.musee-orsay.fr/en/tools/my-selection/rss.html, - Legal information - © Musée d'Orsay 2006-2020. Work takes into account the white margin. 132–33, fig. Bernard Dorival, Cézanne (New York, 1948), p. 76 (ill.). J. Gasquet, “Ce qu’il m’a dit…le motif,” L’Amour de l’Art 1, 8 (December 1920), p. 263 (ill.). Sweet, “Great Chicago Collectors,” Apollo 84 (September 1966), p. 202. The Art Institute of Chicago, Masterpiece of the Month, June 1942, no cat. (Tokyo, Seibu Museum of Art, 1986-87), p. 17. The truncated view of the motif arbitrarily cropped by the framing of the painting is typical of Cézanne's work.The Bay of Marseille seen from L'Estaque was the first of Cézanne's work to enter the French national collections thanks to a bequest by Gustave Caillebotte in 1894. (Madrid, Museo Epañol de Arte Conemporáneo, 1984), p. 234. Born in Provence, Cézanne remained deeply attached to his native region, and found inspiration there for some of his recurrent and emblematic motifs. Bob Niss, “Payson shows 2 ‘gems’,” Portland, Maine, Evening Express (June 7, 1985), p. 10. But it is clear that from this point that he was moving away from Impressionism, mainly by abandoning traditional perspective, and creating a synthesis between the different planes. Theodore Rousseau, Jr., “Cézanne, 1839-1906,” Journal of the American Association of University Women 46, 2 (January 1953), pp. 63, pp. 1, p. 57, pl. The methacrylate we use has been specially selected for its durability, transparency and strength, which guarantee a quality close to that of glass without risk of breakage during transport. 2, New York, 1950, pp. But it is clear that from this point that he was moving away from Impressionism, mainly by abandoning traditional perspective, and creating a synthesis between the different planes. 50 (ill.), traveled to New York, Metropolitan Museum of Art, April 4-May 18, 1952. The Art Institute of Chicago, A Century of Progress, Exhibition of Paintings and Sculpture, June 1-November 1, 1933, cat. The reproduction will be shipped in protective packaging to be received in perfect condition. Title: The Bay of Marseilles, Seen from L'Estaque; Creator: Paul Cézanne (French, 1839–1906) Date Created: About 1885; Physical Dimensions: 31 5/8 × 39 5/8 in. In his paintings he interprets this absence of modelling by painting the vegetation and rocks using a technique of short brushstrokes juxtaposed to create a visible structure. Richard Verdi, Cézanne (London, 1992), p. 127 (ill.). 63 (ill.). The final dimension includes the white margin. In his paintings he interprets this absence of modelling by painting the vegetation and rocks using a technique of short brushstrokes juxtaposed to create a visible structure. Secure payment solution by Banque Postale, Our team is at your disposal to answer your questions and requests for information, Musée des châteaux de Versailles et de Trianon, Printed on mat paper Fine Art Special 260 g/m2. The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. F. Jourdain, Cézanne (Paris, 1914), pl. 26. The composition is anchored by the buildings arrayed across its bottom register. This simplification of elements into cubes, cylinders and cones would later become increasingly prominent in the painter's work. Born in Provence, Cézanne remained deeply attached to his native region, and found inspiration there for some of his recurrent and emblematic motifs. The frame consists of a wooden frame with a simple structure, the idea being to favor the work rather than the frame.

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