Las óleos de todo Paul Cezanne

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11361

The Strangled Woman

1872 1' x 9 3/4''(31 x 25cm)Gift of Max and Rosy Kaganovitch,1973

27746

The Temptaion of St Anthony

mk62 1873-1877 Oil on canvas 47x56cm Paris,Musee d Orsay

27879

The Temptation of St.Anthony

mk62 c.1870 Oil on canvas 54x73cm

10810

Three Bathers

1875 - 1877. 8 3/4" x 7 1/2" ( 22x19 cm).

21097

Three Bathers (mk06)

ca 1875-1877 8 3/4'' x 7 1/2''(22 x 19 cm)RF 1982-40

24767

Three Bathers (mk35)

1879-1882 Trois baigneuses Oil on canvas 58 x 54.5 cm

27888

Three Women Bathing

mk62 c.1879-82 Oil on canvas 50x50cm Petir Palais Pairs

60959

to prepare the banquet

mk273 1891 Oil on canvas 45.7 x 55.3 cm

60924

to wear red clothes Mrs Cezanne

mk273 1888 Oil on canvas 89 x 70 cm

61016

tree

mk273 1902-1904 Oil on canvas 79.1 x 63.5 cm

60810

trees and Basin

mk273 1868-1870 Oil on canvas 38.1 x 46 cm

27748

Trees in the Jas de Bouffan

mk62 Oil on canvas 54x73cm

27864

Trois baigneuses

mk62 1879-1882 Huile sur toile 52x55cm Paris,musee du Petit Palais

61053

tuinman

mk273 jaar 1904 Olieverf op doek 65,4 x 54,9 cm

89180

Turning Road at Montgeroult

1898(1898) Medium oil on canvas Dimensions Height: 81.3 cm (32 in). Width: 65.7 cm (25.9 in). cjr

90256

Ufer der Oise

1888(1888) Medium oil on canvas Dimensions 49 x 60 cm cjr

27807

Une moderne Olympia

mk62 1870 Huile sur toile 56x55cm

27815

Une moderne Olympia

mk62 vers 1873 Huile sur toile 46x55.5cm Paris,musee d Orsay

48701

Unknown work

mk191 1873 Oil on canvas 55x66cm

60846

valley

mk273 1881 Oil on canvas 72 x 91 cm

61036

van het huis op een heuvel

mk273 jaar 1904 Olieverf op doek 65,7 x 81 cm

27833

Vase a fleurs et pommes

mk62 1889-1890 Huile sur toile 55x47cm

364

Vessels, Basket and Fruit

1888-90 Musee d'Orsay, Paris

60849

viaduct

mk273 1882 Oil on canvas 46.5 x 55.6 cm

93736

Viadukt

1887(1887) Medium oil on canvas Dimensions 91 x 71 cm cjr

60832

Victor

mk273 1877 Oil on canvas 45.7 x 38.1 cm

87621

Victor Chocquet Seated

c. 1877 Medium Oil on canvas Dimensions Deutsch: 46 x 38 cm cjr

60998

Victor S. Hill 5

mk273 1897 Oil on canvas 78 x 99 cm

60881

Victor St Hill

mk273 1885 Oil on canvas 62 x 92 cm

61024

Victor St. Hill

mk273 1902-1904 Oil on canvas 54 x 73 cm

61028

Victor St. Hill

mk273 1904-1906 Oil on canvas 60 x 73 cm

61029

Victor St. Hill

mk273 1904-1906 Oil on canvas 60 x 72 cm

60999

Victor St. Hill 6

mk273 1897 Oil on canvas 78 x 99 cm

56974

Vidocq Hill St

mk250 In the year 1902-1904. Oil on canvas, 69.9 x 89.5 cm. Philadelphia Museum of Art

27739

View of Auvers-sur-Oise-The Fence

mk62 1873 Oil on canvas 44.5x34.5cm

27772

View of Chateau Noir

mk62 1894-1896 Oil on canvas 73x92cm Washingto D.C.National Gallery of Art,Gift of Eugene and Agnes Meyer

24858

View of Chateau Noir (mk35)

1894-1896 Vue du Chateau noir Oil on canvas 81 x 65 cm Private collection

60813

Village de sac

mk273 1872-1874 Oil on canvas 46 x 55 cm

60823

village panorama

mk273 1876 Oil on canvas 65.2 x 81.3 cm

11463

Village Road

Auvers,ca 1872-1873 1' 6'' x 1' 9 3/4''(46 x 55.5 cm)Gift of Max and Rosy Kaganovitch,1973

72947

Village Road Near Auvers

"Village Road Near Auvers (Le Chemin du Village)," by the French painter Paul CXzanne. Oil on canvas. 15 in. x 18 1/2 in. Yale University Art Gallery, bequest of Kate L. Brewster (Mrs. Kate Lancaster). Courtesy of Yale University, New Haven, Conn. cjr

60841

village scenery

mk273 1881 Oil on canvas 73 x 92 cm

60919

villages and mountains

mk273 1887 Oil on canvas 66.8 x 92.3 cm

88143

Vorbereitung auf das Begrabnis

1869(1869) Medium Oil on canvas Dimensions Deutsch: 49 x 80 cm cjr

27816

Vue sur I Estaque et le chateau d'lf

mk62 1883-1885 Huile sur toile 71x57.7cm

60799

Wears cotton cap s Dominic Uncle

mk273 1866 Oil on canvas 79.7 x 64.1 cm

61041

weg te gaan

mk273 jaar 1904 Olieverf op doek 65 x 81cm

60840

were five men and Bath

mk273 1880 Oil on canvas 34.6 x 38.1 cm

61003

were five men and Bath

mk273 1990 Oil on canvas 42.2 x 55 cm

60985

were seven men and Bath

mk273 1896 Oil on canvas 37.5 x 45.5 cm

27725

Winter

mk62 c.1860-1862 Oil on canvas 314x104cm Venturi7 Paris,Musee de la ville de Paris Petit Palais

29355

Woman in Blue

mk65 ca.1899 Oil on canvas 35x28"

61012

woman was wearing blue clothes

mk273 1901 Oil on canvas 88.5 x 72 cm

27911

Woman with a Coffee Pot

mk62 c.1890-4 Oil on canvas 130x97cm Musee d'Orsay Paris

11475

Woman with Coffee Pot

ca 1890-1895 4' 3 1/2'' x 3' 2''(130.5 x 96.5 cm) Gift of Mr.and Mrs.Jean-Victor Pellerin,1956

33983

Woman with Coffee Pot

mk87 c.1890-1895 Oil on canvas 130.5x96.5cm Paris,Musee d'Orsay

21509

Woman with Coffee Pot (mk09)

c.1890-1895 Oil on canvas,130.5 x 96.5 cm Paris,Musee d'Orsay

86397

Women Bathing

1900 Oil on canvas, 73 x 92 cm Date 1900(1900) cyf

29277

Young Girl at the Piano

mk65 ca.1868/69 Oil on canvas 22 1/2x36'

61039

zwarte kasteel

mk273 jaar 1904 Olieverf op doek 73,6 x 93,2 cm

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Paul Cezanne

French Post-Impressionist Painter, 1839-1906 During the second half of the 19th century French impressionism created a dramatic break with the art of the past. In conception and appearance the style was radically new and, although it initially inspired public ridicule, it soon affected nearly every ambitious artist in western Europe. The new vision emerged during the 1870s, chiefly in the art of Claude Monet, Auguste Renoir, and Camille Pissarro. For each of these artists impressionism was an illusionistic style which differed from the tradition of Renaissance illusionism in its greater emphasis upon vibrant, natural color and on an immediate confrontation with the phenomena of the visible world. As the style developed during the 1880s, however, it increasingly became characterized by paintings which were flat rather than illusionistic. In other words, the impressionists insistence upon a direct application of pigment to canvas resulted in surfaces which declared themselves first of all as surfaces - and, consequently, in paintings which declared themselves first of all as paintings rather than as windows which looked out upon the natural world. The tendency toward flatness persisted into the last years of the 19th century, its pervasiveness giving the impression that illusionistic space - fought for, won, and defended since the very beginning of the Renaissance - had finally been sacrificed by the medium of painting. Paul C??zanne worked within and finally emerged from this trend. As a painter, he matured slowly, his greatest works coming during the last 25 years of his life. During this period he scored a remarkable and heroic achievement: he restored to painting the space and volume that had seemingly been lost to it. But he did it in a totally unprecedented way: not by return to the illusionism of the past but by the creation of a spatial illusionism that did not violate flatness. C??zanne was born on Jan. 19, 1839, in Aix-en-Provence. His father, Philippe Auguste, was the cofounder of a banking firm which prospered throughout the artist life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance. In 1852 C??zanne entered the Coll??ge Bourbon, where he met and became friends with Émile Zola. This friendship was decisive for both men: with youthful romanticism they envisioned successful careers in the Paris art world, C??zanne as a painter and Zola as a writer. Consequently, C??zanne began to study painting and drawing at the École des Beaux-Arts in Aix in 1856. His father opposed the pursuit of an artistic career, and in 1858 he persuaded C??zanne to enter law school at the University of Aix. Although C??zanne continued his law studies for several years, he was simultaneously enrolled in the School of Design in Aix, where he remained until 1861. In 1861 C??zanne finally convinced his father to allow him to go to Paris. He planned to join Zola there and to enroll in the École des Beaux-Arts. But his application was rejected and, although he had gained inspiration from visits to the Louvre, particularly from the study of Diego Vel??zquez and Caravaggio, C??zanne experienced self-doubt and returned to Aix within the year. He entered his father banking house but continued to study at the School of Design. The remainder of the decade was a period of flux and uncertainty for C??zanne. His attempt to work in his father business was abortive, and he returned to Paris in 1862 and stayed for a year and a half. During this period he met Monet and Pissarro and became acquainted with the revolutionary work of Gustave Courbet and Édouard Manet. C??zanne also admired the fiery romanticism of Eug??ne Delacroix paintings. But he was never entirely comfortable with Parisian life and periodically returned to Aix, where he could work in relative isolation. He retreated there, for instance, during the Franco-Prussian War (1870-1871).

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