id: 135101 accession number: 1958.14.b share license status: CC0 url: https://clevelandart.org/art/1958.14.b updated: 2024-03-26 01:58:43.899000 Sketch of Madame Cézanne (verso), 1881/84. Paul Cezanne (French, 1839–1906). Graphite and black crayon; sheet: 13.3 x 21.1 cm (5 1/4 x 8 5/16 in.). The Cleveland Museum of Art, Bequest of Leonard C. Hanna, Jr. 1958.14.b title: Sketch of Madame Cézanne (verso) title in original language: series: series in original language: creation date: 1881/84 creation date earliest: 1881 creation date latest: 1884 current location: creditline: Bequest of Leonard C. Hanna, Jr. copyright: --- culture: France, 19th century technique: graphite and black crayon department: Drawings collection: DR - French type: Drawing find spot: catalogue raisonne: --- CREATORS * Paul Cezanne (French, 1839–1906) - artist The son of a wealthy banker, Cézanne began his studies in Aix-en-Provence at the École Saint-Joseph in 1849, then attended the Collège Bourbon from 1852 until 1858. Émile Zola, the future author, was to become one of his closest friends. Cézanne enrolled at the École Gratuite de Dessin in 1857, entering the studio of Joseph Gibert (1806-1884). Two years later, complying with his father's wishes, he began studying law at the Université d'Aix while still at the École Gratuite de Dessin. In 1861 Cézanne finally left law school and followed Zola to Paris where he met Pissarro (q.v.) at the Académie Suisse. Probably after his failure to enter the École des Beaux-Arts, he returned to Aix and began working at his father's bank. In 1862, however, Cézanne returned to Paris, where he studied at the Académie Suisse and copied the works of the Old Masters in the Louvre. The works he produced during this period reflect the influence of Spanish painters such as Ribera (1591-1562) and Zurbarán (1598-1664), and other predecessors such as Delacroix (q.v.). His submissions to the Salons of 1865 through 1870 (and even through 1881) did not receive the jury's approval; the reinstatement of the Salon des Refusés was repeatedly but unsuccessfully demanded. Cézanne traveled often between Aix and Paris until 1870. To escape the Franco-Prussian War (1870-71) he stayed in the south in L'Estaque, along with his mistress, Hortense Fiquet, whom he had met in 1869. Cézanne moved back north to Pontoise with Hortense and his son, Paul, in 1872 and worked with Pissarro and met Dr. Paul Gachet. The following year he moved again to nearby Auvers-sur-Oise with his family, continuing his work with Pissarro. In 1874 and 1877 Cézanne participated in the first and third impressionist exhibitions, but the severe criticism of his works led him to abstain from using this venue again. In 1878 his father learned of the existence of Hortense and Paul, who at that point were living in Marseille, and threatened to discontinue his allowance. While in the Midi, Cézanne often worked with Monticelli (q.v.). His art increasingly matured, and he began concentrating on the order and internal structure within his compositions, limiting his palette. During these years he also met Gauguin (q.v.) and Renoir (q.v.), and always trav-eled, chiefly between Aix and L'Estaque. In 1886 Cézanne married Hortense, his father died, and the inheritance provided him with the financial means to live without constraints. He bought a house in Marlotte near Fontainebleau in 1892. In 1895 he had his first solo show at the gallery of Ambroise Vollard, who two years later bought all the artist's works from his studio near Corbeil. The dealer Paul Durand-Ruel became another important client. Cézanne participated in the Salon des Indépendants in 1899, 1901, and 1902 and exhibited at La Libre Esthétique in Brussels in 1901 and 1904, the Secession in Vienna in 1903, and the Salon d'Automne in 1904-6. He continued to study the underlying structure of nature, at times approaching abstraction by denying traditional perspective and using multiple viewpoints. He also began leaving portions of the canvas bare, giving some works an unfinished appearance. Cézanne's work had a tremendous influence on the artists of his time as well as those of subsequent generations, and he is considered one of the most influential figures in the development of modern art. --- measurements: Sheet: 13.3 x 21.1 cm (5 1/4 x 8 5/16 in.) state of the work: edition of the work: support materials: description: beige(1) wove paper watermarks: inscriptions: inscription: upper right, in graphite: Cezanne [underlined] ; lower center, in graphite: LV b[illegible] blaue / de 33 x 25 / cadu n[illegible] translation: remark: --- CURRENT EXHIBITIONS title: Drawn to the Body: The Human Figure and the Graphic Arts, 1500-1900 opening date: 1999-03-14T00:00:00 Drawn to the Body: The Human Figure and the Graphic Arts, 1500-1900. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 14-May 23, 1999). --- LEGACY EXHIBITIONS * {'description': 'CMA, French Drawings from the Collection (Dec. 13, 1994-Mar. 12, 1995).', 'opening_date': '1994-12-13T00:00:00'} * {'description': 'CMA, Generous Donors: A Tribute to the Print Club of Cleveland (Apr. 2-Aug. 4, 1991).', 'opening_date': '1991-04-02T00:00:00'} * {'description': 'CMA, National Schools of Style (June 14-Sep. 18, 1983).', 'opening_date': '1983-06-14T00:00:00'} * {'description': 'CMA, Idea to Image: Preparatory Studies from the Renaissance to Impressionism (Feb. 19-Mar. 23, 1980), pp. 17-8, illus.', 'opening_date': '1980-02-19T00:00:00'} * {'description': 'CMA, "Gallery J--Drawings" (July 29, 1975-Feb. 1976?) (is among a list of drawings in Gallery J, this list being found at the end of a list of prints that were in other galleries from July 29, 1975-Feb. 1976 for a little show called "The Vocabulary of Prints"--see exhs. file).', 'opening_date': '1975-07-29T00:00:00'} * {'description': 'CMA, "Gallery List of Drawings" (Dec. 1, 1970-Jan. 31, 1971; re-opened Mar. 16, 1971).', 'opening_date': '1970-12-01T00:00:00'} * {'description': 'Bloomington, Indiana University Art Museum, The Academic Tradition (June 19-Aug. 11, 1968), no. 19, illus. p. 15.', 'opening_date': '1968-06-19T00:00:00'} * {'description': 'CMA, Department of Prints and Drawings Opening Exhibition (Mar. 3-Apr. 7, 1958).', 'opening_date': '1958-03-03T00:00:00'} * {'description': 'New York, Fine Arts Associates, Cézanne: Rarely Shown Works (Nov. 10-29, 1952), no. 3 (of drawings), illus.', 'opening_date': '1952-11-11T05:00:00Z'} * {'description': 'National Gallery, Oct. 1, 2003 - Jan 18, 2004. Nasher Sculpture Center, Feb. 15 - May 9, 2004. Picasso: The Cubist Portraits of Fernande Olivier. exh. cat., fig. 7, p. 142.', 'opening_date': '2003-10-01T04:00:00Z'} --- PROVENANCE all according to departmental catalogue sheet: Michelson, Paris. [Fine Arts Associates, New York, Cézanne: Rarely Shown Works, Nov. 10-29, 1952, cat. no. 3] (photocopy of catalogue in departmental file); Leonard C. Hanna, Jr., Cleveland. date: footnotes: citations: --- fun fact: digital description: wall description: --- RELATED WORKS --- CITATIONS --- IMAGES web: https://openaccess-cdn.clevelandart.org/1958.14.b/1958.14.b_web.jpg print: https://openaccess-cdn.clevelandart.org/1958.14.b/1958.14.b_print.jpg full: https://openaccess-cdn.clevelandart.org/1958.14.b/1958.14.b_full.tif