{ "data": { "id": 135101, "accession_number": "1958.14.b", "share_license_status": "CC0", "tombstone": "Sketch of Madame C\u00e9zanne (verso), 1881/84. Paul Cezanne (French, 1839\u20131906). 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", "current_location": null, "title": "Sketch of Madame C\u00e9zanne (verso)", "creation_date": "1881/84", "creation_date_earliest": 1881, "creation_date_latest": 1884, "artists_tags": [ "male" ], "culture": [ "France, 19th century" ], "technique": "graphite and black crayon", "support_materials": [ { "description": "beige(1) wove paper", "watermarks": [] } ], "department": "Drawings", "collection": "DR - French", "type": "Drawing", "measurements": "Sheet: 13.3 x 21.1 cm (5 1/4 x 8 5/16 in.)", "dimensions": { "sheet": { "height": 0.133, "height_inch": 5, "height_inch_fraction": 0.25, "width": 0.211, "width_inch": 8, "width_inch_fraction": 0.3125 } }, "state_of_the_work": null, "edition_of_the_work": null, "copyright": null, "inscriptions": [ { "inscription": "upper right, in graphite: Cezanne [underlined] ; lower center, in graphite: LV b[illegible] blaue / de 33 x 25 / cadu n[illegible]", "inscription_translation": null, "inscription_remark": null, "sortorder": null } ], "exhibitions": { "current": [ { "id": 193792, "title": "Drawn to the Body: The Human Figure and the Graphic Arts, 1500-1900", "description": "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).", "opening_date": "1999-03-14T00:00:00" } ], "legacy": [ { "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, C\u00e9zanne: 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": [ { "description": "all according to departmental catalogue sheet: Michelson, Paris. [Fine Arts Associates, New York, C\u00e9zanne: Rarely Shown Works, Nov. 10-29, 1952, cat. no. 3] (photocopy of catalogue in departmental file); Leonard C. Hanna, Jr., Cleveland.", "citations": [], "footnotes": null, "date": null, "sortorder": null } ], "find_spot": null, "related_works": [], "former_accession_numbers": [], "did_you_know": null, "early_education_description": null, "artlens_description": null, "description": null, "external_resources": { "wikidata": [], "internet_archive": [ "https://archive.org/details/clevelandart-1958.14.b-sketch-of-madame-cez" ] }, "citations": [], "url": "https://clevelandart.org/art/1958.14.b", "images": { "annotation": null, "web": { "url": "https://openaccess-cdn.clevelandart.org/1958.14.b/1958.14.b_web.jpg", "width": "571", "height": "893", "filesize": "380495", "filename": "1958.14.b_web.jpg" }, "print": { "url": "https://openaccess-cdn.clevelandart.org/1958.14.b/1958.14.b_print.jpg", "width": "2175", "height": "3400", "filesize": "6305148", "filename": "1958.14.b_print.jpg" }, "full": { "url": "https://openaccess-cdn.clevelandart.org/1958.14.b/1958.14.b_full.tif", "width": "4054", "height": "6337", "filesize": "77097876", "filename": "1958.14.b_full.tif" } }, "alternate_images": [], "creditline": "Bequest of Leonard C. Hanna Jr.", "image_credit": null, "sketchfab_id": null, "sketchfab_url": null, "gallery_donor_text": null, "athena_id": 135101, "creators": [ { "id": 1754, "description": "Paul Cezanne (French, 1839\u20131906)", "extent": null, "qualifier": null, "role": "artist", "biography": "The son of a wealthy banker, C\u00e9zanne began his studies in Aix-en-Provence at the \u00c9cole Saint-Joseph in 1849, then attended the Coll\u00e8ge Bourbon from 1852 until 1858. \u00c9mile Zola, the future author, was to become one of his closest friends. C\u00e9zanne enrolled at the \u00c9cole 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 Universit\u00e9 d'Aix while still at the \u00c9cole Gratuite de Dessin. In 1861 C\u00e9zanne finally left law school and followed Zola to Paris where he met Pissarro (q.v.) at the Acad\u00e9mie Suisse. Probably after his failure to enter the \u00c9cole des Beaux-Arts, he returned to Aix and began working at his father's bank. In 1862, however, C\u00e9zanne returned to Paris, where he studied at the Acad\u00e9mie 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 Zurbar\u00e1n (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 Refus\u00e9s was repeatedly but unsuccessfully demanded. C\u00e9zanne 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. C\u00e9zanne 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 C\u00e9zanne 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, C\u00e9zanne 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 C\u00e9zanne 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. C\u00e9zanne participated in the Salon des Ind\u00e9pendants in 1899, 1901, and 1902 and exhibited at La Libre Esth\u00e9tique 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. C\u00e9zanne'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.", "name_in_original_language": null, "birth_year": "1839", "death_year": "1906", "use_in_caption": true, "include_extent": false, "weight": 1 } ], "legal_status": "accessioned", "accession_date": "1958-11-29T00:00:00", "sortable_date": 1881, "date_added_to_oa": null, "date_text": "1881/84", "collapse_artists": false, "on_loan": false, "recently_acquired": false, "record_type": "part", "conservation_statement": null, "has_conservation_images": false, "cover_accession_number": "1958.14", "is_nazi_era_provenance": false, "impression": null, "alternate_titles": [], "is_highlight": false, "updated_at": "2026-05-29 06:54:28.323000" } }