Paul CézanneFrance, 1839–1906Standing Bather, Seen from the Back
Peut-on la contempler ?
Oui, elle reçoit
Chicago, États-Unis
Présentée au public.
- Vérifié
- Dans cet état depuis
- Source
- Le musée
À propos du tableau
In the course of making an artwork, Paul Cezanne often significantly altered his original design. Someone, perhaps the artist, cut this canvas from a larger painting, retaining remnants of the other composition. In the lower-left corner, a series of blue lines can be read as the legs of a seated figure from knees to ankles; the body may have continued on an adjacent part of the canvas. These lines sit on top of the background foliage, indicating that Cezanne added this second figure after completing the first, presumably before changing his mind about the direction of the painting or moving on to another work.
Art Institute of ChicagoCC BY 4.0
Notice
Ce qu’elle montre
Au catalogue
Sources
- Art Institute of Chicago
- Image : Art Institute of Chicago — CC0 / public domain (AIC image API)
Pendant ce temps, chez Paul Cézanne
La vie entière1877
Sixteen Works at the Third Impressionist Exhibition
He presented 16 works at the third Impressionist exhibition, once again met with harsh criticism. It was the last time he exhibited with the Impressionists.
March 1878
His Father Learns of Hortense and Their Son
Owing to a careless letter from Chocquet, his father learned of the hidden family and cut his allowance in half; Cézanne had to ask Zola for help. In September the father relented and granted the family 400 francs.
1882
His Only Appearance at the Official Salon
His friend Antoine Guillemet, having joined the Salon jury, got Cézanne admitted as his "pupil." The exhibited portrait (probably of the artist's father) was hung in a poorly lit spot and went unnoticed.
![The Barbaric Dance (Before Salomé and Hérod) [La danse barbare (devant Salomé et Hérode)], Pablo Picasso, 1905, published 1913](https://api.nga.gov/iiif/50a2abdc-52b3-49f7-af3f-2ef384c8f1d0/full/!2400,2400/0/default.jpg)