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Lot Essay
Bathers, portraits, still-lifes and landscapes - the primary subjects in Cézanne's mature oeuvre - are represented in the pages of carnet CP II, which the artist used between 1872 and 1896, covering a significant portion of his career. There are many similarities between subjects in the sketchbook and the artist's paintings and watercolours, and appropriate references, drawn from Chappuis' observations in his catalogue raisonné, as well as useful information in the later catalogues of the paintings and watercolours by John Rewald, are indicated in the descriptions for each carnet page.
The bather studies are directly related or perhaps even preparatory to figures that appear in the paintings. On carnet pages XIV and XLV (the numbering of the latter comprising two facing pages), there are five renderings of the same bather drying her raised arm, each emphasizing a different aspect of the figure. In several there is the hint of a garment covering her hips, in the others she is nude; in two the length of her hair is short, and in the others it is long and flowing. Cézanne was assiduously working out alternative ways of depicting this figure, which appears in a central position in an important series of bather compositions painted in 1876-1878.
The bather studies are supplemented by the presence by Cézanne's sketches done after sculptures from antiquity, the late Renaissance and the Baroque period, objects that feature in only a handful of the oil paintings. His study of these historical works of art was crucial to the development of his conception of the human figure. It is significant that he was drawn to the ample forms of the Hellenistic period rather than to the earlier and more severe archaic phase (which Maillol and other moderns later favoured), as seen in his studies after the famous Vénus de Milo. We note Cézanne's interest in the heroic classicism of 'the great and terrible' Michelangelo in his sketches based on Marcantonio Raimondi's engraving of a lost Michelangelo cartoon (page XLVII), and his appreciation of the expressive volumes of the 17th century Baroque in a study after a bust by Guillaume Coustou le père (page XXVII).
The landscape studies were certainly executed outdoors, sur le motif, in a manner that combines spontaneity and terseness of line, the result of an eye long practiced in quickly conceptualizing and reducing to essentials the abundant forms in nature. The sketches are related to the landscape paintings only in a general sense. One may detect motifs in the sketches and then identify the sites by comparing them to the oil paintings and watercolours; the latter, with the addition of colour and their greater completeness, fill in what the viewer's eye can only visualize on its own in the drawings.
In the still-life subjects and the portraits of family members we enter the artist's life after the day's work in the studio or out-of-doors is done, just before or after a late dinner, in quiet, intimate moments illuminated by lamplight. Here Cézanne rendered the visages of his wife, son and father as they read, write, or fall asleep. He may be momentarily distracted by a sudden, compelling interest in a familiar wash-jug or piece of furniture. In these sketches the titanic, struggling figure of Cézanne the artist stands aside, and we behold Cézanne the man, and begin to appreciate him in the ways that those who lived with him and loved him must have felt his presence.
Detailed cataloguing for each leaf follows.
330
leaf 1
D'après l'antique: Vénus de Milo (recto); Une cruche (verso)
pencil on paper (recto and verso)
Drawn circa 1873-1875 (recto); drawn circa 1879-1882 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1285, p. 307 (recto and verso) (recto illustrated vol. II, pl. 350).
G. Berthold, Cézanne und die alten Meister, Stuttgart, 1958, no. 18 (recto illustrated).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 309, p. 115 (recto); no. 541, p. 157 (verso) (illustrated vol. II, nos. 309 and 541).
The recto of this sheet is page XII in the sketchbook.
Cézanne would have seen the famous Greek marble Vénus de Milo in the Louvre, where it was exhibited on a tall plinth, and would have been impossible to view from the angles seen in this study and others in this carnet (see leaves 2, 9 and 13 of this skecthbook). Chappuis (op. cit.) assumed that Cézanne based his drawings on a reduced size plaster replica.
Chappuis pointed out the 'interplay between volume and paper surface' (op. cit.) in the study of the water-jug on the verso. The water-jug also appears in a watercolor Rewald ascribed to 1885-1890 (RWC 224) as well as in other drawings (C 535, 542 and 952 [see leaf 11 in this sketchbook]).
330
leaf 2
D'après l'antique: Vénus de Milo (recto) (unbound fragment); Etude de tête (verso) (unbound fragment)
pencil on paper (recto and verso)
Drawn circa 1873-1875 (recto); drawn circa 1881-1884 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1286, p. 307 (recto illustrated vol. II, pl. 350).
G. Berthold, Cézanne und die alten Meister, Stuttgart, 1958, no. 13 (recto illustrated pl. 84).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 310, p. 115 (recto); no. 623, p. 175 (verso) (illustrated vol. II, nos. 310 and 623).
The recto of this sheet is page XIII in the sketchbook.
Chappuis (op. cit) described this rendering after the Vénus de Milo as a 'vigorous drawing, with an architectural detail, in the background' (see leaves 1, 9 and 13 in this skecthbook). Chappuis recorded that part of the page had been torn off, and that only part of a study of the head of a man on the verso remained.
330
leaf 3
Etude de baigneuses (recto); Etude de table, Boîte et Jardinière (verso).
pencil on paper (recto and verso)
Drawn circa 1879-1882 (recto); drawn circa 1879-1882 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1286, p. 307, (recto and verso).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 519, p. 154 (recto); no. 537, p. 157 (verso) (illustrated vol. II, nos. 519 and 537).
The recto of this sheet is page XIV in the sketchbook.
The walking figure in the center of the recto study is related to the male bather in R 368 (1877-1878) and, with the addition of longer hair, to female bathers in other paintings done around the same time (R 359-366). The figure at right is related to the bather in upper centre in R 362-366; see also leaves 10 and 11 in this sketchbook. On the verso the artist has drawn a oval table covered with a cloth, and below it an ornamental flowerpot that also appears in a watercolour that Rewald dated circa 1885 (RWC 229).
330
leaf 4
D'après Guillaume Coustou: Nicolas Coustou
pencil on paper
Drawn circa 1895-1898
LITERATURE:
J. Rewald, 'Cézanne au Louvre', L'Amour de l'Art, October 1935, p. 286 (illustrated).
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1289, p. 307 (illustrated vol. II, pl. 351).
G. Berthold, Cézanne und die alten Meister, Stuttgart, 1958, no. 196 (illustrated).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 1120, p. 256 (illustrated vol. II, no. 1120).
The recto of this sheet is page XXVII verso in the sketchbook.
This carefully modelled study was drawn after a terracotta bust by Guillaume Coustou le père (1677-1746) of his brother Nicolas, in the Louvre.
330
leaf 5
Etudes de têtes: Paul Cézanne fils et Un enfant
pencil on blue paper
Drawn circa 1886-1887
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1290, p. 307 (illustrated vol. II, pl. 351).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 862, p. 211 (illustrated vol. II, no. 862).
The recto of this sheet is page XXIX verso in the sketchbook.
Both studies show a sleeping child, and Chappuis identified the subject in the sketch at right as the artist's son Paul (op. cit., see also leaves 14 and 15 in the present sketchbook). The dark, curved shape behind the latter's head is his collar seen in shadow (see lot 342).
330
leaf 6
Etudes de têtes et Une oreille (recto); Etude de barrière (verso)
pencil on paper (recto and verso)
Drawn circa 1879 (recto); drawn circa 1877-1880 (verso)
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1290 (recto and verso).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London , 1973, vol. I, no. 727, p. 193 (recto); no. 534, p. 156 (verso) (illustrated vol. II, nos. 727 and 534).
The recto of this sheet is page XXX in the sketchbook.
As in the previous carnet page, on the recto are studies of a sleeping child. Chappuis notes that the verso study shows 'some domestic article, a drying rail or carpet-beater' (op. cit.). The latter is evidence of the artist's interest in the structure of everyday objects, even those that were unlikely to make their way into his still-life compositions.
330
leaf 7
Paysage avec pigeonnier (recto) Etude de tête: Louis-Auguste Cézanne (verso)
pencil on paper (recto and verso)
Drawn circa 1877-1880 (recto); drawn circa 1883-1886 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1290, p. 307 (recto).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, no. 767, p. 199 (recto); no. 661, p. 180, (verso) (illustrated vol. II, nos. 767 and 661).
The recto of this sheet is page XXXI in the sketchbook.
The recto shows the pigeon tower (pigeonnier) on a farmstead known as Bellevue, which was within walking distance of Cézanne's estate at the Jas de Bouffan, and was acquired by his brother-in-law Maxime Conil in 1885. This aptly-named house overlooked the Arc River valley southwest of Aix, and featured in a painting done in 1882-1885 (R 377), as well as a group of paintings from the years 1889-1890 (R 689-694).
Chappuis identified the subject of the verso as the artists's father, seen sleeping (op. cit.). See also leaf 8 in the present sketchbook.
330
leaf 8
Paysage de la vallée de l'Arc (recto); Etudes: Louis-Auguste Cézanne lisant et Une chemise (verso)
pencil on paper (recto and verso)
Drawn circa 1879-1882 (recto); drawn circa 1883-1886 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1290, p. 307 (recto and verso).
A. Chappuis, Dessins de Cézanne, Lausanne, 1957, no. 35 (recto illustrated).
W. Andersen, Cézanne's Portrait Drawings, Cambridge and London, 1970, no. 205, p. 32 (verso illustrated p. 188; dated circa 1882-1886).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 800, p. 203 (recto); no. 662, p. 180 (verso) (illustrated vol. II, nos. 800 and 662).
The recto of this sheet is page XXXIV in the sketchbook.
The recto study shows the tiled gable and ridge of a house in the foreground, with the undulating plain of the Arc River valley (see note to leaf 6 in this sketchbook), dotted with farms, stretching into the distance. The scene is similar to watercolours RWC 246 and 247.
The artist's father Louis-Auguste Cézanne appears in the upper sketch on the verso, his face hidden beneath the visor of his cap. The curved outline of the top of a divan appears behind him. Below him are studies of the corner of a fireplace and the arm of one of his favourite chairs. The tentative beginning of a head, probably done earlier than the other studies, is visible above the furnishings.
330
leaf 9
D'après l'antique: Vénus de Milo (recto); Paysage provençal (verso)
pencil on paper (recto and verso)
Drawn circa 1872-1873 (recto); drawn circa 1882-1885 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1292, 308 (recto and verso) (recto illustrated vol. II, pl. 351).
G. Berthold, Cézanne und die alten Meister, Stuttgart, 1958, no. 10 (recto illustrated, pl. 85).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 307, p. 114 (recto); no. 877, p. 213 (verso) (illustrated vol. II, nos. 307 and 877).
The recto of this page is sheet XXXVIII in the sketchbook.
The recto study shows the Vénus de Milo from its familiar frontal viewpoint (see leaves 1, 7 and 13 in the present skecthbook).
A landscape view similar to that seen on the verso appears in the watercolours RWC 77 and 78, which Rewald places around this date. Chappuis observed that the 'landscape is seen from a flat roof, the little shelter on the left covering a stairwell leading up to it' (op. cit).
330
leaf 10
Etude de personnage, vu de dos (recto); Etudes d'une baigneuse s'essuyant (verso).
pencil on paper (recto and verso)
Drawn circa 1883-1886 (recto); drawn circa 1879-1882 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1294, p. 308 (recto); no. 1295 (verso illustrated vol. II, pl. 352).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 655, pp. 179 and 223 (recto); no. 520, p. 154 (verso) (illustrated vol. II, nos. 655 and 520).
M.L. Krumrine, Paul Cézanne. The Bathers, exh. cat. Kunstmuseum, Basel, 1989 (illustrated p. 56).
Exh. cat., Cézanne, les années de jeunesse 1859-1872, Musée d'Orsay, Paris, 1989 (illustrated p. 17).
The recto of this sheet is page XLIIII in the sketchbook.
The recto study shows an unidentified man wearing a striped shirt seen from behind. Chappuis noted that the inscription '43 chez Vollard' is probably in the hand of the artist's son Paul.
The bather that appears in the verso studies is familiar from an earlier page in the carnet (see leaf 2 in this skecthbook). In the carnet this page faces the sheet of studies that is illustrated at the top of following page in the present catalogue (leaf 11 recto), forming an impressive sequence of variations on a theme. Chappuis listed and illustrated these pages in one entry in his catalogue raisonné.
330
leaf 11
Etudes d'une baigneuse s'essuyant et Tête de Madame Cézanne
(recto); Etudes: Une cruche et Tête de Madame Cézanne,
1885-1887 (verso).
pencil on paper (recto and verso)
Drawn circa 1879-1882 (Etudes d'une baigneuse s'essuyant,
recto); drawn circa 1883-1885 (Tête de Madame Cézanne, recto); drawn circa 1885-1887 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1295, p. 308 (recto and verso) (recto illustrated vol. II, pl. 352).
W. Andersen, Cézanne's Portrait Drawings, Cambridge and London, 1970, no. 60, p. 32 (detail of recto illustrated p. 92; dated 1882-1883).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 520, p. 154 (recto); no. 952, p. 223 (verso) (illustrated vol. II, nos. 520 and 952).
M.L. Krumrine, Paul Cézanne. The Bathers, exh. cat., Kunstmuseum, Basel, 1989 (illustrated p. 56).
Exh. cat., Cézanne, les années de jeunesse 1859-1872, Musée d'Orsay, Paris, 1989 (illustrated p. 17).
The recto of this sheet is page XLV in the sketchbook.
As noted above, the recto studies of the bather are a continuation of a series begun on the facing page of the carnet (leaf 10 verso in this sketchbook). To the right of these is a study of the head of Mme Cézanne, which Chappuis (op. cit.) noted is a study for the portrait Madame Cézanne en robe rayée (R 536; sale Christie's, New York, 3 November 1982, lot 6; Yokohama Museum of Art).
The study of the water-jug on the verso is a different view of the one seen earlier in the carnet (see leaf 1 in this sketchbook). Chappuis did not indicate the identity of the woman whose head appears below; however, it seems likely that she is also Mme Cézanne (see R 387).
330
leaf 12
Paysage (recto); Etudes: Baigneur et homme fumant (verso) watercolour and pencil (recto); pencil on paper (verso)
Executed circa 1884-1887 (recto); drawn circa 1891-1896 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1295, p. 308 (verso; the first figure on the left as 'étude de tête d'après le petit Paul').
T. Reff, 'Cézanne's Bather with Outstretched Arms', in Gazette des Beaux-Arts, March 1962, p. 173 (detail of the verso illustrated, fig. 9: the first figure on the left as the artists's son aged thirteen; the central figure as a portrait of Emil Zola).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 907, p. 217 (recto); no. 1083, p. 248 (verso) (illustrated vol. II, nos. 907 and 1083).
The recto of this sheet is page XLVI in the sketchbook.
The recto study, finished off with touches of watercolour, shows a cone-shaped bush in the centre foreground, a garden wall behind it, and several trees in the distance.
Chappuis related the upper head study on the verso, a man with a pipe stem in his mouth, to the standing peasant in the artist's series of card-players (R 705-707). The lower study shows the young bather who appears in R 370, and bears the likeness of Paul fils (see also lots 322-323 and 325). 'The stroke is vigorous and free, reminiscent of Eugène Delacroix's drawings' (op. cit.).
330
leaf 13
D'après l'antique: Vénus de Milo (recto); Etudes de nuages (verso)
pencil on paper (recto and verso)
Drawn circa 1872-1873 (recto); drawn circa 1884-1887 (verso)
LITERATURE:
K. Pfister, Cézanne, Potsdam, 1927, p. 31 (recto illustrated).
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, p. 308, no. 1296 (recto and verso) (recto illustrated, vol. II, pl. 352).
G. Berthold, Cézanne und die alten Meister, Stuttgart, 1958, no. 12 (recto illustrated).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 308, p. 114 (recto); no. 888, p. 215 (verso) (illustrated vol. II, nos. 308 and 888).
The recto of this sheet is page XLVII in the sketchbook.
The recto study of the Vénus de Milo is similar to leaf 2 in the present sketchbook, with greater emphasis on the modelling of the lower abdomen.
Chappuis noted that the cloud studies on the verso are a rare subject for the artist (op. cit.). The vaporous nature of this subject might seem to be at odds with Cezanne's normally solid approach to the modelling of objects; clouds nonetheless feature prominently in some of the landscapes and many of the bather paintings.
330
leaf 14
Etudes: Homme agenouillé d'après Michel-Ange et Tête de femme endormie (recto); D'après Michel-Ange: Deux soldats (verso)
pencil on paper (recto and verso)
Drawn circa 1874-1879 (recto); drawn circa 1875-1879 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1297, p. 308 (recto); no. 1298 (verso) (illustrated vol. II, pl. 352).
G. Berthold, Cézanne und die alten Meister, Stuttgart, 1958, no. 255 (recto); no. 256 (recto illustrated pl. 89).
W. Andersen, Cézanne's Portrait Drawings, Cambridge and London, 1970, no. 58, p. 32 (recto illustrated p. 91; dated 1882-1883).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, New York, 1973, vol. I, no. 358, p. 123, (recto); no. 359 (verso) (illustrated vol. II, nos. 358 and 359).
The recto of this sheet is page XLVIII in the sketchbook.
The source of the male figure studies on the recto and verso is Marcantonio Raimondi's engraving Gli Scalatori (see note to lot 319). The most influential engraver of the 16th century, and favoured by Raphael to engrave his drawings, Raimondi probably made drawings of Michelangelo's cartoon when it was displayed in the Palazzo della Signoria, Florence, in 1509. He placed the figures in a landscape setting derived from an engraving by Lucas van Leyden. While here Cézanne did not copy Raimondi's landscape motifs, his predecessor's overall conception would have been of interest in the evolution of his own bather compositions. For a similar study by Edgar Degas, see the Fourth Atelier Sale, lot 97d (sold Christie's, New York, 11 May 1995, lot 309).
The study of the woman on the recto is another example of Cézanne's casual depiction of napping or sleeping figures, probably done during a quiet moment at the end of the day's activities (see also leaves 4 and 6 in the present sketchbook).
330
leaf 15
Tête de Paul Cézanne fils
pencil on paper
Drawn circa 1880
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1299, p. 308 (illustrated vol. II, pl. 352).
A. Chappuis, Dessins de Cézanne, Lausanne, 1957, no. 34 (illustrated).
W. Andersen, Cézanne's Portrait Drawings, Cambridge and London, 1970, no. 160, p. 32 (illustrated p. 157; dated circa 1884).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 734, p. 194 (illustrated vol. II, no. 734).
This drawing is on the back endpaper of the sketchbook.
This pensive study of Paul fils, possibly drawn while the boy was reading, is not directly related to any of the oil portraits done in the early 1880s, when the artist's son was about nine years old (cf. R 463-468). The paintings depict young Paul frontally or with his head only slightly turned; the three-quarter pose seen here did not allow the same opportunities to display the boy's features or to evoke a strong sense of his character. This study is nevertheless typical of the informal and spontaneous manner in which the artist drew those closest to him, resulting in a poignancy and warmth seldom apparent in the paintings.
The bather studies are directly related or perhaps even preparatory to figures that appear in the paintings. On carnet pages XIV and XLV (the numbering of the latter comprising two facing pages), there are five renderings of the same bather drying her raised arm, each emphasizing a different aspect of the figure. In several there is the hint of a garment covering her hips, in the others she is nude; in two the length of her hair is short, and in the others it is long and flowing. Cézanne was assiduously working out alternative ways of depicting this figure, which appears in a central position in an important series of bather compositions painted in 1876-1878.
The bather studies are supplemented by the presence by Cézanne's sketches done after sculptures from antiquity, the late Renaissance and the Baroque period, objects that feature in only a handful of the oil paintings. His study of these historical works of art was crucial to the development of his conception of the human figure. It is significant that he was drawn to the ample forms of the Hellenistic period rather than to the earlier and more severe archaic phase (which Maillol and other moderns later favoured), as seen in his studies after the famous Vénus de Milo. We note Cézanne's interest in the heroic classicism of 'the great and terrible' Michelangelo in his sketches based on Marcantonio Raimondi's engraving of a lost Michelangelo cartoon (page XLVII), and his appreciation of the expressive volumes of the 17th century Baroque in a study after a bust by Guillaume Coustou le père (page XXVII).
The landscape studies were certainly executed outdoors, sur le motif, in a manner that combines spontaneity and terseness of line, the result of an eye long practiced in quickly conceptualizing and reducing to essentials the abundant forms in nature. The sketches are related to the landscape paintings only in a general sense. One may detect motifs in the sketches and then identify the sites by comparing them to the oil paintings and watercolours; the latter, with the addition of colour and their greater completeness, fill in what the viewer's eye can only visualize on its own in the drawings.
In the still-life subjects and the portraits of family members we enter the artist's life after the day's work in the studio or out-of-doors is done, just before or after a late dinner, in quiet, intimate moments illuminated by lamplight. Here Cézanne rendered the visages of his wife, son and father as they read, write, or fall asleep. He may be momentarily distracted by a sudden, compelling interest in a familiar wash-jug or piece of furniture. In these sketches the titanic, struggling figure of Cézanne the artist stands aside, and we behold Cézanne the man, and begin to appreciate him in the ways that those who lived with him and loved him must have felt his presence.
Detailed cataloguing for each leaf follows.
330
leaf 1
D'après l'antique: Vénus de Milo (recto); Une cruche (verso)
pencil on paper (recto and verso)
Drawn circa 1873-1875 (recto); drawn circa 1879-1882 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1285, p. 307 (recto and verso) (recto illustrated vol. II, pl. 350).
G. Berthold, Cézanne und die alten Meister, Stuttgart, 1958, no. 18 (recto illustrated).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 309, p. 115 (recto); no. 541, p. 157 (verso) (illustrated vol. II, nos. 309 and 541).
The recto of this sheet is page XII in the sketchbook.
Cézanne would have seen the famous Greek marble Vénus de Milo in the Louvre, where it was exhibited on a tall plinth, and would have been impossible to view from the angles seen in this study and others in this carnet (see leaves 2, 9 and 13 of this skecthbook). Chappuis (op. cit.) assumed that Cézanne based his drawings on a reduced size plaster replica.
Chappuis pointed out the 'interplay between volume and paper surface' (op. cit.) in the study of the water-jug on the verso. The water-jug also appears in a watercolor Rewald ascribed to 1885-1890 (RWC 224) as well as in other drawings (C 535, 542 and 952 [see leaf 11 in this sketchbook]).
330
leaf 2
D'après l'antique: Vénus de Milo (recto) (unbound fragment); Etude de tête (verso) (unbound fragment)
pencil on paper (recto and verso)
Drawn circa 1873-1875 (recto); drawn circa 1881-1884 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1286, p. 307 (recto illustrated vol. II, pl. 350).
G. Berthold, Cézanne und die alten Meister, Stuttgart, 1958, no. 13 (recto illustrated pl. 84).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 310, p. 115 (recto); no. 623, p. 175 (verso) (illustrated vol. II, nos. 310 and 623).
The recto of this sheet is page XIII in the sketchbook.
Chappuis (op. cit) described this rendering after the Vénus de Milo as a 'vigorous drawing, with an architectural detail, in the background' (see leaves 1, 9 and 13 in this skecthbook). Chappuis recorded that part of the page had been torn off, and that only part of a study of the head of a man on the verso remained.
330
leaf 3
Etude de baigneuses (recto); Etude de table, Boîte et Jardinière (verso).
pencil on paper (recto and verso)
Drawn circa 1879-1882 (recto); drawn circa 1879-1882 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1286, p. 307, (recto and verso).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 519, p. 154 (recto); no. 537, p. 157 (verso) (illustrated vol. II, nos. 519 and 537).
The recto of this sheet is page XIV in the sketchbook.
The walking figure in the center of the recto study is related to the male bather in R 368 (1877-1878) and, with the addition of longer hair, to female bathers in other paintings done around the same time (R 359-366). The figure at right is related to the bather in upper centre in R 362-366; see also leaves 10 and 11 in this sketchbook. On the verso the artist has drawn a oval table covered with a cloth, and below it an ornamental flowerpot that also appears in a watercolour that Rewald dated circa 1885 (RWC 229).
330
leaf 4
D'après Guillaume Coustou: Nicolas Coustou
pencil on paper
Drawn circa 1895-1898
LITERATURE:
J. Rewald, 'Cézanne au Louvre', L'Amour de l'Art, October 1935, p. 286 (illustrated).
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1289, p. 307 (illustrated vol. II, pl. 351).
G. Berthold, Cézanne und die alten Meister, Stuttgart, 1958, no. 196 (illustrated).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 1120, p. 256 (illustrated vol. II, no. 1120).
The recto of this sheet is page XXVII verso in the sketchbook.
This carefully modelled study was drawn after a terracotta bust by Guillaume Coustou le père (1677-1746) of his brother Nicolas, in the Louvre.
330
leaf 5
Etudes de têtes: Paul Cézanne fils et Un enfant
pencil on blue paper
Drawn circa 1886-1887
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1290, p. 307 (illustrated vol. II, pl. 351).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 862, p. 211 (illustrated vol. II, no. 862).
The recto of this sheet is page XXIX verso in the sketchbook.
Both studies show a sleeping child, and Chappuis identified the subject in the sketch at right as the artist's son Paul (op. cit., see also leaves 14 and 15 in the present sketchbook). The dark, curved shape behind the latter's head is his collar seen in shadow (see lot 342).
330
leaf 6
Etudes de têtes et Une oreille (recto); Etude de barrière (verso)
pencil on paper (recto and verso)
Drawn circa 1879 (recto); drawn circa 1877-1880 (verso)
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1290 (recto and verso).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London , 1973, vol. I, no. 727, p. 193 (recto); no. 534, p. 156 (verso) (illustrated vol. II, nos. 727 and 534).
The recto of this sheet is page XXX in the sketchbook.
As in the previous carnet page, on the recto are studies of a sleeping child. Chappuis notes that the verso study shows 'some domestic article, a drying rail or carpet-beater' (op. cit.). The latter is evidence of the artist's interest in the structure of everyday objects, even those that were unlikely to make their way into his still-life compositions.
330
leaf 7
Paysage avec pigeonnier (recto) Etude de tête: Louis-Auguste Cézanne (verso)
pencil on paper (recto and verso)
Drawn circa 1877-1880 (recto); drawn circa 1883-1886 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1290, p. 307 (recto).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, no. 767, p. 199 (recto); no. 661, p. 180, (verso) (illustrated vol. II, nos. 767 and 661).
The recto of this sheet is page XXXI in the sketchbook.
The recto shows the pigeon tower (pigeonnier) on a farmstead known as Bellevue, which was within walking distance of Cézanne's estate at the Jas de Bouffan, and was acquired by his brother-in-law Maxime Conil in 1885. This aptly-named house overlooked the Arc River valley southwest of Aix, and featured in a painting done in 1882-1885 (R 377), as well as a group of paintings from the years 1889-1890 (R 689-694).
Chappuis identified the subject of the verso as the artists's father, seen sleeping (op. cit.). See also leaf 8 in the present sketchbook.
330
leaf 8
Paysage de la vallée de l'Arc (recto); Etudes: Louis-Auguste Cézanne lisant et Une chemise (verso)
pencil on paper (recto and verso)
Drawn circa 1879-1882 (recto); drawn circa 1883-1886 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1290, p. 307 (recto and verso).
A. Chappuis, Dessins de Cézanne, Lausanne, 1957, no. 35 (recto illustrated).
W. Andersen, Cézanne's Portrait Drawings, Cambridge and London, 1970, no. 205, p. 32 (verso illustrated p. 188; dated circa 1882-1886).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 800, p. 203 (recto); no. 662, p. 180 (verso) (illustrated vol. II, nos. 800 and 662).
The recto of this sheet is page XXXIV in the sketchbook.
The recto study shows the tiled gable and ridge of a house in the foreground, with the undulating plain of the Arc River valley (see note to leaf 6 in this sketchbook), dotted with farms, stretching into the distance. The scene is similar to watercolours RWC 246 and 247.
The artist's father Louis-Auguste Cézanne appears in the upper sketch on the verso, his face hidden beneath the visor of his cap. The curved outline of the top of a divan appears behind him. Below him are studies of the corner of a fireplace and the arm of one of his favourite chairs. The tentative beginning of a head, probably done earlier than the other studies, is visible above the furnishings.
330
leaf 9
D'après l'antique: Vénus de Milo (recto); Paysage provençal (verso)
pencil on paper (recto and verso)
Drawn circa 1872-1873 (recto); drawn circa 1882-1885 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1292, 308 (recto and verso) (recto illustrated vol. II, pl. 351).
G. Berthold, Cézanne und die alten Meister, Stuttgart, 1958, no. 10 (recto illustrated, pl. 85).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 307, p. 114 (recto); no. 877, p. 213 (verso) (illustrated vol. II, nos. 307 and 877).
The recto of this page is sheet XXXVIII in the sketchbook.
The recto study shows the Vénus de Milo from its familiar frontal viewpoint (see leaves 1, 7 and 13 in the present skecthbook).
A landscape view similar to that seen on the verso appears in the watercolours RWC 77 and 78, which Rewald places around this date. Chappuis observed that the 'landscape is seen from a flat roof, the little shelter on the left covering a stairwell leading up to it' (op. cit).
330
leaf 10
Etude de personnage, vu de dos (recto); Etudes d'une baigneuse s'essuyant (verso).
pencil on paper (recto and verso)
Drawn circa 1883-1886 (recto); drawn circa 1879-1882 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1294, p. 308 (recto); no. 1295 (verso illustrated vol. II, pl. 352).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 655, pp. 179 and 223 (recto); no. 520, p. 154 (verso) (illustrated vol. II, nos. 655 and 520).
M.L. Krumrine, Paul Cézanne. The Bathers, exh. cat. Kunstmuseum, Basel, 1989 (illustrated p. 56).
Exh. cat., Cézanne, les années de jeunesse 1859-1872, Musée d'Orsay, Paris, 1989 (illustrated p. 17).
The recto of this sheet is page XLIIII in the sketchbook.
The recto study shows an unidentified man wearing a striped shirt seen from behind. Chappuis noted that the inscription '43 chez Vollard' is probably in the hand of the artist's son Paul.
The bather that appears in the verso studies is familiar from an earlier page in the carnet (see leaf 2 in this skecthbook). In the carnet this page faces the sheet of studies that is illustrated at the top of following page in the present catalogue (leaf 11 recto), forming an impressive sequence of variations on a theme. Chappuis listed and illustrated these pages in one entry in his catalogue raisonné.
330
leaf 11
Etudes d'une baigneuse s'essuyant et Tête de Madame Cézanne
(recto); Etudes: Une cruche et Tête de Madame Cézanne,
1885-1887 (verso).
pencil on paper (recto and verso)
Drawn circa 1879-1882 (Etudes d'une baigneuse s'essuyant,
recto); drawn circa 1883-1885 (Tête de Madame Cézanne, recto); drawn circa 1885-1887 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1295, p. 308 (recto and verso) (recto illustrated vol. II, pl. 352).
W. Andersen, Cézanne's Portrait Drawings, Cambridge and London, 1970, no. 60, p. 32 (detail of recto illustrated p. 92; dated 1882-1883).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 520, p. 154 (recto); no. 952, p. 223 (verso) (illustrated vol. II, nos. 520 and 952).
M.L. Krumrine, Paul Cézanne. The Bathers, exh. cat., Kunstmuseum, Basel, 1989 (illustrated p. 56).
Exh. cat., Cézanne, les années de jeunesse 1859-1872, Musée d'Orsay, Paris, 1989 (illustrated p. 17).
The recto of this sheet is page XLV in the sketchbook.
As noted above, the recto studies of the bather are a continuation of a series begun on the facing page of the carnet (leaf 10 verso in this sketchbook). To the right of these is a study of the head of Mme Cézanne, which Chappuis (op. cit.) noted is a study for the portrait Madame Cézanne en robe rayée (R 536; sale Christie's, New York, 3 November 1982, lot 6; Yokohama Museum of Art).
The study of the water-jug on the verso is a different view of the one seen earlier in the carnet (see leaf 1 in this sketchbook). Chappuis did not indicate the identity of the woman whose head appears below; however, it seems likely that she is also Mme Cézanne (see R 387).
330
leaf 12
Paysage (recto); Etudes: Baigneur et homme fumant (verso) watercolour and pencil (recto); pencil on paper (verso)
Executed circa 1884-1887 (recto); drawn circa 1891-1896 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1295, p. 308 (verso; the first figure on the left as 'étude de tête d'après le petit Paul').
T. Reff, 'Cézanne's Bather with Outstretched Arms', in Gazette des Beaux-Arts, March 1962, p. 173 (detail of the verso illustrated, fig. 9: the first figure on the left as the artists's son aged thirteen; the central figure as a portrait of Emil Zola).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 907, p. 217 (recto); no. 1083, p. 248 (verso) (illustrated vol. II, nos. 907 and 1083).
The recto of this sheet is page XLVI in the sketchbook.
The recto study, finished off with touches of watercolour, shows a cone-shaped bush in the centre foreground, a garden wall behind it, and several trees in the distance.
Chappuis related the upper head study on the verso, a man with a pipe stem in his mouth, to the standing peasant in the artist's series of card-players (R 705-707). The lower study shows the young bather who appears in R 370, and bears the likeness of Paul fils (see also lots 322-323 and 325). 'The stroke is vigorous and free, reminiscent of Eugène Delacroix's drawings' (op. cit.).
330
leaf 13
D'après l'antique: Vénus de Milo (recto); Etudes de nuages (verso)
pencil on paper (recto and verso)
Drawn circa 1872-1873 (recto); drawn circa 1884-1887 (verso)
LITERATURE:
K. Pfister, Cézanne, Potsdam, 1927, p. 31 (recto illustrated).
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, p. 308, no. 1296 (recto and verso) (recto illustrated, vol. II, pl. 352).
G. Berthold, Cézanne und die alten Meister, Stuttgart, 1958, no. 12 (recto illustrated).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 308, p. 114 (recto); no. 888, p. 215 (verso) (illustrated vol. II, nos. 308 and 888).
The recto of this sheet is page XLVII in the sketchbook.
The recto study of the Vénus de Milo is similar to leaf 2 in the present sketchbook, with greater emphasis on the modelling of the lower abdomen.
Chappuis noted that the cloud studies on the verso are a rare subject for the artist (op. cit.). The vaporous nature of this subject might seem to be at odds with Cezanne's normally solid approach to the modelling of objects; clouds nonetheless feature prominently in some of the landscapes and many of the bather paintings.
330
leaf 14
Etudes: Homme agenouillé d'après Michel-Ange et Tête de femme endormie (recto); D'après Michel-Ange: Deux soldats (verso)
pencil on paper (recto and verso)
Drawn circa 1874-1879 (recto); drawn circa 1875-1879 (verso)
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1297, p. 308 (recto); no. 1298 (verso) (illustrated vol. II, pl. 352).
G. Berthold, Cézanne und die alten Meister, Stuttgart, 1958, no. 255 (recto); no. 256 (recto illustrated pl. 89).
W. Andersen, Cézanne's Portrait Drawings, Cambridge and London, 1970, no. 58, p. 32 (recto illustrated p. 91; dated 1882-1883).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, New York, 1973, vol. I, no. 358, p. 123, (recto); no. 359 (verso) (illustrated vol. II, nos. 358 and 359).
The recto of this sheet is page XLVIII in the sketchbook.
The source of the male figure studies on the recto and verso is Marcantonio Raimondi's engraving Gli Scalatori (see note to lot 319). The most influential engraver of the 16th century, and favoured by Raphael to engrave his drawings, Raimondi probably made drawings of Michelangelo's cartoon when it was displayed in the Palazzo della Signoria, Florence, in 1509. He placed the figures in a landscape setting derived from an engraving by Lucas van Leyden. While here Cézanne did not copy Raimondi's landscape motifs, his predecessor's overall conception would have been of interest in the evolution of his own bather compositions. For a similar study by Edgar Degas, see the Fourth Atelier Sale, lot 97d (sold Christie's, New York, 11 May 1995, lot 309).
The study of the woman on the recto is another example of Cézanne's casual depiction of napping or sleeping figures, probably done during a quiet moment at the end of the day's activities (see also leaves 4 and 6 in the present sketchbook).
330
leaf 15
Tête de Paul Cézanne fils
pencil on paper
Drawn circa 1880
LITERATURE:
L. Venturi, Cézanne, son art-son oeuvre, Paris, 1936, no. 1299, p. 308 (illustrated vol. II, pl. 352).
A. Chappuis, Dessins de Cézanne, Lausanne, 1957, no. 34 (illustrated).
W. Andersen, Cézanne's Portrait Drawings, Cambridge and London, 1970, no. 160, p. 32 (illustrated p. 157; dated circa 1884).
A. Chappuis, The Drawings of Paul Cézanne, A Catalogue Raisonné, London, 1973, vol. I, no. 734, p. 194 (illustrated vol. II, no. 734).
This drawing is on the back endpaper of the sketchbook.
This pensive study of Paul fils, possibly drawn while the boy was reading, is not directly related to any of the oil portraits done in the early 1880s, when the artist's son was about nine years old (cf. R 463-468). The paintings depict young Paul frontally or with his head only slightly turned; the three-quarter pose seen here did not allow the same opportunities to display the boy's features or to evoke a strong sense of his character. This study is nevertheless typical of the informal and spontaneous manner in which the artist drew those closest to him, resulting in a poignancy and warmth seldom apparent in the paintings.