Paul Cezanne (1839-1906)

Maisonnettes (recto); L'enfant au chapeau de paille assis sur une chaise (verso)

細節

Paul Cezanne (1839-1906)
Maisonnettes (recto); L'enfant au chapeau de paille assis sur une chaise (verso)
watercolor and pencil on paper
Sight: 11¾ x 18 3/8 in. (30 x 46.5 cm.)
Painted in 1885-1890, possibly later (recto); Painted in 1896 (verso)

來源

Ambroise Vollard, Paris (acquired from the artist).
Adrien Chappuis, Tresserve.
Roger Bernheim, Paris.
Stéphanie Darnetal, Paris (by descent from the above).
Claude Bernard, Paris.
Carole Slatkin, New York.

出版

Vollard Archives, no. 38 (recto).
L. Venturi, Cézanne, son art--son oeuvre, Paris, 1936, vol. I, p. 337, no. 1558 (recto illustrated, vol. II, pl. 394; dated 1890-1900).
A. Chappuis, Dessins de Paul Cézanne, Paris, 1938 (verso illustrated on the frontispiece).
J. Rewald, Paul Cézanne, The Watercolors, A Catalogue Raisonné, New York, 1983, p. 172, no. 362 (recto illustrated); p. 204, no. 483 (detail of verso illustrated).

拍品專文

The study on the verso is related to an oil painting of the same small boy, L'enfant au chapeau de paille (Venturi, no. 700; coll. Los Angeles County Museum of Art). There are three other watercolors and one pencil drawing of this subject (Rewald, nos. 480-482; and Chappuis, no. 1985). According to John Rewald: "this child sat for Cézanne while the artist was staying at Talloirs during the summer of 1896" (op. cit., p. 203). The oil painting was executed indoors and Rewald hypothesized that Cézanne worked on the present watercolor indoors as well. The identity of the young boy is unknown. Past speculation that the model was the artist's son, Paul, is unfounded, as he was twenty-five years old in 1896. The scene on the recto most likely depicts a view of Lake Annecy at Talloirs. Chappuis observed that pencil strokes at the bottom indicate a road or the border of a lake (ibid., p. 172).

Rewald lists M. Rogers, Paris as owning this watercolor. Rewald notes that Rogers lost possession of the watercolor under under the Nazi regime. It appears that the watercolor actually belonged to Roger Bernheim, the son of Georges Bernheim. Mr. Bernheim changed his name to Roger Darnetal during World War II, and owned the work as of 1951.