Puits et route tournante dans le parc de Château Noir

细节

Paul Cézanne (1839-1906)
Puits et route tournante dans le parc de Château Noir
watercolour and pencil on paper
21 x 16¾ in. (53.4 x 42.8 cm.)
Executed circa 1900

来源

Paul Cézanne (the artist's son), Paris.
Bernheim-Jeune, Paris.
Montross Gallery, New York (Alfred Stieglitz).
Private collection, by whom acquired from the above in 1916.
Private collection, Europe.
Phyllis Hattis Fine Arts, New York.
Acquired from the above by the present owners.

出版

F. Novotny, Paul Cézanne, Vienna, 1937 (illustrated pl. 112); second edition, New York, 1948 (illustrated pl. 102).
F. Novotny, Cézanne und das Ende der wissenschaftlichen Perspective, Vienna, 1938, no. 19, p. 196.
L. Venturi, Paul Cézanne: Watercolours, London, 1943, no. 1061. G. Nicodemi, Cézanne Disegni, Milan, 1944 (illustrated fig. 66). J. Rewald, Paul Cézanne: The Watercolours, London, 1983, no. 513, p. 213 (with slightly incorrect measurements; illustrated).

展览

New York, Photo-Secession Gallery, Watercolours by Cézanne, March 1911, no. 14 (titled 'The Winding Way').
New York, Montross Gallery, Cézanne, January 1916, no. 28 (titled 'Two Trees').
Washington D.C., The National Gallery of Art, Modern Art and America: Alfred Stieglitz and his New York Galleries, January - April 2001, no. 17 (illustrated p. 104).
London, Lefevre Fine Art & Thomas Gibson Fine Art Ltd., Works on Paper from Turner to Freud, February - March 2005, no. 23 (illustrated p. 51); this exhibition later travelled to New York, Adelson Galleries, April - May 2005.

注意事项

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拍品专文

In Puits et route tournante dans le parc de Château Noir, Cézanne has rendered the scene of a woody path with characteristic conciseness. The forms of the trees and foliage have been rendered through a deliberately sparing use of light pencil and strokes of watercolour, yet these deceptively simple means have been used to explore the colour, the light and the perspective of the scene as the path curves towards the well of the title. Puits et route tournante dans le parc de Château Noir was executed circa 1900 (Rewald's estimate; Venturi posits a date range of 1895-1900), and shows the same well that also featured in another work (RWC428, which was given a slightly earlier date than the present work by Rewald and was ascribed to circa 1900 by Venturi). In Puits et route tournante dans le parc de Château Noir, there is a greater sense of evenness in the distribution of brushstrokes and in the density of detailing; however, as is the case in the greatest of Cézanne's watercolours, he has relied heavily on the areas left in reserve, on the sheet itself as medium as well as support, a technique that he was also increasingly transferring to his oils of the period.

Cézanne painted several oils and watercolours in the grounds around the Château Noir, which was near Aix and was named after an industrialist who had built it having made his money in coal and soot-based paint. Cézanne would often travel there from Aix, covering the three mile journey by cart, particularly after the sale in 1899 of his home and estate, the Jas de Bouffan. Indeed, he even rented a space just by its courtyard to store his materials. It is an indication of the importance of Puits et route tournante dans le parc de Château Noir that it featured in Cézanne's first one-man show in New York, held five years after his death and consisting of twenty watercolours.