D'après l'antique: Vénus de Milo (recto); Etude de nuages (verso)

细节

Paul Cézanne (1839-1906)
D'après l'antique: Vénus de Milo (recto); Etude de nuages (verso)
pencil on paper (recto & verso)
8½ x 4¾ in. (21.5 x 12.2 cm.)
Drawn circa 1872-1873 (recto) and circa 1884-1887 (verso)

来源

Paul Cézanne fils, Paris.
Paul Guillaume, Paris, by whom acquired from the above.
Adrien Chappuis, Tresserve, by whom acquired from the above in 1934, and thence by descent to the Barut family, Chembéry; sale [Property from the Chappuis-Barut collection], Christie's, London, 26 June 2003, lot 330 (part).
Anonymous sale, Christie's, London, 9 February 2006, lot 550.
Acquired at the above sale by the present owner.

出版

K. Pfister, Cézanne, Potsdam, 1927, p. 31 (recto illustrated).
L. Venturi, Cézanne, son art, son oeuvre, vol. I, Paris, 1936, no. 1296, p. 308 (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, vol. I, London, 1973, no. 308, p. 114 (recto); no. 888, p. 215 (verso) (both illustrated vol. II).

注意事项

VAT rate of 5% is payable on hammer price and at 20% on the buyer's premium.

拍品专文

In the introduction to his 1973 catalogue raisonné of Cézanne drawings, Adrien Chappuis lists 18 or possibly 19 known carnets, or sketch books, that were used by the artist, from which most of the drawings and small watercolours by the artist that are known today stem. This drawing originates from the second of the four of these carnets that were owned by Adrien Chappuis himself, which he designated 'CP I, II, III and IV' in his catalogue raisonné.

The recto study of the Venus de Milo is a recurrent theme in Cézanne's works on paper. As Chappuis suggested, it was probably done from a plaster cast, rather than from the original marble in the Louvre (op. cit.). In the present rendering of the Venus, Cézanne has put a greater emphasis on the modelling of the lower abdomen than in other sketches in the same sketchbook.

Chappuis also noted that the cloud studies on the verso are a rare subject for the artist (op. cit.). Their inherent ephemerality might seem to be at odds with Cézanne's normally solid approach to the modelling of objects; clouds nonetheless feature prominently in some of his landscapes and many of his bather paintings.