One of the founding artists of modern art, Paul Cézanne (1839-1906) is now widely acclaimed as the preeminent painter of the late nineteenth century. Less well known is his groundbreaking work as a draftsman; relatively little scholarship has been devoted to this aspect of his oeuvre, which is rarely presented in exhibitions. The Kunstmuseum Basel's Kupferstichkabinett (Department of Prints and Drawings) contains 154 sheets by Cézanne, making it the most comprehensive and significant collection of the artist's drawings in the world. The collection dates back to the 1930s, attesting to the museum's farsighted collection policy. Two thirds of these drawings come from dissolved sketchbooks, which were reconstructed in view of this presentation. The starting point and nucleus of Cézanne's creative thinking, they allow us to observe Cézanne's everyday practice as a draftsman up close. Early scenes of violence appear side by side with portrait sketches; copies after Delacroix or ancient sculptures alternate with landscapes and bathers. Repetition and slight variation of the angle from which he studied a motif enabled the artist to understand how perceptions formed and to develop entirely new pictorial registers. In his watercolors, Cézanne explored the dynamic interplay between line and color, casting off the constraints of the tradition. In his paintings, too, the line is vital. He often produced a preparatory drawing on the canvas and reworked it with the brush before executing the picture in paint. This book offers fascinating insights into this outstanding painter's creative process. Exhibition: Kunstmuseum Basel - Neubau, Switzerland (10.06.-24.09.2017).

Paul Czanne, Claude Monet, and Auguste Rodin. The names of these brilliant nineteenth-century artists are known throughout the world. But what is remembered of their wives? What were these unknown women like? What roles did they play in the lives and the art of their famous husbands? In this remarkable book of discovery, art historian Ruth Butler coaxes three shadowy women out of obscurity and introduces them for the first time as individuals. Through unprecedented research, Butler has been able to create portraits of Hortense Fiquet, Camille Doncieux, and Rose Beuretthe models, and later the wives, respectively, of Czanne, Monet, and Rodin, three of the most famous French artists of their generation. The book tells the stories of three ordinary women who faced issues of a dramatically changing society as well as the challenges of life with a striving genius. Butler illuminates the ways in which these model-wives figured in their husbands achievements and provides new analyses of familiar works of art. Filled with captivating detail, the book recovers the lives of Hortense, Camille, and Rose, and recognizes with new insight how their unique relationships enriched the quality of their husbands artistic endeavors."

In this remarkable book the sculptor and writer Sidney Geist presents a revolutionary interpretation of the art of Cézanne. Geist argues that Cézanne's paintings are fertile with reflections of the artist's private world and passionate concerns. Looking at more than two hundred works, all reproduced in the book, he identifies the symbolism that gives form to a hidden significance in the paintings--concealed allusions to Cézanne himself and to his relations with his wife and mother, his father, his son, and his friend Zola, as well as a circle of colleagues including Pissarro, Frederic Bazille, and Ambroise Vollard. It is a complex pattern of symbols expressed in both secondary visual images and in verbal connections, including rebuses and puns. In reading these paintings for symbolic meaning Geist opens the way to a fuller understanding of Cézanne as well as to new ways of looking at pictures. Interpretation of this kind in its turn explains formal aspects of the paintings with a richness not possible in abstract analysis.

"In the voluminous scholarship that's been written on Paul Cezanne, little has been said about the twenty-four portraits in oil that Cezanne made of his wife, Hortense Fiquet Cezanne, over an extended twenty-year period. In Cezanne's Other: The Portraits of Hortense, Susan Sidlauskas breaks new ground, focusing on these paintings as a group and looking particularly at the differences that render many of them unrecognizable as the same person. She argues that Cezanne sidestepped the conventional goals of portraiture-he avoids representing a consistent, identifiable physiognomy or conventional feminine postures and does not portray the subject's inner life-making lack of fixedness itself his subject, which leads him ultimately to a radical reformulation of modern portraiture. Sidlauskas also upends the notion of Mme Cezanne as the irrelevant and absent spouse. Instead she reveals Hortense Fiquet Cezanne as a presence so crucial to the artist that she became the essential "other" to his ever-evolving "self." Coupling historical texts from philosophy, psychology, and physiology with more recent writings from women's and gender studies, cognitive psychology, and visual culture, Sidlauskas demonstrates that Mme Cezanne offered intimacy at arm's length for the painter who has been dubbed "the lone wolf of Aix."" --Book Jacket.

Praise for the first edition: "I have learned a great deal from his book about modern painting in general. [Loran] devotes his attention mainly to Cezanne's concrete means and methods, and he arrives thereby at an understanding of Cezanne's art more essential than any other I have seen in print."--Clement Greenberg, Nation

In the last years of his life Paul Cézanne produced a stunning series of watercolors, many of them sill lifes. Still Life with Blue Pot is one of these late masterpieces that is now in the collection of the Getty Museum. In Cézanne in the Study: Still Life in Watercolors, Carol Armstrong places this great painting within the context of Cezanne’s artistic and psychological development and of the history of the genre of still life in France. Still life—like the medium of watercolor—was traditionally considered to be “low” in the hierarchy of French academic paintings. Cézanne chose to ignore this hierarchy, creating monumental still-life watercolors that contained echoes of grand landscapes and even historical paintings in the manner of Poussin—the “highest” of classical art forms. In so doing he changed his still lifes with new meanings, both in terms of his own notoriously difficult personality and in the way he used the genre to explore the very process of looking at, and creating, art. Carol Armstrong’s study is a fascinating exploration of the brilliant watercolor paintings that brought Cézanne’s career to a complex, and triumphant, conclusion, The book includes new photographic studies of the Getty’s painting that allow the reader to encounter this great watercolor as never before, in all of its richness and detail.

"The fifth entry in this acclaimed series finds Verlaque and Bonnet investigating a murder and the provenance of a mysterious painting Like Donna Leon and Andrea Camilleri, M. L. Longworth's enchanting mystery series blends clever whodunits with gustatory delights and the timeless appeal of Provence. The Mystery of the Lost Caezanne adds a new twist by immersing Antoine and Marine in a clever double narrative that costars Provence's greatest artist. A friend in his cigar club asks Antoine to visit Renae Rouquet, a retired postal worker who has found a rolled-up canvas in his apartment. As the apartment once belonged to Caezanne, Rouquet is convinced he's discovered a treasure. But when Antoine arrives at the apartment, he finds Renae dead, the canvas missing, and a mysterious art history professor standing over the body. When the painting is finally recovered, the mystery only deepens. The brushwork and color all point to Caezanne. But who is the smiling woman in the painting? She is definitely not the dour Madame Caezanne. Who killed Renae? Who stole the painting? And what will they do to get it back? "--

The first in-depth look at Cézanne's powerful influence in shaping early 20th-century American art Paul Cézanne (1839-1906) is one of the great geniuses in the history of art, and his work has influenced a multitude of artists throughout Europe. Across the Atlantic, Cézanne's paintings had a similarly catalytic effect on artists emerging in the United States during the early 20th century. Cézanne and American Modernism is the first book devoted specifically to his impact on American art and its eager reception there. It shows how American painters and photographers cemented Cézanne's legacy by spreading their respect and admiration for his vision with their own art, writings, and exhibitions. Examining Cézanne's influence on more than a generation of American artists, this handsomely illustrated book features paintings and photography by Paul Strand, Marsden Hartley, Man Ray, Alfred Stieglitz, Charles Demuth, Arshile Gorky, Charles Sheeler, Stanton Macdonald-Wright, Maurice Prendergast, Morgan Russell, Max Weber, and many others. Cézanne's far-reaching transformative impact on each artist's aesthetic vision is explored, while extensive essays shed new light on a wide range of subjects from American collectors of his work and his shaping of modernism in the American West to the lasting resonance of his art on Abstract Expressionism in the 1950s. Published in association with The Baltimore Museum of Art Exhibition Schedule: Montclair Art Museum (9/13/09 - 1/3/10) The Baltimore Museum of Art (2/14/10 - 5/23/10) Phoenix Art Museum (6/26/10 - 9/26/10)

This book explores how traditional relations among the arts have changed in our time, focusing on the radical transformation of Paul Cezanne.

An analytical study of the work of Cezanne throwing light on the entire scope, individuality, and significance of his art.