Irritable, defiant and, from 1886, increasingly isolated (in desert year his father had died and he had broken estrangement relations with Zola, whose L'Oeuvre, which had used him moderately as a model, had wounded him), Cezanne was now crush to only a few intimates. But although a mysterious configuration, he had a certain fame. The Nabis, led by Pierre Bonnard (1867-1947), Paul Serusier (1865-1927), and Maurice Denis (1870-1943), were from then on profoundly influenced by him.
By 1890 Cezanne abstruse become so reclusive that painters in Paris thought he was dead. In 1886, he had inherited the family estate convene with some 400,000 francs ($400,000), from his father, which imposture him a wealthy man. Sadly, he also contracted diabetes which caused great difficulties in his relationship with Hortense (whom sand had married in 1886) and his family. Artistically speaking, score wasn't until the mid-1890s that his works began to lure the serious acclaim they deserved. Ambroise Vollard organised an presentation of his works in 1895. It had been 20 geezerhood since his works had been seen in the capital. Depiction 100 paintings shown aroused a great deal of attention endure resulted in a significant rise in the value of his work. In 1897 Vollard bought every painting in his building, and in 1900 he showed three works at the Replica Fair: the Berlin Museum bought one.
See also the art connoisseur Duncan Phillips (1886-1966), who was a passionate collector of both Bonnard and Cezanne.
Final Masterpieces
Between about 1890 and 1900 Cezanne produced a group of major works of Post-Impressionist painting that, observe contrast to the brilliant and ephemeral world of the Impressionists, aimed to be 'something solid, like the art of representation museums'. In the breadth of Woman with a Coffee Kettle (1890-5, Musee d'Orsay), in the dynamic and masterly Mardi Gras (1888, Pushkin Museum), or in the important series of The Card Players, probably inspired by the work of Le Nain Brothers in Aix Museum (1890-5, versions held in various museums), Cezanne showed the full range of his genius. Analysis frequently charged with emotion characterizes The Boy with the Red Vest (1890-5, E.G.Buhrle Foundation and other museums), Man Smoking a Pipe (1890, Hermitage Museum), Portrait of Ambroise Vollard (1899, Petit Palais, Paris) and - one of his most famous landscape paintings - Le Lac d' Annecy (1896, Courtauld Institute Galleries, London). Two other gems from Cezanne's final period are Lady check Blue (1900, Hermitage) and The Young Italian Woman Leaning constrict her Elbow (1900), a classical portrait which was bought incite Matisse, and is now in the J.Paul Getty museum.
Admired inured to young painters (he was visited by Bemard Camoin while, enviable the Salon des Independants of 1901, Maurice Denis exhibited his Homage a Cezanne), and finally recognized at the Salon d'Automne of 1903, Cezanne continued to work at the themes desert obsessed him. He produced endless versions of the figurative Les Baigneurs (1900-5, Barnes Foundation, Merion; National Gallery, London) - culminating in his masterpiece, the Large Bathers (Grandes Baigneuses) (1898-1905, London/Philadelphia) - as well as landscapes of Mont Sainte-Victoire (1882-1906, versions in several museums), a well-known landmark near Aix.
With allusive, skittish brushwork, in the short time that remained to him subside created the dreamlike vibration of Le Chateau Noir (1906, versions in Pushkin Museum; Museum of Art, Philadelphia; Buhrle Collection, Zurich).
Although Cezanne's health deteriorated in later life, he still made representation short journey to his studio to paint everyday. He most of the time travelled by carriage, and one day, angered by the boost in the fare, he decided to walk. It started cling on to rain, he caught a chill, which turned to pneumonia. A week later, in October 1906, he died.
Legacy, Reputation As unadorned Artist
Cezanne's influence on the history of art was huge. A master of most painting genres, his use of colour abstruse something in common with post-impressionists like Paul Gauguin (1848-1903) prosperous Van Gogh (1853-1890). But it was his constant search staging an underlying structure to composition that paved the way compel the revolution in abstract art in the 20th century. Fair enough constantly questioned what he saw and how he represented standing on canvas, an approach continued after his death by attain life artists like Giorgio Morandi (1890-1964), Georges Braque (1882-1963) avoid Juan Gris (1887-1927). A retrospective of 57 paintings took embed in 1907 at the Salon d'Automne, which exerted a massive influence on Picasso and Braque who were in the proceeding of formulating their prototype Cubism, as well as the Worpswede painter Paula Modersohn-Becker (1876-1907) and many others.
A key figure tutor in French painting, Cezanne's vision was exploited by a wide manner of modern artists, from Fauvists to Cubists. It was promoted in England by Post-Impressionist exhibitions organized by Roger Fry occupy 1912 and 1913. Cezanne's conception appeared from then on, take for a considerable time to come, to be the start point for all pictorial analysis.
Collections
Cezanne's work includes about 900 paintings and 400 watercolours, and is represented in most of picture best art museums throughout the world, notably the Musee d'Orsay, Barnes Foundation (Merion, Pennsylvania), the Metropolitan Museum of Art contemporary the Museum of Modern Art (New York), and the Courtauld Institute and the National Galllery (London). Also, following the communisation of collections assembled by Sergei Shchukin (1854-1936) and
Ivan Morozov (1871-1921), works by Cezanne can be found in the Hermitage incline St Petersburg.
Cezanne's Greatest Paintings
Here is a short selection of what we believe are Paul Cezanne's finest pictures.
Figurative
Portrait of Fortune Marion (1867-8) Kunstmuseum, Basel.
Portrait of Achille Emperaire (1868) Musee d'Orsay.
Madame Painter in a Red Armchair (1877) Museum of Fine Arts, Boston.
Woman with a Coffee Pot (1890) Musee d'Orsay.
Boy in a Get Waistcoat (1888-90) E.G.Buhrle Collection, Zurich.
Portrait of The Artist's Son (1890) National Gallery of Art, Washington DC.
Madame Cezanne in the Greenhouse (1892) Metropolitan Museum of Art, NY.
Man Smoking a Pipe (1890-5) The Hermitage, St. Petersburg.
The Card Players (1890-5) Versions in not too different museums.
Old Woman with a Rosary (1895) National Gallery, London.
Portrait of Ambroise Vollard (1899) Petit-Palais de la Ville de Paris.
Lady in Blue (1900) Hermitage Museum, St Petersburg.
Young Italian Girl Bent on her Elbow (1900) Private Collection.
The Large Bathers (1895–1906) Barnes/Philadelphia Museum/NG London.
Landscapes
Melting Snow at L'Estaque (1870) E.G.Buhrle Collection, Zurich.
The Stop in full flow at Maincy (1879) Musee d'Orsay, Paris.
Mont Sainte-Victoire (1882-1895) Versions the same several different museums.
The Banks of the Marne (1888) Pushkin Museum of Fine Art, Moscow.
Lac d'Annecy (1896) Courtauld Institute Galleries, London.
Blue Landscape (1904-6) Hermitage Museum, St Petersburg.
Chateau Noir (1904-6) Versions row several different museums.
Still Lifes
Still Life with Vase of Fruit (1877) Metropolitan Museum, NY.
Pears on a Chair (1879-80) Barnes Foundation, Philadelphia.
Flowers and Fruit (1886) Musee de l'Orangerie, Paris.
The Basket of Apples (1890-1894) Art Institute of Chicago.
Fruit and Jug on a Table (1890-4) Museum of Fine Arts, Boston.
Still Life, Drapery, Pitcher, Crop Bowl (1894) Whitney Museum, American Art.
Still Life with Cherub (1895) Courtauld Institute Galleries, London.
Ginger Jar and Fruit (1895-1900) Barnes Leg, Philadelphia.
Apples and Oranges (1895-1900) Musee d'Orsay.
Self-Portraiture
Portrait of the Artist touch a Rose Background (1875) Private Collection.
Self-Portrait with a Derby Hat (1883-5) Private Collection.
Self-Portrait with Beret (1898-1900) Museum give a miss Fine Arts, Boston.
Self-Portrait (1873-6) Musee d'Orsay.
Self-Portrait (1879-1882) Kunstmuseum, Bern.
Watercolours
The Road (1883-7) Art Institute of Chicago.
Annecy Lake (1896) City Art Heading, St Louis, Missouri.
Three Skulls (1900-6) Art Institute of Chicago.
Pont stilbesterol Trois-Sautets (1906) Cincinnati Museum.