保罗·塞尚 查德布凡农场的栗树 纽约佳士得2014.5
成交价464.5万美元
作品介绍
查德布凡农场的栗树 Marronniers et ferme du Jas de Bouffan
The Jas de Bouffan, Cézanne's family home near Aix, occupies a
central place in both his life and his art. The sprawling country
estate, which Cézanne's father purchased in 1859, featured a large
Italianate manor house, a sizable garden with an oblong reflecting
pool and a formal avenue of stately chestnut trees, and a patchwork
of tenant farms and vineyards, totaling thirty-seven acres. It was
here that Cézanne undertook some of his very earliest artistic
experiments, decorating the walls of the salon in 1860-1861 with a
series of monumental panels, including a portrait of his father and
four classicizing female figures representing the Seasons. He began
to work outdoors at the Jas in the mid-1860s and continued to do so
for more than two decades. "Appropriating this small domain, with
its avenue, its pool, and its towering trees, treating the farm
like a little Mediterranean village and the manor like a chteau, he
perfected his art, putting into practice all he had learned in
Paris," Denis Coutagne has written. "It was there that he meditated
on the experiments conducted in L'Estaque and Gardanne, there that
he received--both literally and figuratively--his father's legacy"
(op. cit., 2006, p. 92).
保罗·塞尚 查德布凡农场的栗树 局部
Marronniers et ferme du Jas de Bouffan was painted around
1876, during a difficult period in Cézanne's personal life. In
January 1872, his mistress Hortense Fiquet--whose existence Cézanne
kept a closely guarded secret from his authoritarian father--had
given birth to the couple's son Paul. The same summer, the young
family settled in Auvers-sur-Oise, where Cézanne worked from nature
alongside his mentor Pissarro, adopting the light, varied palette
and loose, broken touch of Impressionism. By 1874, however, Cézanne
was eager to return to the Jas de Bouffan. "It would make me
extremely happy to work in the Midi, where the scenery offers so
many opportunities for my painting," he wrote to his parents
(quoted in ibid., p. 84). For the next three years, Cézanne led a
peripatetic life, shuttling back and forth between Paris, where he
had installed Hortense and young Paul, and Aix, the only place that
he truly loved. "In Paris he must have been consumed by the desire
to get back to the Jas de Bouffan, which offered him so many
subjects, as well as isolation, a world of peace and harmony," John
Rewald has written. "But once there with his parents, he
doubtlessly suffered as much on the account of the separation from
his son as from his father's domineering character--not to speak of
the necessity of hiding his liaison" (op. cit., 1996, p.
189).
保罗·塞尚 查德布凡农场的栗树 局部
Cézanne's major figure paintings of the mid- to late
1870s--Une Moderne Olympia, L'éternel féminin, and La tentation de
Saint Antoine, most notably--all bear the unmistakable imprint of
the artist's personal ordeals. In the landscapes that he painted at
the Jas de Bouffan, by contrast, he seems to have found a respite
from his demons. "The artist was clearly struggling with himself,
striving to master a new technique that would result in a calmer
painting style," Coutagne has written. "He pursued this endeavor
through the systematic portrayal of the Jas estate" (op. cit.,
2006, p. 85). In the present landscape, we see some of the very
earliest evidence of Cézanne's move away from a purely
Impressionist technique toward a more systematic, structured
approach to facture, especially in the small, square touches that
describe the low wall at the right and the interlocking patches of
parallel, diagonal strokes in the large chestnut tree. This
evolving technique, Joseph Rishel has explained, "allowed Cézanne
to render landscape with remarkable sensuality and specificity,
but, unlike the ambitious plein-air paintings of his
contemporaries, it transformed the transient into something
classical, structured, and serene" (Cézanne, exh. cat.,
Philadelphia Museum of Art, 1995, p. 217).
保罗·塞尚 查德布凡农场的栗树 局部
Marronniers et ferme du Jas de Bouffan depicts a corner of the
family estate in full summer splendor, the trees in exuberant leaf
and the high southern sky brilliant blue and cloudless. To paint
the scene, Cézanne set up his easel at the very end of the allée of
chestnut trees, looking toward a jostling complex of small, cubic
farm buildings, which are silhouetted against the gently rolling
hills in the distance. At the right of composition is the low stone
wall that marked the eastern boundary of the estate's inner
compound, setting it apart from the vineyards and fields beyond.
The manor house itself lies to the left of the farm buildings, its
cream-colored walls and blue shutters just barely visible through
the dense foliage of the majestic tree in the foreground. Struck by
the contrast between the strict geometry of the buildings and the
lively tangle of vegetation which partially screens them, Cézanne
returned to this view during the mid-1880s, painting at least five
canvases from approximately the same vantage point (Rewald, nos.
538, 567, 595-596, 611; figs. 1-2; also Pushkin State Museum,
Moscow, and Barnes Foundation, Philadelphia).
保罗·塞尚 查德布凡农场的栗树 局部
Despite its apparent bucolic calm, however, the present
landscape is not without signs of struggle. "The composition
harbors intimations of anxiety and thwarted release," Rishel has
written about a closely related scene. "Walls and paths strike
strong directions only to have their trajectories countered by
others--tree trunks or corners of buildings--intersecting at right
angles, a compositional device that frustrates conventional
perspectival resolution. Nothing is seen whole, especially the farm
buildings, which in a less ambitious picture would have been the
unambiguous subject. The overall shape of these structures must be
pieced together from fragments" (ibid., p. 268).
Equally striking is the way that Cézanne has hidden the main
house of the Jas de Bouffan--no doubt a potent symbol for the
artist, suffused with his father's presence--behind the trees,
allowing the viewer only tantalizing glimpses of the structure. "It
is as if the painter were simultaneously pointing to it and
concealing it, deliberately obscuring what might be shown, as if to
emphasize that it is through absence that we truly see," Coutagne
has written (op. cit., 2006, p. 86). Indeed, it would not be until
after his father's death in 1886 that Cézanne would finally depict
the main faade of the manor house in all its sunlit glory, as
though he were taking symbolic possession of the family home
(Rewald, no. 600; fig. 3). "His work at the Jas would thus be like
a biblical narrative, a tale about the acceptance of a paternal
legacy, not as a prodigal son, but as the eldest son to whom the
father had said: 'All that is mine is yours'" (ibid., p. 87).
保罗·塞尚 查德布凡农场的栗树 局部
Along with its formal virtuosity and emotional resonance,
Marronniers et ferme du Jas de Bouffan has an exceptionally
important history. Its first owner was Victor Chocquet, an
energetic champion of Impressionism and the earliest consistent
buyer of Cézanne's work. A customs clerk of modest means, Chocquet
nevertheless was able to amass a remarkable collection of paintings
and drawings during the second half of the nineteenth century,
including at least thirty-five works by Cézanne. Monet described
Chocquet as the only individual that he had ever met "who truly
loved painting with a passion," and Renoir called him "the greatest
French collector since the kings, perhaps of the world since the
Popes!" (quoted in J. Rewald, op. cit., 1996, p. 194). Cézanne made
six oil portraits and numerous drawings of the dedicated and
insightful Chocquet between their first meeting in 1875 and the
collector's death in 1891; outside his circle of childhood
companions and Impressionist colleagues, Chocquet was arguably
Cézanne's closest friend (Rewald, nos. 292, 296-297, 460-461, 671;
fig. 4).
保罗·塞尚 查德布凡农场的栗树 局部
The present landscape is believed to be one of sixteen
paintings that Cézanne contributed to the Third Impressionist
Exhibition in 1877. The painting is signed in red, a feature that
Rewald and Theodore Reff both associate with inclusion in this
landmark exhibition. Chocquet always insisted that Cézanne sign the
works that he purchased from him, and Rewald has proposed that the
artist may have asked the collector for assistance in selecting the
works to be shown--a corpus of considerable variety, which aptly
summed up Cézanne's potent originality and growing importance as a
painter of landscape, figures, and still-life alike. "The choice
once made, Chocquet, according to habit, may have advised his
friend to sign the canvases selected, and this was done then and
there, the same red color being used throughout" (ibid., p.
178).
Chocquet's fierce devotion to Cézanne and his colleagues did
not stop there. Having resigned his customs post earlier in 1877,
Chocquet was able to spend virtually all his time at the
Impressionist Exhibition, challenging anyone who derided the work
on view. The critic Georges Rivière later recalled, "He was
something to see, standing up to hostile crowds at the exhibition
during the first years of Impressionism. He accosted those who
laughed, making them ashamed of their unkind comments, lashing them
with ironic remarks. Hardly had he left one group before he would
be found, farther along, leading a reluctant connoisseur, almost by
force, up to canvases by Renoir, Monet, or Cézanne, doing his
utmost to make the man share his admiration for these reviled
artists" (quoted in A. Distel, Impressionism: The First Collectors,
New York, 1990, p. 137).
保罗·塞尚 查德布凡农场的栗树 局部
Chocquet died in 1891, just a year after he had commissioned
Cézanne to paint a group of decorative panels for his new home on
the Rue Monsigny in Paris (Rewald, nos. 643-644). When his wife
passed away eight years later, Chocquet's collection was dispersed
at public auction at the Galerie Georges Petit. The announcement of
the sale generated a good deal of excitement. "Great artistic event
in view," Pissarro wrote to his son. "Père Chocquet as well as his
wife having died, his collection is going to be sold at auction.
There are thirty-two first-rate Cézannes, which will sell for high
prices" (quoted in ibid., p. 128). As Pissarro had predicted, the
sale was an enormous success. Auction receipts totaled over 450,000
francs, with unprecedented prices achieved for Cézanne's work in
particular. The present landscape sold for 1000 francs to Ambroise
Vollard, who had given Cézanne his first one-man show four years
earlier, catapulting him out of relative obscurity and securing his
status as a modern master.
保罗·塞尚 查德布凡农场的栗树 局部
Cézanne on the way to his motif, circa 1874. BARCODE:
28863298
(fig. 1) Paul Cézanne, Marronniers et ferme du Jas de Bouffan,
circa 1887. Museum of Art, Rhode Island School of Design,
Providence. BARCODE:
(fig. 2) Paul Cézanne, Marronniers et ferme du Jas de Bouffan,
circa 1884. Norton Simon Museum, Pasadena. BARCODE: 28863304
(fig. 3) Paul Cézanne, Maison et ferme du Jas de Bouffan,
circa 1887. Narodni Galerie, Prague. BARCODE: 28863311
(fig. 4) Paul Cézanne, Portrait de Victor Chocquet assis,
1877. Columbus Museum of Art, Ohio. BARCODE: 28863328
作品资料
作者 保罗·塞尚(1839~1906)
尺寸 51×65cm
作品分类 西画雕塑>油画
创作年代 约1876年作
估价 USD 4,000,000-6,000,000
成交价 RMB 28,747,905
专场 埃德加·布朗夫曼家族珍藏
拍卖时间 2014-05-06
拍卖公司 佳士得纽约有限公司
拍卖会 2014年5月印象派及现代艺术晚间拍卖
签名:P. Cezanne-(左下)
说明 重要私人珍藏
來源
Victor Chocquet, Paris; sale, Galerie Georges Petit, Paris, 1
July 1899, lot 7.
Ambroise Vollard, Paris (acquired at the above sale).
Jos Hessel, Paris (acquired from the above, 2 February
1900).
C. Thomsen, Hamburg.
Paul Cassirer, Berlin.
Christian Tetzen-Lund, Copenhagen (by 1917).
Alfred Cassirer, Berlin (by 1930).
Oskar Federer, Moravská Ostrava and Montreal (by 1936).
Mme Lilli Lippmann-Wulf, New York.
M. Knoedler & Co., Inc., New York (1945).
Thomas L. Daniels, St. Paul (March 1945).
Mr. and Mrs. David Rockefeller, New York (1950-1957).
Wildenstein Galleries, New York.
Florence J. Gould, New York (acquired from the above, 1958);
Estate sale, Sotheby's, New York, 24 April 1985, lot 34.
Acquired at the above sale by family of the present
owner.
展览历史
Paris, 6, rue le Peletier, Troisième Exposition des
Impressionnistes, 1877, possibly no. 22, 23, 24 or 25 (titled
Paysage. Etude d'après nature).
(possibly) Stockholm, Nationalmuseum, Fransk konst,
March-April 1917, p. 43, no. 8 (titled Paysage).
Amsterdam, Stedelijk Museum, Honderd jaar Fransche kunst,
July-September 1938, p. 38, no. 24a.
New York, Paul Rosenberg & Co., Loan Exhibition of
Paintings by Cézanne for the Benefit of Fighting France,
November-December 1942, p. 23, no. 7 (illustrated, p. 47; dated
1885-1887).
Minneapolis Institute of Arts, 1946.
Tokyo, Musée National d'Art Occidental; Musée de la Ville de
Kyoto and Fukuoka, Centre Culturel, Exposition Cézanne,
March-August 1974, no. 11 (illustrated).
相关文献
J. Meier-Graefe, Cézanne und sein Kreis, Munich, 1920, p. 123
(illustrated; titled La route tournante).
G. Rivière, Le Maître, Paul Cézanne, Paris, 1923, p. 133
(illustrated; titled L'allée des marronniers du Jas de
Bouffan).
K. Scheffler, "Die Sammlung Alfred Cassirer" in Kunst und
Künstler, vol. XXVIII, 1930, p. 447 (illustrated).
C. Tetzen-Lund and O. Thomsen, Chr. Tetzen-Lunds samling af
moderne fransk malerkunst, Copenhagen, 1934, no. 2 (illustrated,
pl. 16; titled L'allée des marronniers du Jas de Bouffan and La
route tournante and dated circa 1883).
L. Venturi, Cézanne: Son art--son oeuvre, Paris, 1936, vol. I,
p. 165, no. 464 (illustrated, vol. II, pl. 139; dated
1885-1887).
F. Novotny, Cézanne und das Ende der wissenschaftlichen
Perspektive, Vienna, 1938, p. 198, no. 41.
C.F. Ramuz, Cézanne Formes, Lausanne, 1968, fig. 17.
J. Rewald, "Chocquet and Cézanne in Gazette des Beaux-Arts,
vol. 74, July-August 1969, p. 82, no. 7 (illustrated, p. 54, fig.
14; titled Le Jas de Bouffan).
I. Dunlop and S. Orienti, The Complete Paintings of Cézanne,
New York, 1972, p. 103, no. 361 (illustrated, p. 102; dated
1885-1887).
A. Barskaya, Paul Cézanne, Leningrad, 1975, p. 171
(illustrated).
M. Potter, ed., The David and Peggy Rockefeller Collection,
New York, 1984, pp. 150-151, no. 47 (illustrated).
J. Rewald, Studies in Impressionism, New York, 1985, p. 165,
no. 7 (titled En sortant d'Auvers).
The New Painting: Impressionism, 1874-1886, exh. cat., The
Fine Arts Museums of San Francisco, 1986, p. 203.
J. Rewald, The Paintings of Paul Cézanne: A Catalogue
Raisonné, New York, 1996, vol. I, p. 183, no. 268 (illustrated,
vol. II, p. 86).
P. Conisbee and D. Coutagne, Cézanne in Provence, exh. cat.,
National Gallery of Art, Washington, D.C., 2006, p. 84.
阴山工作室
本文图片及文字资料均来源于佳士得官方网站,细节局部图片系阴山工作室所加。
此作在雅昌艺术网拍卖资料库中的名称为“布方羊圈农舍的七叶树和农田”,按此作法语名称 Marronniers
et ferme du Jas de Bouffan,并据名画档案网站,正确的名称应为《查德布凡农场的栗树》。塞尚出生于普罗旺斯的艾克斯,而城中建于16至17世纪的查德布凡庄园正是他的故居,优美的风景成为最佳的描绘对象,画家以这里的树木、池塘、道路、建筑等风景为对象创作过多幅作品,这幅就是其中之一。
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