Provenienz, Ausstellungen, Literaturangaben

Paul Cézanne
Portrait de l'artiste à la palette, ca. 1890
Oil on canvas, 92 x 73 cm
Rewald no. 670
Provenance
Paul Cézanne, Jr., Paris (1906–[d.] 1947) (1) ▪ Renée Cézanne, Paris (1947–1953) (2) ▪ Emil Bührle,
Zurich (5 January 1953 until [d.] 28 November 1956) (3) ▪ Given by the heirs of Emil Bührle to the
Foundation E.G. Bührle Collection, Zurich, no. 17 (1960).
(1) The artist's son; Paul Cézanne, (exh. cat.) Kunsthalle Basel 1936, no. 44; Honderd Jaar Fransche Kunst,
(exh. cat.) Stedelijk Museum Amsterdam 1938, no. 30.
(2) Widow of the above; AStEGB, Letter from Emil Bührle to Renée Cézanne, Paris, 5 January 1953.
(3) Acquired from the above for $ 100.000 through Galerie Renou & Poyet, Paris, and Dr. Walter Feilchenfeldt,
Zurich; AStEGB, Correspondence between Emil Bührle and Renée Cézanne, Paris, Galerie Renou & Poyet,
Paris, and Dr. Walter Feilchenfeldt, Zurich, 27 October 1952–6 January 1953. In addition, Bührle paid Dr.
Feilchenfeldt a fee of CHF 30.000, AStEGB, Letter from Emil Bührle to Industrie- und Handelsbank, Zurich, 16
March 1953, ordering payment of CHF 30.000 (cash) and $ 54.000 (by check) to Dr. Walter Feilchenfeldt. A
type-written note identifies the amount of CHF 30.000 as "à Konto Cézanne".
Exhibitions
Siebente Kunstausstellung der Berliner Secession, Kantstrasse 12, Berlin 1903, no. 35. ▪ Exposition
Cézanne (1839–1906), Ambroise Vollard (Galerie du Théâtre Pigalle), Paris 1929–30, no. 2. ▪ French
Paintings of the 19th Century, Reid & Lefevre, London 1933, no. 4. ▪ Exposition du Dix-Neuf-Cent,
Galerie Braun, Paris 1934, no. 26. ▪ L'Impressionnisme, Palais des Beaux-Arts, Brussels 1935, no. 5.
▪ Paul Cézanne, Kunsthalle Basel 1936, no. 44. ▪ Portraits français de 1400 à 1900, Galerie
Seligmann, Paris 1936, no. 17. ▪ Cézanne, Reid & Lefevre, London 1937, no. 17. ▪ The PostImpressionists, Bignou Gallery, New York 1937, no. 1. ▪ Honderd Jaar Fransche Kunst, Stedelijk
Museum Amsterdam 1938, no. 30. ▪ Salon du sud-est, Palais Municipal Lyon 1938–39, no. 2. ▪
Centenaire du peintre indépendant Paul Cézanne, Société des Artistes indépendants (Grand Palais),
Paris 1939, no. 1. ▪ Peintres de portraits, Galerie Bernheim-Jeune, Paris 1952, no. 6. ▪ Cézanne,
Aufbruch in die Moderne, Museum Folkwang, Essen 2004–05, p. 16.
References
Kunst und Künstler (1) 1903, p. 294 (ill.). ▪ Emile Bernard, "Erinnerungen an Paul Cézanne", in Kunst
und Künstler (6) 1908, p. 477 (ill.). ▪ Julius Meier-Graefe, Cézanne und sein Kreis, Ein Beitrag zur
Entwicklungsgeschichte, Munich 1918, p. 111 (ill., 21920; 31920; 41922, p. 130 [ill.]). ▪ Ambroise
Vollard, Paul Cézanne, Paris 1919, p. 181 (ill.). ▪ Max Deri, Die Malerei im XIX. Jahrhundert,
Entwicklungsgeschichtliche Darstellung auf psychologischer Grundlage, Berlin 1919, vol. 1, p. 200–
201; vol. 2, fig. 44. ▪ Joachim Gasquet, "Ce qu'il m'a dit ...", in L'Amour de l'art (1) 1920, p. 257
(ill.). ▪ André Fontainas, Louis Vauxcelles, Histoire générale de l'Art français de la Révolution à nos
jours, La peinture, la gravure, le dessin, Paris 1922, vol. 1, p. 223 (ill.). ▪ Julius Meier-Graefe, Paul
Cézanne, Munich 51923, p. 45 (ill.). ▪ Georges Rivière, Le Maître Paul Cézanne, Paris 1923, p. 216. ▪
Julius Meier-Graefe, Entwicklungsgeschichte der modernen Kunst, vol. 3, Munich 21924, p. 574. ▪
George Besson, La peinture française au XIXe siècle, Paris 1934, fig. 25. ▪ Georges Besson, "Paul
Cézanne: 1839–1906", in Estampes, (4 November) 1936, fig. 1. ▪ Elie Faure, Cézanne, Paris 1936,
front cover ill. ▪ Lionello Venturi, Cézanne, Son art, son œuvre, Paris 1936, vol. 1, no. 516, vol. 2,
fig. 159. ▪ John Rewald, "Iconographie de Cézanne, vu par lui-même", in L'Amour de l'art (17) 1936,
fig. 6. ▪ Fritz Novotny, Cézanne, Vienna 1937, fig. 49. ▪ Georges Huisman, Histoire générale de l'art,
Paris 1938, vol. 4, p. 235 (21947; 31952). ▪ Albert C. Barnes, Violette de Mazia, The Art of Cézanne,
Merion (Pennsylvania) 1939, pp. 216 (ill.), 339, no. 88. ▪ Georges Rivière, Cézanne, Le peintre
solitaire, Paris 21942, p. 149 (ill.). ▪ Edward Alden Jewell, Paul Cézanne, New York 1944, p. 25 (ill.). ▪
Status as per January 2016
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Carlo Ludovico Ragghianti, Impressionismo, Turin 1944, (21947; French edition: Impressionnisme,
Turin 1947, p. 47 [ill.]). ▪ Göran Schildt, Cézanne, Stockholm 1946, fig. 1. ▪ Sheldon Cheney, The
Story of Modern Art, New York 1947, p. 225 (ill.). ▪ Bernard Dorival, Cézanne, Paris 1948, p. 162, fig.
106 (English edition: New York 1948). ▪ Gotthard Jedlicka, Cézanne, Berne 1948, fig. 30. ▪ Francis
Jourdain, Cézanne, Paris & New York 1950, (ill.). ▪ Meyer Schapiro, Paul Cézanne, New York 1952,
pp. 64–65 (ill.; 21962 31965; French edition: Paris 1956; German edition: Cologne 1956; 21957;
3
1960; 41965; 51974; 61977; 81986; 92003). ▪ Camille Pissarro, Briefe an seinen Sohn Lucien,
Erlenbach/Zurich 1953, fig. 24. ▪ Michelangelo Masciotta, Portraits d'artistes par eux-mêmes XIVe–
XXe siècle, Milan 1955, p. 11 (ill.). ▪ John Rewald, Cézanne, Geffroy et Gasquet, suivi de souvernis
sur Cézanne de Louis Aurenche et de lettres inédites, Paris 1959, fig. 5. ▪ Sono Uchida, Cézanne [in
Japanese], Tokyo 1960, p. 45 (ill.). ▪ Fritz Novotny, Cézanne, London 1961, fig. 18 (German edition:
Cologne 1961). ▪ Margaret Harold, Gus Baker, Portraits by the Masters, Fort Lauderdale (Florida)
1963, p. 28 (ill.). ▪ Kurt Leonhard, Paul Cézanne in Selbstzeugnissen und Bilddokumenten,
Reinbek/Hamburg 1966, p. 38 (ill.; various later editions). ▪ Frank Elgar, Cézanne, London 1969
(21974; American edition: New York 1970; 21975, fig. 61; French edition: Paris 1968; 21988;
German edition: Stuttgart 1969; Spanish edition: Barcelone 1969; Portuguese edition: Lisbon 1974).
▪ Chuij Ikegami, Cézanne [in Japanese], Tokyo 1969, "Planches en noir-blanc", fig. 21. ▪ Schätze aus
Museen und Sammlungen in Zürich, Zurich 1969, pp. 304–305 (ill.). ▪ Jack Lindsay, Cézanne, His Life
and Art, London 1969, pp. 104 (ill.), 233. ▪ Jack Lindsay, "Cézanne and Zola", in Art and Artists
(September) 1969, p. 27 (ill.). ▪ Wayne Andersen, Cézanne's Portrait Drawings, Cambridge
(Massachusetts) & London 1970, fig. 29. ▪ Alfonso Gatto, Sandra Orienti, L'opera completa di
Cézanne, Milan 1970, no. 525 (ill.; 21979; English edition: Ian Dunlop, Sandra Orienti, The Complete
Paintings of Cézanne, Middlesex & New York 1970; 21972; 31985; German edition: Oskar
Bätschmann, Sandra Orienti, Das Gesamtwerk von Cézanne, Lucerne etc. 1970; Spanish edition: La
obra pictórica completa de Cézanne, Barcelona 1970; 21977; French edition: Sandra Orienti, Gaëtan
Picon, Tout l'œuvre peint de Cézanne, Paris 1975; 21995). ▪ Shumon Miura etc., Cézanne [in
Japanese], Tokyo 1972, no. 17, fig. 17. ▪ Meyer Schapiro, Paul Cézanne, Paris 1973, fig. 22. ▪ Diane
Lesko, "Cézanne's 'Bather' and a Found Self-Portrait", in Artforum (December) 1976, p. 56 (ill.,
right). ▪ Nobuyuki Senzoku, Takeshi Kashiwa, Cézanne, Tokyo 1977, no. 13 (ill.). ▪ Lionello Venturi,
Cézanne, Geneva 1978, p. 102 (ill.; 21991, p. 96 [ill.]). ▪ Sophie Monneret, L'Impressionnisme et son
époque, Dictionnaire international illustré, vol. 1, Paris 1978, p. 124 (entry for Cézanne). ▪ Judith
Wechsler, The Interpretation of Cézanne, Ann Arbor (Michigan) 1981, p. 65. ▪ Hugh J. Silverman,
"Cézanne's Mirror Stage", in Journal of Aesthetics and Art Criticism (40) 1982, p. 374–375. ▪ Jean
Arouye, La Provence de Cézanne, Aix-en-Provence 1982, frontispiece. ▪ Pascal Bonafoux, Les peintres
et l'autoportrait, Geneva 1984, p. 121 (ill. bottom; German edition: Der Maler im Selbstbildnis,
Geneva 1985). ▪ Peter Handke, Die Lehre der Sainte-Victoire, Frankfurt/Main 1984, p. 64. ▪ Guy
Cogeval, Les annés post-impressionnistes, Paris 1986, p. 17, fig. 34. ▪ Melissa MacQuillan,
Impressionist Portraits, London 1986, p. 181 (ill.; French Edition: Les portraits impressionnistes,
Paris 1986; German edition: Porträtmalerei der französischen Impressionisten, Rosenheim 1986). ▪
John Rewald, Cézanne, A Biography, New York 1986, p. 190 (ill.). ▪ Matthias Arnold, "Cézanne und
van Gogh, Die beiden grossen Postimpressionisten, Ein Vergleich, Teil I", in Weltkunst (56) 1986, p.
22, fig. 1. ▪ Hajo Düchting, Paul Cézanne 1839–1906, Natur wird Kunst, Cologne 1988 (22003, p. 130
[ill.]; English edition: Paul Cézanne 1839–1906, Nature into Art, New York 1999; French edition: Paul
Cézanne 1839–1906, De la nature à l'art, Cologne 1990; 21993; 31999; 42003). ▪ Van Gogh à Paris,
(exh. cat.) Musée d'Orsay, Paris 1988, entry for cat. no. 68, fig. b. ▪ L'art du XIXe siècle 1850–1905,
Françoise Cachin (ed.), Paris 1990, fig. 71. ▪ Sainte-Victoire, Cézanne, 1990, (exh. cat.) Musée
Granet, Aix-en-Provence 1990, fig. 43. ▪ Cézanne and Poussin, The Classical Vision of Landscape,
(exh. cat.) National Gallery of Scotland, Edinburgh 1990, fig. 2. ▪ Cézanne, Die Pariser
Selbstbildnisse, (exh. cat.) Kunsthalle Hamburg 1995, p. 118 (ill.). ▪ Joseph J. Rishel, "A Century of
Cézanne Criticism, II. From 1907 to the Present", in Cézanne, (exh. cat.) Philadelphia Museum of Art
etc. 1995, p. 72 (ill.). ▪ Walter Feilchenfeldt, "Cézanne's Collectors, From Zola to Annenberg", in
Cézanne, (exh. cat.) Philadelphia Museum of Art etc. 1995, p. 578 (French edition: Paul Cézanne,
Status as per January 2016
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Une rétrospective, Grand Palais, Paris; German edition: Walter Feilchenfeldt, "Cézannes Sammler,
Von Zola bis Annenberg", in "By Appointment Only", Schriften zu Kunst und Kunsthandel, Cézanne
und van Gogh, Wädenswil 2005, p. 194 [ill.]). ▪ John Rewald, The Paintings of Paul Cézanne, A
Catalogue Raisonné, London & New York 1996, vol. 1, no. 670; vol. 2, fig. 670. ▪ John Richardson, A
Life of Picasso, vol. 2, 1907–1917, New York 1996, p. 387 (ill.). ▪ Kirk Varnedoe, "Picasso's SelfPortraits", in Picasso and Portraiture, Representation and Transformation, (exh. cat.) Museum of
Modern Art, New York, 1996, p. 136 (ill. lower left; French edition: [exh. cat.] Grand Palais, Paris,
Picasso et le portrait). ▪ Carol Zemel, Van Gogh's Progress, Utopia, Modernity and Late-NineteenthCentury Art, Berkley etc. 1997, p. 151, fig. 90. ▪ Görel Cavalli Björkman, Ulf Linde, Cézanne i
blickpunkten, exh. cat.) Nationalmuseum Stockholm 1997, entry for cat. no. 65, p. 133 (ill.). ▪ Mary
Tompkins Lewis, Cézanne, London 2000, p. 245, fig. 151. ▪ Heather McPherson, The Modern Portrait
in Nineteenth-Century France, Cambridge 2001, pp. 124, 135–137, 142, 244 (n. 106), fig. 72, pl. 4
(& jacket ill.). ▪ Steven Platzman, Cézanne, The Self-Portraits, Berkley & London 2001, pp. 176 (ill.)–
178, no. 22 (ill.; German edition: Cézanne, Die Selbstporträts, Munich 2001). ▪ Carol Armstrong,
Manet, Manette, New Haven & London 2002, p. 316, fig. 171. ▪ Elizabeth Cowling, Picasso, Style and
Meaning, London & New York 2002, p. 159, fig. 135. ▪ Grytzko Mascioni, "Verso l'autoritratto, schizzo
preliminare della genesi della figurazione e dell'autofigurazione umana", in L'autoritratto, Opere di
Maestri del '900 dalla Collezione Raimondo Rezzonico, (exh. cat.) Pinacoteca communale (Casa
Rusca), Locarno 2002, p. 71 (ill. bottom). ▪ Matisse, Picasso, (exh. cat.) Tate Modern, London etc.
2002, p. 344, fig. 15. ▪ Atelier Cézanne, 1902/2002, Le centenaire, Société Paul Cézanne (ed.), Aixen-Provence 2003 (English edition: Cézanne's Studio, p. 8 [ill.]). ▪ Stéphane Guégan etc.,
L'autoportrait dans l'histoire de l'art de Rembrandt à Warhol, L'intimité révélée de 50 artistes, Paris
2009, p. 118 (ill. top.). ▪ Susan Sidlauskas, Cézanne's Other, The Portraits of Hortense, Berkley etc.
2009, p. 136, fig. 34. ▪ John Elderfield, "Picasso's Extreme Cézanne", in Cézanne and Beyond, (exh.
cat.) Philadelphia Museum of Art 2009, p. 207 (ill.). ▪ Michael Fried, The Moment of Caravaggio,
Oxford & Princeton (New Jersey) 2010, p. 35, fig. 1.42. ▪ Philippe Cézanne, "Paul Cézanne,
L'homme", in Cézanne et Paris, (exh. cat.) Musée du Luxembourg, Paris 2011, fig. 2. ▪ Alain Girard,
Albert André 1869–1954, peintre, Un contemporain de toujours, (exh. cat.) Site du Pont du Gard,
Bagnols-sur-Cèze 2011, p. 36 (ill. lower right, the painting in the studio of Albert André at Laudun,
1939/42). ▪ Alex Danchev, Cézanne, A Life, London 2012, fig. 9. ▪ Claudia Albes, Erzählen,
Argumentieren, Beschreiben, Zur Theorie und Interpretation moderner Prosatexte am Beispiel von
Peter Handkes Lehre der Sainte-Victoire, Trier 2013, p. 213. ▪ Maria Teresa Benedetti, "Gli artisti
italiani e Cézanne", in Cézanne e gli artisti italiani del '900, (exh. cat.) Complesso del Vittoriano,
Rome 2013, p. 62, fig. 78.
Catalogues of the Bührle Collection: 1966 & 1971, no. 17; 1973/86, no. 54; 1994/95, pp. 10–11
(ill.); 2004/05: no. 114; 2006, p. 11, fig. 28; 2007, fig. 22. ▪ Exhibitions of the Bührle Collection:
Zürich 1958, no. 226; Munich 1958–59, no. 21; Edinburgh 1961, no 34; London 1961, no. 34;
Washington D.C. etc. 1990–91, no. 43; Zurich 2010, no. 17. ▪ Articles on the Bührle Collection: Wild
1958, p. 20 (ill.)–21; Sutton 1959, p. 146; Bührle 1998, p. 137, fig. 8.
Catalogues, exhibitions and articles cited in full see http://www.buehrle.ch/pdf/egbcat.pdf.
AStEGB = Archive of the Foundation E.G. Bührle Collection, Zurich
Status as per January 2016
www.buehrle.ch / [email protected]
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