{"pagination":{"total":132744,"limit":15,"offset":0,"total_pages":8850,"current_page":1,"next_url":"https:\/\/api.artic.edu\/api\/v1\/artworks?page=2&limit=15"},"data":[{"id":111436,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/111436","is_boosted":true,"title":"The Basket of Apples","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBgAFAPQAAGdYO1hSRFVUSWFYRGtdRGFcSl9jW2xgS25iTnNlR3FlS2loXGxqY3V0Z3R0anl5aHN6cINuTIJzUHWAc3uGfYeFeYWOfYSOhIuLgIyMhJWVh52ci5majZ6ekQAAAAAAACH5BAAAAAAALAAAAAAGAAUAAAUYIONA1GUJQGA800AsB1IoVYZpSdRw3SaFADs=","width":12640,"height":10094,"alt_text":"Painting of a basket of green and red-yellow apples spilling over into a white cloth placed on a wooden table, with a dark green bottle and a plate of pale biscuits behind."},"main_reference_number":"1926.252","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1887,"date_end":1900,"date_display":"c. 1893","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Paul Cezanne (French, 1839\u20131906)","place_of_origin":"France","description":"

In many ways Paul Cezanne was the odd man out among the artists branded as \u201cImpressionists\u201d\u2014those who showed their works outside of France\u2019s state-sponsored Salon exhibitions. Early on, he painted landscapes, the typical Impressionist subject, but his arresting and complex still lifes changed the traditional nature morte<\/em> (dead nature) genre and continue to puzzle and tantalize today.<\/p>\n

At first glance, The Basket of Apples<\/em>, the first of Cezanne\u2019s works to enter the museum\u2019s collection, appears to be a fruit-laden table setting anchored by a wine bottle. Closer looking reveals shifts in reality conveyed by the misaligned tabletop, tilted bottle, cascading apples, and the precarious tower of cookies known as langues de chat<\/em> (cat tongues), which magically stop just short of falling out of the picture. Furthering the sense of what has been called the artist\u2019s \u201ccontrolled chaos\u201d are the shifts in brushwork from the thick strokes used to model fruits within the cloth\u2019s thick sculptural forms to the sketch-like marks used around the edges of both the table and the cloth. Cezanne rarely signed his paintings, so his signature at the bottom left suggests the importance he ascribed to this painting or to its original owner.<\/p>\n","short_description":null,"dimensions":"65 \u00d7 80 cm (25 7\/16 \u00d7 31 1\/2 in.); Framed: 88 \u00d7 104.2 \u00d7 9.6 cm (34 5\/8 \u00d7 41 \u00d7 3 3\/4 in.)","dimensions_detail":[{"depth":null,"width":80,"height":65,"diameter":null,"clarification":null},{"depth":9,"width":104,"height":88,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":"Inscribed at lower left: P. C\u00e9zanne","credit_line":"Helen Birch Bartlett Memorial Collection","catalogue_display":"

Rewald 800<\/p>

Feilchenfeldt, Warman and Nash FWN 860<\/p>

Venturi 600<\/p>","publication_history":"Emile Bernard, \u201cErinnerungen an Paul Cezanne,\u201d Kunst und K\u00fcnstler 6 (1908), p. 521 (ill.).\n\nJulius Meier-Greafe, Paul C\u00e9zanne (Munich, 1910), p. 79 (ill.).\n\nC. L. Hind, The Post-Impressionists (London, 1911), p. 74.\n\nFrederick Lawton, \u201cPaul C\u00e9zanne,\u201d Art Journal (1911), p. 57 (ill.).\n\nWerner Weisbach, Impressionismus: Ein Problem der Malerei in der Antike und Neuzeit vol. 2 (Berlin, 1911), p. 162.\n\nArs\u00e8ne Alexandre, \u201cExposition d\u2019art moderne,\u201d Les Arts (August 1912), p. 7, no. 6. \n\n\u201cA Private Collection in Germany That Contains Fourteen Examples of the Art of Paul Cezanne, a Great Modern, Who Already Is Placed with the Old Masters,\u201d New York Times (July 6, 1913), p. 15 (ill.).\n\nCharles Borgmeyer, The Master Impressionists (Chicago, 1913), p. 230 (ill.).\n\nJulius Meier-Graefe, Paul C\u00e9zanne (Munich, 1913), p. 76.\n\nAmbroise Vollard, C\u00e9zanne (Paris, 1914), p. 102, pl. 33.\n\nStuart, \u201cC\u00e9zanne and His Place in Impressionism,\u201d The Fine Arts Journal 35, 5 (May 1917), p. 335 (ill.).\n\nC. Coquiot, Paul C\u00e9zanne (1919), p. 246.\n\nJulius Meier-Graefe, Cezanne und sein Kreis (Munich, 1922), p. 185 (ill.).\n\nL\u2019Amour de l\u2019Art 5, 2 (February 1924), p. 41 (ill.).\n\nModern Paintings in the Helen Birch Bartlett Memorial from the Birch-Bartlett Collection (Chicago: Art Institute, 1926), 2, pl. 3.\n\nR. Tatlock, \u201cThe Courtlaud Trust,\u201d The Art News 24 (June 12, 1926), p. 28, ill.\n\n\u201cCezanne, Rousseau, Picasso,\u201d The Art Institute of Chicago Bulletin 20 (1926), pp. 61-64 (ill.).\n\nThe Art Institute of Chicago Annual Report (1926), p. 16, ill.\n\nForbes Watson, \u201cA Note on the Birch-Bartlett Collection,\u201d The Arts 9 (1926), p. 304 (ill.).\n\nMorton Dauwen Zabel, \u201cAn American Gallery of Modern Painting,\u201d Art and Archeology 26, 6 (December 1928), pp. 227 (ill.). 232.\n\nThe Art Institute of Chicago, Modern Paintings in the Helen Birch-Bartlett Memorial Collection (Chicago, 1929), pp. 8-9 (ill.).\n\nA. Bertram, The World\u2019s Masters\u2013Cezanne (London, 1929), pl. 22.\n\nAlbert Franz Cochrane, \u201cFogg Museum Stages Magnificent Exhibition of French Art,\u201d Boston Evening (March 9, 1929).\n\nClarence Bulliet, Apples and Madonnas (New York, 1930), p. 56.\n\nLionello Venturi, C\u00e9zanne: son art \u2013 son oeuvre vol. 1 (Paris, 1936), no. 600.\n\nE. A. Jewell, Paul C\u00e9zanne (1944), p. 21 (ill.).\n\nThe Art Institute of Chicago, A Brief Guide to the Collections (The Art Institute of Chicago, 1956), p. 36.\n\nThe Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 72-3. \n\nFrederick A. Sweet, \u201cGreat Chicago Collectors,\u201d Apollo 84 (September 1966), p. 194, fig. 14.\n\nJohn Maxon, The Art Institute of Chicago (New York, 1970), p. 99 (ill.).\n\nRen\u00e9 Huyghe, La Rel\u00e8ve du reel: impressionnisme, symbolisme (Paris, 1974), no. 191.\n\nDiane Kelder, The Great Book of French Impressionism (New York, 1980), pp. 408-9 (ill.).\n\nPaul C\u00e9zanne, exh. cat. (Madrid, Museo Epa\u00f1ol de Arte Conempor\u00e1neo, 1984), p. 235 (ill.).\n\nRichard R. Brettell, \u201cThe Bartletts and the Grande Jatte: Collecting Modern Paintings in the 1920s,\u201d The Art Institute of Chicago Museum Studies 12, 2 (1986), p. 105, no. 1 (ill.).\n\nJames Wood, Master Paintings in The Art Institute (Chicago, 1988), p. 69 (ill.).\n\nRichard Verdi, C\u00e9zanne (London, 1992), p. 143, fig. 123.\n\nJohn Rewald, The Paintings of Paul C\u00e9zanne: A Catalogue Raisonn\u00e9 (New York, 1996), vol. 1, p. 480, no. 800, vol. 2, p. 276 (ill.).\n\nThe Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 67, pp. 141-42 (ill.).\n\nAchim Borchardt-Hume, Gloria Groom, Caitlin Haskell and Natalia Sidlina, eds., Cezanne, exh. cat. (Chicago: Art Institute of Chicago, 2022), 38, 50-51, 128 cat. 56, 129.\n\nJames Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 91 (ill.).\n\nJames Rondeau, ed., Highlights of the Art Institute of Chicago (New Haven and London: Yale University Press, 2026), 142, 261\u201362, no. 105, (ill.).","exhibition_history":"Paris, Galerie Vollard, C\u00e9zanne, Nov\u2013Dec. 1895, no cat.\n\nBerlin, Paul Cassirer, Sonderausstellung Paul C\u00e9zanne, Apr. 22\u2013June 15, 1904, no cat. , as Korb mit \u00c4pfeln.\n\nBerlin, Paul Cassirer, XI. Jahrgang, Winter 1908\/1909, II. Ausstellung, Oct. 15\u2013Nov. 10, 1908, cat. 17, as Apfel, Flasche und Kuchen. \n\nParis, Manzi, Joyant & Cie, Exposition d\u2019art moderne, June 6\u2013July 6, 1912, cat. 3, as Pommes.\n\nParis, Paul Rosenberg, Art fran\u00e7ais du XIXe si\u00e8cle au profit de l\u2019Association G\u00e9n\u00e9rale des mutil\u00e9s de la guerre, June 25\u2013July 13, 1917, cat. 5, as Corbeille de pommes.\n\nParis, Galerie Paul Rosenberg, L\u2019art fran\u00e7ais au XIXe si\u00e8cle, 1919, no cat.\n\nParis, Galerie Bernheim-Jeune, C\u00e9zanne, Dec. 1\u201318, 1920, cat. 28, as Les Pommes.\n\nParis, Paul Rosenberg, Exposition d\u2019oeuvres de grands ma\u00eetres du si\u00e8cle dix-neuvi\u00e8me si\u00e8cle, May 3\u2013June 3, 1922, cat. 9, as Le panier de pommes, 1885.\n\nParis, Galerie Bernheim-Jeune, Exposition Paul C\u00e9zanne (au profit de la caisse du monument C\u00e9zanne), Mar. 3\u201324, 1924, no cat.\n\nMinneapolis Institute of Art, Modern French Paintings from the Birch-Bartlett Collection, Apr. 1925, no cat..\n\nCambridge, MA, Fogg Art Museum, French Painting of the Nineteenth and Twentieth Centuries, Mar. 6\u2013Apr. 6, 1929, cat. 6 (ill.), as La Corbeille de pommes.\n\nArt Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June1\u2013Nov. 1, 1933, cat. 305.\n\nArt Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June 1\u2013Nov. 1, 1934, cat. 290.\n\nPhiladelphia, Pennsylvania Museum of Art, C\u00e9zanne, Nov. 10\u2013Oct. 10, 1934, cat. 17, as c. 1885.\n\nArt Institute of Chicago, Modern Paintings in the Helen Birch Bartlett Memorial from the Birch Bartlett Collection, 1946, no cat. no. (ill.).\n\nArt Institute of Chicago, C\u00e9zanne: Paintings, Watercolors, and Drawings; A Loan Exhibition, Feb. 7\u2013Mar. 16, 1952, cat. 54 (ill.), as Still Life: The Basket of Apples, 1890\u201394; New York, Metropolitan Museum of Art, Apr. 4\u2013May 18, 1952.\n\nWashington, DC, The Phillips Collection, C\u00e9zanne: An Exhibition in Honor of the Fiftieth Anniversary of the Phillips Collection, Feb. 27\u2013Mar. 28, 1971, cat. 25 (ill.), as c. 1895;Art Institute of Chicago, Apr. 17\u2013May 16, 1971; Boston, Museum of Fine Arts, Boston, June 1\u2013July 3, 1971 [Chicago only].\n\nNew York, Metropolitan Museum of Art, C\u00e9zanne to Picasso Ambroise Vollard, Patron of the Avant-Garde, Sept. 13, 2006\u2013Jan. 7, 2007, cat. 44 (ill.); Art Institute of Chicago, February 17-May 13, 2007; Paris, Mus\u00e9e d\u2019Orsay, as De C\u00e9zanne \u00e0 Picasso: Chefs-d'Oeuvre de la galerie Vollard, June 18\u2013Sept. 16, 2007, cat. 32. \n\nFort Worth, TX, Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29\u2013Nov.mber 2, 2008, cat. 67.\n\nBudapest, Sz\u00e9pm\u0171v\u00e9szeti M\u00fazeum, C\u00e9zanne and the Past: Tradition and Creativity, Oct. 25, 2012\u2013Feb. 17, 2013, cat. 103.\n\nArt Institute of Chicago, Cezanne, May 15\u2013Sep. 5, 2022, cat. 56; London, Tate, Oct. 5, 2022\u2013Mar. 12, 2023.","provenance_text":"Ambroise Vollard (1866\u20131939), Paris by Nov. 1895 [this and the following information according to New York 2006-7]; Galerie Bernheim-Jeune, Paris [Bernheim-Jeune archive; 5538?]. Paul Cassirer, Berlin, June 1, 1904 [Paul Cassirer archive 5775 (5538)]; Max Linde, L\u00fcbeck, Germany, June 1, 1904. Galerie Bernheim-Jeune, Paris, by July 1907; sent to Paul Cassirer, Berlin, July 1907; returned to Bernheim-Jeune, Paris, Nov. 1908. Jos Hessel (1859\u20131942), Paris, by 1913 until at least 1920 [based on inscription on reverse; see also New York Times 1913, Borgmeyer 1913, Paris 1920]. Paul Rosenberg, Paris, by 1922 [see Paris 1922]; sold through Joseph Stransky of French Galleries, New York to Frederick Clay Bartlett (1873\u20131593), Chicago , by 1925; given to the Art Institute of Chicago, 1926.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1926,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":true,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":0,"color":{"h":94,"l":55,"s":4,"percentage":0.0016020295300128164,"population":2044},"latitude":41.878802343119,"longitude":-87.622133140573,"latlon":"41.878802343119,-87.622133140573","is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 248","gallery_id":2147479698,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":40482,"artist_title":"Paul Cezanne","alt_artist_ids":[],"artist_ids":[40482],"artist_titles":["Paul Cezanne"],"category_ids":["PC-10","PC-831"],"category_titles":["Painting and Sculpture of Europe","Essentials"],"term_titles":["oil on canvas","oil painting","Post-Impressionism","still life","oil paint (paint)","paint","oil paintings (visual works)","french","canvas","paint","painting","painting","painting techniques","19th century","apples","basket","bottles","Bread","table","tablecloth","painting (image making)","painting","european painting","food","Century of Progress","world's fairs","Chicago World's Fairs"],"style_id":"TM-7547","style_title":"Post-Impressionism","alt_style_ids":["TM-13203"],"style_ids":["TM-7547","TM-13203"],"style_titles":["Post-Impressionism","19th century"],"classification_id":"TM-66","classification_title":"oil on canvas","alt_classification_ids":["TM-10387","TM-78","TM-14976","TM-9","TM-54"],"classification_ids":["TM-66","TM-10387","TM-78","TM-14976","TM-9","TM-54"],"classification_titles":["oil on canvas","paint","oil paintings (visual works)","french","painting","european painting"],"subject_id":"TM-8937","alt_subject_ids":["TM-12885","TM-15693","TM-13463","TM-13358","TM-14175","TM-15423","TM-8673","TM-12169","TM-11299","TM-12176"],"subject_ids":["TM-8937","TM-12885","TM-15693","TM-13463","TM-13358","TM-14175","TM-15423","TM-8673","TM-12169","TM-11299","TM-12176"],"subject_titles":["still life","apples","basket","bottles","Bread","table","tablecloth","food","Century of Progress","world's fairs","Chicago World's Fairs"],"material_id":"TM-2451","alt_material_ids":["TM-3124","TM-2577","TM-13502"],"material_ids":["TM-2451","TM-3124","TM-2577","TM-13502"],"material_titles":["oil paint (paint)","canvas","paint","painting"],"technique_id":"TM-4273","alt_technique_ids":["TM-14210","TM-3971","TM-3891"],"technique_ids":["TM-4273","TM-14210","TM-3971","TM-3891"],"technique_titles":["oil painting","painting","painting techniques","painting (image making)"],"theme_titles":["Essentials"],"image_id":"52ac8996-3460-cf71-cb42-5c4d0aa29b74","alt_image_ids":[],"document_ids":["c13bc0fd-b0ac-4c22-7a17-6436e0a13dfe"],"sound_ids":["c13bc0fd-b0ac-4c22-7a17-6436e0a13dfe"],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_boosted":"The Basket of Apples","suggest_autocomplete_all":[{"input":["1926.252"],"contexts":{"groupings":["accession"]}},{"input":["The Basket of Apples"],"weight":79181,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-09-11T17:36:09-05:00","updated_at":"2026-09-11T20:40:43-05:00","timestamp":"2026-09-12T00:30:27-05:00"},{"id":14556,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/14556","is_boosted":false,"title":"Auvers, Panoramic View","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBgAFAPQAAGNpVmpvWGhsW2pyW2h2WW97XnBzWWtyYGt0Ym92Y255ZXR2YHV1Y3Z2Y3RyZnF5YHV4YXR5ZnV7Z3d9Z3V5cH2AZoWNX4eNX4mRi4qSjIyTjomWkZCWkpGXkgAAAAAAACH5BAAAAAAALAAAAAAGAAUAAAUYINdpWLZNipQciOEwQQMMCxRRwkMU1lWFADs=","width":12293,"height":9759,"alt_text":"View of a village surrounded by hills, fields, and trees, shown from a vantage point above the scene. Subtly rolling hills recede into a bluish gray-ish sky punctuated by white clouds. Thick brushstrokes built up atop each other are visible throughout."},"main_reference_number":"1933.422","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1873,"date_end":1875,"date_display":"1873\u201375","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Paul Cezanne (French, 1839\u20131906)","place_of_origin":"France","description":"

Paul Cezanne made this work during his first prolonged stay at Auvers, where he was mentored by Impressionist painter Camille Pissarro<\/a>. Cezanne rendered the unusual perspective\u2014looking down onto the rooftops of Auvers and out to the distant countryside\u2014using blocky, energetic patches of color and areas of ragged brushwork that seem unfinished, especially at the lower left and center. These choices, which were radical at the time, mark his attempt to communicate not merely the landscape\u2019s appearance but also the feeling of seeing it and painting it.<\/p>\n","short_description":"Paul Cezanne made this work while being mentored by Impressionist Camille Pissarro. He rendered the unusual perspective\u2014looking down onto the rooftops of Auvers and out to the distant countryside\u2014with blocky, energetic patches of color and areas of ragged brushwork that might seem unfinished. These choices mark Cezanne's attempt to communicate not merely the landscape\u2019s appearance but also the feeling of seeing it and painting it.","dimensions":"65.2 \u00d7 81.3 cm (25 5\/8 \u00d7 32 in.); Framed: 79.7 \u00d7 97.5 \u00d7 7.7 cm (31 3\/8 \u00d7 38 3\/8 \u00d7 3 in.)","dimensions_detail":[{"depth":null,"width":81,"height":65,"diameter":null,"clarification":null},{"depth":7,"width":97,"height":79,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":null,"credit_line":"Mr. and Mrs. Lewis Larned Coburn Memorial Collection","catalogue_display":"

Feilchenfeldt, Warman and Nash FWN 83<\/p>","publication_history":"Journal des Arts 43 (July 9, 1921), p. 2.\n\nDaniel Catton Rich, \u201cThe Bequest of Mrs. L. L. Coburn,\u201d Bulletin of The Art Institute of Chicago 26 (1932), p. 70, as Auvers-sur-Oise, 1873.\n\nLionello Venturi, C\u00e9zanne: son art, son oeuvre vols. 2 (Paris, 1936), no. 150 (ill.), as Auvers, vue panoramique, 1873-75.\n\nR. Goldwater in Art News Annual (March 26, 1938), p. 146 (ill.).\n\nAlbert Barnes and Violette de Manzia, The Art of Paul C\u00e9zanne (New York, 1939), no. 47, as Auvers-sur-Oise: Village Panorama, 1873-75.\n\nCoronet (May 1939), p. 12 (ill.).\n\nJohn Rewald, \u201cC\u00e9zanne\u2019s Theories About Art,\u201d Art News 47, 7 (November, 1948), fig. 53.\n\nCharles Fabens Kelly, \u201cChicago: Record Years,\u201d Art News 51, 4 (June-July-August 1952), p. 54, as Auvers-sur-Oise.\n\nMayer Schapiro, Paul C\u00e9zanne (New York, 1952), pp. 44-45 (ill.), as View of Auvers, c. 1874.\n\nM. Raynal, Geneva, 1954, p. 40 (ill.).\n\nDavid Cooper, \u201cThe Painters of Auvers-sur-Oise,\u201d Burlington Magazine 97 (April 1955), p. 103, fig. 8 (ill.).\n\nThe Art Institute of Chicago, A Brief Guide to the Collections (The Art Institute of Chicago, 1956), p. 36, as Auvers, Village Panorama.\n\nPaul Gachet, Deux Amis des Impressionistes: Le Docteur Gachet et Murer (Paris, 1956), p. 56, n. 2, as Panorma (Auvers). \n\nThe Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 71, as Auvers: Village Panorama, 1873-75. \n\nJohn Rewald, \u201cChoquet and C\u00e9zanne,\u201d Gazette des Beaux-Arts (July-August 1969), p. 82, under no. 6, reprinted in John Rewald, Studies in Impressionism (London, 1985), p. 165, under no. 6.\n\nAlice Bellony-Rewald, The Lost World of Impressionists (London, 1976), pp. 150-51 (ill.),\n\nJohn Rewald, Post-Impressionism: From Van Gogh to Gauguin (New York, 1978), p. 362 (ill.), as \n\nRen\u00e9 Huyghe, La Rel\u00e8ve du reel: impressionnisme, symbolisme (Paris, 1974), no. 179.\n\nF. Elgar, Newe York, 1975, fig. 29.\n\nN. Wadley, London, 1975, pl. 26.\n\nR. Shikes and P. Harper, Pissarro, His Life and Work (New York, 1980), p. 119, ill.\n\nRichard Shiff, C\u00e9zanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art (Chicago and London, 1984), pp. 112, fig. 22, 113-115, as View of Auvers also called Auvers: Village Panorma, c. 1874.\n\nPaul C\u00e9zanne, exh. cat. (Madrid, Museo Epa\u00f1ol de Arte Conempor\u00e1neo, 1984), p. 232 (ill.), as Vista de Auvers desde lo alto, 1873-75, illustrated only.\n\nB. Bernard, The Impressionist Revolution (London, 1986), p. 247, ill.\n\nRichard Brettell, French Impressionists (Chicago, 1987), pp. 18 (ill.), 19, 117, as Auvers: Village Panorama, c. 1873.\n\nR. Wollheim, Painting as Art (Princeton, 1987), fig. 1.\n\nHajo D\u00fcchting, Paul C\u00e9zanne 1839-1906: Natur wird Kunst (Cologne, 1990), pp. 66 (ill.), 72, as Blick auf Auvers, c. 1874.\n\nMichael Howard, C\u00e9zanne (London, 1990), p. 66, 67 (ill.), as Auvers, Panoramic View, 1873-75.\n\nPhilippe Dagen, C\u00e9zanne (Paris, 1995), p. 57 (ill.), 59, as Auvers, vue panoramique, 1873-75.\n\nCharles de Lartigue, Les paysages de Paul C\u00e9zanne (Lyon, 1995), pp. 74, as Auvers, vue panoramique, c. 1873-75.\n\nJohn Rewald, The Paintings of Paul C\u00e9zanne: A Catalogue Raisonn\u00e9 (New York, 1996), vol. 1, p. 161, no. 221, vol. 2, p. 73, as Vue panoramique d\u2019Auvers-sur-oise, 1873-74.\n\n\nGuillermo Solana, Van Gogh: Los \u00daltimos Paisajes, (Museo Thyssen-Bornemisza), p. 58 (ill.), cat. 1.\n\nThe Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 14, pp. 50, 51 (ill.).\n\nMarco Goldin, ed., Storie dell'Impressionismo: I grandi protagonist da Monet a Renoir da Van Gogh a Gauguin (Linea d\u2019ombre, 2016), 322-23 (detail ill.), 423-30 cat. 83.\n\nAchim Borchardt-Hume, Gloria Groom, Caitlin Haskell and Natalia Sidlina, eds., Cezanne, exh. cat. (Chicago: Art Institute of Chicago, 2022), 43, 96-97 cat. 27.","exhibition_history":"Paris, Manzi, Joyant & Cie, Exposition d\u2019art moderne, June 6\u2013July 6, 1912, cat. 15, as Auvers\u2013sur\u2013Oise (Vue panormaique). \n\nArt Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, Apr. 6 \u2013 Oct. 9, 1932, cat. 1 (ill.), as Auvers\u2013sur\u2013Oise, Village Panorama, 1873.\n\nArt Institute of Chicago, A Century of Progress: Exhibition of Painting and Sculpture, June 1\u2013Nov. 1, 1933, cat. 304, as Auvers\u2013sur\u2013Oise, Village Panorama, 1873.\n\nPhiladelphia, Pennsylvania Museum of Art, Exhibition of the Works of C\u00e9zanne, Nov. 10 \u2013 Dec. 10, 1932, cat. 4, as Auvers\u2013sur\u2013Oise, Village Panorama, 1873.\nArt Institute of Chicago, C\u00e9zanne, Paintings, Watercolors and Drawings: A Loan Exhibition, Feb.7\u2013 Mar. 16, 1952; New York, Metropolitan Museum of Art, April 4\u2013 May 18, 1952, cat. 15 (ill.), as Auvers: Village Panorama, 1873\u2013\u201375. \n\nParis, Mus\u00e9e de l\u2019Orangerie, Van Gogh et Les Peinters d\u2019Auvers sur Oise, Nov. 26, 1954 \u2013 Feb. 28, 1955, cat. 12 (ill.), as Vue d\u2019Auvers, 1873\u201374.\n\nLos Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28\u2013Sept. 16, 1984, cat. 69; Art Institute of Chicago, Oct. 23, 1984\u2013Jan. 6, 1985; Paris, Galeries Nationales du Grand Palais as L\u2019Impressionnisme et le paysage fran\u00e7ais, Feb. 8\u2013Apr. 22, 1985, cat. 35, as Auvers, vue panoramique. \u2013.\n\nTokyo, The Seibu Museum of Art, The Impressionist Tradition: Masterpieces From The Art Institute of Chicago, Oct. 18\u2013Dec. 17, 1985, cat. 26 (ill.), as Auvers: Panoramic View, 1873\u201375; Japan, Fukuoka Art Museum, Jan. 5\u2013Feb. 2, 1986; Japan, Kyoto Municipal Museum of Art, Mar. 4\u2013Apr. 13, 1986\u2013.\n\nParis, Galeries Nationales du Grand Palais, C\u00e9zanne, Sept. 25, 1995\u2013\u2013Jan. 7, 1996, cat. 31; London, Tate Gallery, Feb. 8\u2013\u2013Apr. 28, 1996; Philadelphia Museum of Art, May 26\u2013\u2013Aug. 18, 1996.\n\nGlasgow, Mclellan Galleries, The Birth of Impressionism: From Constable to Monet, May 23\u2013Sept. 7, 1997, no cat. no., as Auvers: Village Panorama, c. 1873.\n\nSydney Art Gallery of New South Whales, Classic Cezanne, Nov. 28, 1997\u2013Feb. 28, 1999, cat. 3, as Panoramic view of Auvers (Vue panoramique d\u2019Auvers\u2013sur\u2013Oise), c. 1873\u201374.\n\nParis, Galeries Nationales du Grand Palais, Un ami de C\u00e9zanne et de Van Gogh: Le Docteur Gachet, Jan. 28\u2013Apr. 26, 1999; New York, Metropolitan Museum of Art, as C\u00e9zanne to Van Gogh: The Collection of Dr. Gachet, May 25\u2013Aug. 15, 1999, cat. P.G. II\u20134; Amsterdam, Van Gogh Museum, Sept. 24\u2013Dec. 5, 1999, cat. P.G. II\u20134, as Panorama (Auvers), 1873 [New York and Amsterdam only].\n\nNewcastle\u2013upon\u2013Tyne, Laing Art Gallery, long\u2013term loan, Aug. 15, 2001\u2013June 2, 2002, no. cat.\n\nNew York, Museum of Modern Art, Pioneering Modern Painting: C\u00e9zanne & Pissarro, 1865\u20131885, June 26\u2013Sept. 12, 2005, cat. 66, as Auvers\u2013sur\u2013Oise, Panoramic View (Vue panoramique d\u2019Auvers\u2013sur\u2013Oise), c. 1875\u201376; Los Angeles County Museum of Art, Oct. 20, 2005\u2013Jan. 16, 2006 ; Paris, Mus\u00e9e d\u2019Orsay, as C\u00e9zanne et Pissarro, 1865\u20131885, Feb. 27\u2013May 28, 2006.\n\nMadrid, Museo Thyssen\u2013Bornemisza, Van Gogh: Los \u00faltimos paisajes; Auvers\u2013sur\u2013Ois, June 12\u2013Sept. 16, 2007, cat. 1.\n\nFort Worth, TX, Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29\u2013Nov. 2, 2008, cat. 14.\nParis, Mus\u00e9e Luxembourg, Cezanne et Paris, Oct. 12, 2011\u2013\u2013Feb. 26, 2012, cat. 33, as Vue panoramique d\u2019Auvers\u2013sur\u2013Oise.\n\nTreviso, Italy, Museo di Santa Caterina, Storie dell'Impressionismo: I grandi protagonist da Monet a Renoir da Van Gogh a Guaguin, Oct. 29, 2016\u2013\u2013Apr. 17, 2017, cat. 83, as Veduta di Auvers.\n\nDresden, Germany, Albertinum, Galerie Neue Meister, Constable, Delacroix, Friedrich, Goya: Die Ersch\u00fctterung der Sinne \/ A Shock to the Senses, Mar. 16\u2013July 14, 2013, no cat. no.\n\nArt Institute of Chicago, Cezanne, May 15\u2013Sept. 5, 2022, cat. 27; London, Tate, Oct. 5, 2022\u2013Mar. 12, 2023.","provenance_text":"Dr. Paul Gachet, Auvers-sur-Oise (1828\u20131909), c. 1873\/74 [this and the following information according to New York 1999]; by descent to his son, Paul Gachet (1873\u20131962); sold by him before 1912. Ambroise Vollard (1866\u20131939), Paris [the painting is included in Vollard photographic archives as no. 209; Vollard lent the painting to Paris 1912; see also Rewald 1996;]. Alfred Strolin, Paris and Lausanne, Switzerland, 1912; his sale, Paris, H\u00f4tel Drouot, July 7, 1921, lot 7 (ill.), as Auvers-sur-Oise Vue panoramique du village, sold for 65,500 francs [according to Annuaire des Ventes, vol. 3, Paris, 1920\/21 and Bulletin de l\u2019Art Ancien et Moderne, vol. 23, no. 672, Aug. 10, 1921]. Hector Brame, Paris [according to Rewald 1996]. Galerie Durand-Ruel, Paris and New York [stock no. 4703 and no. 11906, based on labels on reverse and Registrar archival card, copy in curatorial file]. Annie S. Coburn (Mrs. Lewis L. Coburn; 1856\u20131932), Chicago by 1932; bequeathed to the Art Institute of Chicago, 1932.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1940,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":0,"color":{"h":99,"l":41,"s":8,"percentage":0.0023331340875166347,"population":2799},"latitude":41.879625377048,"longitude":-87.622349393675,"latlon":"41.879625377048,-87.622349393675","is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 248","gallery_id":2147479698,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":40482,"artist_title":"Paul Cezanne","alt_artist_ids":[],"artist_ids":[40482],"artist_titles":["Paul Cezanne"],"category_ids":["PC-10"],"category_titles":["Painting and Sculpture of Europe"],"term_titles":["painting","Impressionism","oil painting","oil paint (paint)","Century of Progress","painting (image making)","painting techniques","painting","canvas","paint","painting","19th century","building","buildings","countryside","France","hills","homes","house","houses","sky","towns","townscapes","trees","french","oil on canvas","oil paintings (visual works)","paint","european painting","weather\/seasons","landscapes","world's fairs","Chicago World's Fairs"],"style_id":"TM-7543","style_title":"Impressionism","alt_style_ids":["TM-13203"],"style_ids":["TM-7543","TM-13203"],"style_titles":["Impressionism","19th century"],"classification_id":"TM-9","classification_title":"painting","alt_classification_ids":["TM-14976","TM-66","TM-78","TM-10387","TM-54"],"classification_ids":["TM-9","TM-14976","TM-66","TM-78","TM-10387","TM-54"],"classification_titles":["painting","french","oil on canvas","oil paintings (visual works)","paint","european painting"],"subject_id":"TM-12169","alt_subject_ids":["TM-14683","TM-15031","TM-12243","TM-12288","TM-15366","TM-12546","TM-14552","TM-12493","TM-12468","TM-12677","TM-13395","TM-11205","TM-10095","TM-8657","TM-11299","TM-12176"],"subject_ids":["TM-12169","TM-14683","TM-15031","TM-12243","TM-12288","TM-15366","TM-12546","TM-14552","TM-12493","TM-12468","TM-12677","TM-13395","TM-11205","TM-10095","TM-8657","TM-11299","TM-12176"],"subject_titles":["Century of Progress","building","buildings","countryside","France","hills","homes","house","houses","sky","towns","townscapes","trees","weather\/seasons","landscapes","world's fairs","Chicago World's Fairs"],"material_id":"TM-2451","alt_material_ids":["TM-3124","TM-2577","TM-13502"],"material_ids":["TM-2451","TM-3124","TM-2577","TM-13502"],"material_titles":["oil paint (paint)","canvas","paint","painting"],"technique_id":"TM-4273","alt_technique_ids":["TM-3891","TM-3971","TM-14210"],"technique_ids":["TM-4273","TM-3891","TM-3971","TM-14210"],"technique_titles":["oil painting","painting (image making)","painting techniques","painting"],"theme_titles":[],"image_id":"90bc0cec-0d4e-9af5-3912-52a082a428e5","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1933.422"],"contexts":{"groupings":["accession"]}},{"input":["Auvers, Panoramic View"],"weight":18611,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-09-11T17:36:09-05:00","updated_at":"2026-09-11T20:40:42-05:00","timestamp":"2026-09-12T00:30:27-05:00"},{"id":14561,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/14561","is_boosted":false,"title":"The Vase of Tulips","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAAFZQS2hXTFRiW1ZiWltpWWxoX1tvbGRsYm9pYmJtaXNqaWpvcGBydG9\/e3aChX2OjnaPkYeXloyWmI2bnQAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAURIOM8UjMkEUQYk3IIS4AUQAgAOw==","width":7284,"height":10327,"alt_text":"A work made of oil on canvas."},"main_reference_number":"1933.423","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1885,"date_end":1895,"date_display":"c. 1890","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Paul Cezanne (French, 1839\u20131906)","place_of_origin":"France","description":"

The table in this still life of flowers and fruit appears in several of Paul Cezanne\u2019s other paintings, although scholars do not agree about which of the artist\u2019s residences housed this piece of furniture. As is typical of Cezanne\u2019s work, the painting is carefully considered and the composition hard won: the traces of at least three other pieces of fruit (presumably oranges) at lower left and near the vase attest to the artist\u2019s changing opinion as he struggled to make the arrangement work. Even in the final version, there remains a tense spatial relationship between the objects, which seem to float in the picture plane rather than being anchored to the tabletop.<\/p>\n","short_description":"Typical of Cezanne\u2019s work, this painting is carefully considered and the composition hard-won: the traces of at least three other pieces of fruit at lower left attest to Cezanne's struggles to make the arrangement work. Even in the final version, there remains a tense spatial relationship between the objects, which seem to float in the picture plane rather than being anchored to the tabletop.","dimensions":"59.6 \u00d7 42.3 cm (23 1\/2 \u00d7 16 5\/8 in.); Framed: 84.5 \u00d7 67 \u00d7 10.2 cm (33 1\/4 \u00d7 26 3\/8 \u00d7 4 in.)","dimensions_detail":[{"depth":null,"width":42,"height":59,"diameter":null,"clarification":null},{"depth":10,"width":67,"height":84,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":null,"credit_line":"Mr. and Mrs. Lewis Larned Coburn Memorial Collection","catalogue_display":"

Rewald 719<\/p>

Feilchenfeldt, Warman and Nash FWN 826<\/p>

In a letter to his friend and teacher Camille Pissarro<\/a>, Paul C\u00e9zanne compared the view of the sea from L\u2019Estaque to a playing card, with its simple shapes and colors. The landscape\u2019s configuration and color fascinated him. This painting is one of more than a dozen such vistas created by the artist during the 1880s. C\u00e9zanne divided the canvas into four zones\u2014architecture, water, mountain, and sky. Although these four elements are seen repeatedly in Impressionist paintings, C\u00e9zanne\u2019s work is very different from that of his fellow artists. Whereas their primary purpose was to record the transient effects of light, C\u00e9zanne was interested in the underlying structure and composition of the views he painted. Filling the canvas with shapes defined by strong, contrasting colors and a complex grid of horizontal, vertical, and diagonal lines, he created a highly compact, dynamic pattern of water, sky, land, and village that at once refers back to traditionally structured landscape paintings and looks forward to the innovations of Cubism. Using blocklike brushstrokes to build the space, C\u00e9zanne created a composition that seems both two- and three-dimensional. Not locked tightly in place, his forms appear to touch and shift continually, creating a sense of volume and space that strengthens the composition and brings it to life.<\/p>\n","short_description":null,"dimensions":"80.2 \u00d7 100.6 cm (31 5\/8 \u00d7 39 5\/8 in.); Framed: 107.4 \u00d7 127.4 \u00d7 10.5 cm (42 1\/4 \u00d7 50 1\/8 \u00d7 4 1\/8 in.)","dimensions_detail":[{"depth":null,"width":100,"height":80,"diameter":null,"clarification":null},{"depth":10,"width":127,"height":107,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":null,"credit_line":"Mr. and Mrs. Martin A. Ryerson Collection","catalogue_display":"

Rewald 626<\/p>

Feilchenfeldt, Warman and Nash FWN 196<\/p>