Measuring 59.7 x 73 cm, the present painting is a superb example of the mature still lifes of the 1890's in which an assortment of humble objects on a tabletop is transformed into a pictorial statement of remarkable grandeur and profundity.
Paul Cezanne, "Rideau, cruchon et compotier", detail 2
On a simple wooden-table, concealed by a white cloth into which is nestled an assortment of fruit-lemons, apples, pears and oranges, Cézanne placed a grey-blue earthenware jug, used seven times in works of varying complexity and a white faience dish containing an arrangement of fruit. A patterned blue drapery used in a number of still lifes of the 1880's and 1890's adds a formal decorative note to the left. The still life arrangement is silhouetted against a plain background; a wall transformed into a symphony of subtly modulated coloured patches.
Cézanne's still lifes demand and repay intense and prolonged scrutiny. At first glance the present composition is a visually pleasing, rich coloured display of commonplace objects that does not seem to question the status quo. Each piece of fruit is painted so that it achieves its maximum definition and luminosity. Through a system of checks and balances maintaining a tense equilibrium, Cézanne achieved a visual opulence that rivals the greatest still lifes of the 17th Century.
A still life by Cézanne titled “Rideau, Cruchon et Compotier” (Curtain, an earthenware jug and fruit-dish) fetched a record price of US $ 60, 502, 500 against a top pre-sale estimate of $ 35 million at Sotheby's New York on May 10th 1999.
Cézanne's still lifes have long been recognised as among the greatest achievements, the works in which can be seen most clearly the innovations that led to the stylistic developments of early 20th Century art.
Paul Cezanne, "Rideau, cruchon et compotier", detail 1
Cézanne achieved in still life the expression of the most exalted feelings and the deepest intuitions of his nature. This painting formerly belonged to the collection of Mrs and Mr John Hay Whitney. It first was bought by the Paris dealer Ambroise Vollard who sold it to Cornelis Hoogendijk and then was in the possession of Paul Rosenberg, of Dr Albert C. Barnes and of the Carroll Carstairs Gallery.
By the time this work was painted circa 1893-94, Cézanne had been painting still lifes for over 30 years. During the first decade of his life as a painter, the period that produced such works of disturbed romanticism as L'Enlèvement, 1867, he painted a number of still lifes of great accomplishment, romantic in feeling but based on observed reality. Le Pain et les Œufs, 1865 and Pot vert et bouilloire d'étain 1867-69 were forceful exercises in a style that can be compared with the realism of painters such as Théodule Ribot and François Bonvin.
Measuring 59.7 x 73 cm, the present painting is a superb example of the mature still lifes of the 1890's in which an assortment of humble objects on a tabletop is transformed into a pictorial statement of remarkable grandeur and profundity.
Paul Cezanne, "Rideau, cruchon et compotier", detail 2
On a simple wooden-table, concealed by a white cloth into which is nestled an assortment of fruit-lemons, apples, pears and oranges, Cézanne placed a grey-blue earthenware jug, used seven times in works of varying complexity and a white faience dish containing an arrangement of fruit. A patterned blue drapery used in a number of still lifes of the 1880's and 1890's adds a formal decorative note to the left. The still life arrangement is silhouetted against a plain background; a wall transformed into a symphony of subtly modulated coloured patches.
Cézanne's still lifes demand and repay intense and prolonged scrutiny. At first glance the present composition is a visually pleasing, rich coloured display of commonplace objects that does not seem to question the status quo. Each piece of fruit is painted so that it achieves its maximum definition and luminosity. Through a system of checks and balances maintaining a tense equilibrium, Cézanne achieved a visual opulence that rivals the greatest still lifes of the 17th Century.
The former record price for Cézanne was also a still life of 1893-94 measuring 46 x 54 cm, which was sold by Sotheby's for $ 28,6 million in May 1994 in New York. In addition, a Paris dealer sold a still life of apples privately to U.S collector Ronald Lauder for $ 50 million two years ago.
During the same sale, a preparatory painting (65.1 x 79.1 cm) by Georges Seurat for his famous work “Un Dimanche à la Grande Jatte” sold for $ 32 million against an estimate of $ 25-35 million causing some disappointment as it was expected to reach the $ 40 million level.
Georges Seurat, "Paysage, l'Ile de la Grande-Jatte", detail 1
Painted between 1884 and 1889 and retouched during this latter year when Seurat added dots on its borders, this painting was of a quality never seen so far on the market regarding the painter's works.
In the entire history of art, there are few images that are instantly recognised throughout the world. One of them is Seurat's Un Dimanche à la Grande Jatte, 1884-86 (The Art Institute of Chicago), which became famous from the moment it was first exhibited in the eighth and last Impressionist group show in 1886.
There are numerous drawings and oil studies on small wooden panels for Un Dimanche à la Grande Jatte but there are only two relatively large easel paintings that are clearly preliminary to the final work; the present example, Paysage, l'Ile de la Grande Jatte and the Etude d'ensemble also of 1884. The relationship of both to the final composition is particularly interesting but when he worked on the final painting he made scores of changes and adjustments, and he probably referred to numerous studies and drawings as he proceeded.
The Whitney painting was included in important exhibitions twice during Seurat's life. It was first shown in 1884-85 at the exhibition organised by the Independents. In 1886 it was sent to an exhibition organised by Durand-Ruel at the American Art Galleries and National Academy of Design in New York and evidently Seurat intended it to be seen as a work of art in its own right.
The painted border was added later, apparently in 1889 or 1890. In 1884 the canvas would have lacked the small dabs that now are found across the shaded and sunlit grass and in the shaded portions of the distant trees. When he reworked the picture, he used smaller strokes principally to add contrasting hues, especially the solar orange sprinkled over the shaded grass and the pinks that oppose the bluish purples.
Georges Seurat, "Paysage, l'Ile de la Grande-Jatte", detail 2
This painting was probably made as the result of several visits when the island was virtually unpeopled and devoid of nearly all activity. As such, the image seems to have taken on a life of its own and is unquestionably one of the most beautiful and sublime of Seurat's paintings.
It was inherited in 1891 by the artist's brother-in-law Léon Appert who kept until at least 1905 when Léopold Appert inherited it in turn. It was then bought by Alex Reid and Lefevre, Glasgow, in 1926 and by Knoedler & Co, London, the same year. It was with C.W Kraushaar Galleries in October 1926 and then went back to Alex Reid and Lefevre, London, from April 1929 until 1952. Sir Alfred Beatty bought it in 1952. The painting then went in the possession of Paul Rosenberg & Co, New York, which sold it to Mrs and Mrs John Hay Whitney in 1955.
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