Cézanne account

Paul Cézanne (1839-1906)


of his exhibited works



On this page you will find an account of the works that Cézanne exhibited at the 1st and 3rd ‘impressionist’ exhibition and at the Salon (of 1882). For general info on Paul Cézanne and the used sources see the main page. See link for an impression of the works he exhibited in 1874 and 1877.


The first ‘impressionist’ exposition 1874:

  • catalogue numbers 42-44
  • so Cézanne exhibited 3 works
    • 2x indication of place
    • 0x indication of time, season or weather
    • 2x a study
    • 1x loans (appartient à…); of Dr. Gachet.
  • See for the suggestions of Moffett (R2,p120), of Dayez / Adhémar (R87,p234/5) and Berson (R90II,p21+). Moffett refers to the Catalogue Raisonné of Venturi (1936). I also refer to the numbers in the catalogue edited by Dony / Braun (1976=R48). I also refer to the suggestions of Feilchenfeldt, Walter, Jayne Warman, and David Nash. “Exhibition: 1874 Paris.” The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonnéhttps://www.cezannecatalogue.com/exhibitions/entry.php?id=26 (accessed on February 23, 2021), shortly referred to as FWN+catalogue number (=iR194).
  • see link for the pictures.
Catalogue 1874:

1IE-1874-42          La Maison du pendu, à Auvers-sur-Oise
Moffett and Dayez suggest 1873, CR133, La maison du pendu à Auvers-sur-Oise, musée d’Orsay. Now: 1872-3, CR133, Auvers-sur-Oise, house of the hanged man, 55×66, Orsay (iR2;iR59;R48,no136;R163,p46) = FWN42 (iR194). It is also called the suicide’s house. Mario de Micheli writes that this work is considered Cézanne’s first impressionist masterpiece (R164,no13). But when we look close at this work, we see that the colours are quite subdued and brownish and not bright.

1IE-1874-43          Une moderne Olympia, esquisse ; appartient à  M. le Dr Gachet
Moffett and Dayez suggest 1873ca, CR225, Une moderne Olympia, musée d’Orsay. Now: 1873, CR225, a modern Olympia, 46×55, Orsay (iRx;R48,no250) = FWN43 (iR194). Castagnary comments: ‘an excessive impression’, ‘a romantism without restraint’, ‘a subjective fantasy’. De Montifaud describes Cézanne as a ‘crazy, agitated fool painting from a delirium tremens’ suggesting that he used opium and haschisch.  (R87,p235).

1IE-1874-44          Étude, paysage à Auvers
Moffett suggests with a perhaps 1873ca, CR157, Quartier Four, à Auvers, 46×55, Philadelphia Museum of Art (R2,p126). Adhémar and Berson affirm. Rewald suggests 1873, CR138, House of Père Lacroix, NGA Washington (R2,p126;R48,no142). A suggestion that is also mentioned by Moffett and Berson (R2,p126;R90II,p22) and affirmed by the online catalogue =FWN77 (iR189). I render both options.




The third ‘impressionist’  exposition 1877:

  • catalogue numbers 17 – 32
  • 1 work was exhibited outside the catalogue (=hors catalogue = hc)
  • so in total  Cézanne exhibited 17 works, probably exhibited in room 3.
    • 0x indication of place
    • 0x indication of time, season or weather
    • 9x a study
    • 0x loans (appartient à…)
  • See for the suggestions of Moffett (R2,p203/4) and Berson (R90II,p70-72+86-89). They refers to the Catalogue Raisonné of Venturi (1936), Rewald (1969) and Brettell / Belloli (R17). I also refer to the suggestions of Feilchenfeldt, Walter, Jayne Warman, and David Nash. “Exhibition: 1877 Paris.” The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonnéhttps://www.cezannecatalogue.com/exhibitions/entry.php?id=32 (accessed on February 23, 2021), shortly referred to as FWN (iR189). I also refer to the numbers in the catalogue edited by Dony / Braun (1976=R48). 
  • see link for the pictures.
Catalogue 1877:

3IE-1877-17          Nature morte
3IE-1877-18          Nature morte
3IE-1877-19          Nature morte
Moffett gives several suggestions for no. 17-19: CR196; 1877 or 79 and: CR197, the dessert, 59×73, Philadelphia MA (R2,p194) and: CR207, referring to Rewald. Berson suggests for no.17 CR196, for no.18 CR197, for no.19 CR207, all referring to Rewald, 1969,p50 (R90II,p70). The online catalogue raisonné makes the same suggestions for the numbers 17-19 =FWN 744+745+742 (iR189). Berson refers to the reviews of Bernadille and Fillonneau (R90II,p70). Bernadille (1877/04/13) reviews ‘Les Natures mortes de M. Paul Cézanne are not dead enough yet: I have seen horrified spectators who would have gladly killed them.’ (R90I,p130). Fillonneau (1877/04/20) just mentions them (R90I,p146). So these reviews don’t bring us any further. As an extra option I also like to render: 1877ca, CR214, Still Life, Flask, Glass, and Jug, 46×55, Guggenheim NY (iR2;R48,no212;R2,p204). Note: Cézanne has made many still-lifes before 1877, so there are also other options (R48,p96-99).

3IE-1877-20          Étude de fleurs
3IE-1877-21          Étude de fleurs
Moffett gives several suggestions for no.  20+21: CR179; CR180; CR181; CR182, Pushkin; CR222, NGA Washington, referring to Rewald; referring to Brettell CR181, CR182. Berson suggests: CR182 and CR181. The online catalogue suggests CR182 and FWN722 (iR194). These exhibited works are only mentioned in the review of Fillonneau (1877/04/20), who just mentions them (R90I,p146;R90II,p70).
I render 3 suggestions: 1873-77, CR182+FWN732, Flowers in a Blue Vase, 55×46, Hermitage (iR10;iR114;iR2;iR59;iR194,no732;R90II,p187;R2,p203;R48,no215); and: 1874 (or1873-77), CR181, Vase of flowers (on a flower rug), 61×50, private (iR10;iR247;R189,no181;R48,no217;R90II,p87;R2,p203); and: 1876ca, FWN722, Flowers in a Rococo vase, 73×58, NGA Washington (iR10;iR166;iR194,no722;R48,no223). Note: Cézanne has made several flower still-lifes before 1877, so there are also other options (R48,p98).

3IE-1877-22          Paysage, étude d’après nature
3IE-1877-23          Paysage, étude d’après nature
3IE-1877-24          Paysage, étude d’après nature
3IE-1877-25          Paysage, étude d’après nature

Only Fillonneau and De Lora review these works (R90II,p70). Fillonneau (1877/04/20), just mentions them (R90I,p146;R90II,p70). Léon de Lora / de Fourcaud (1877/04/10) reviews ‘You can’t imagine the Impressions d’après nature of M. Césanne (sic); I mistook them for unscraped pallets.’ (R90I,p163;R2,p214). These reviews don’t help us much further in knowing which works Cézanne did exhibit.
Moffett gives several suggestions for no. 22-25: CR464 (referring to Rewald, 1969); and referring to Brettell CR 158, CR168, CR171, CR173. Berson suggests arbitrarily for no.22: 1875-6, CR158+FWN102, (La Route) Le mur d’enceinte, 50×65, private (iR59;iR194,no102;R189,no158;R90II,p70+87;R2,p203;R48,no159). For no.23: 1876ca, CR168+FWN96, The Sea at L’Estaque, 42×59, Zurich FR (iR2;iR59;iR194,no96;R189,no168;R90II,p71+87;R2,p214;R48,no172;R163,p67). For no.24: 1875-77, CR171+FWN99, View on the surroundings of Auvers-sur-Oise, 60×50, private (iR2;iR194,no99;R189,no171;R90II,p88;R2,p203;R48,no175). For no.25 she renders two options: 1875-77, CR173, La Côte des Boeufs, Pontoise, 65×54, private (iR2;R189,no173;R90II,p88+71;R2,p203;R48,no176); and: 1876ca, CR464+FWN90, Chestnut Trees and Farmstead of Jas de Bouffan, 51×65, private (iR2;iR194,no90;R189,no464;R90II,p88;R2,p203;R48,no361). Four of these suggestions are also done by the online catalogue of FWN (iR194). Note: Cézanne has made many landscapes before 1877, so there are also other options (R48,p92-96).

3IE-1877-26          Les baigneurs, étude, projet de tableau
Moffett suggests 1875-78ca, CR273, Bathers at rest (four men), 35×46, MAH Geneva (iR10;R90II,p71;R2,p200;R48,no288;R174,p102) and mentions that previously this was thought to be CR276 in the Barnes collection. Berson, after a letter from Rewald, states this suggestion is not certain. Joseph J. Rishel defends the suggestion for CR276 (R174,p301): 1875-77ca, CR276+FWN926, Bathers at Rest, 82×101, BF Philadelphia (iR2;iR194,no926;R189,no276;R90II,p71;R2,p204;R48,no287;R174,p103+301); part of the Caillebotte bequest. Also the online catalogue follows this suggestion FWN926 (iR194). I render both options. There were several contemporary reviews (R90II,p71).

3IE-1877-27          Tigre
Moffett suggests CR250, (Wildenstein collection?). Now: 1873-77ca, CR250+FWN648, Tiger (after Barye), 29×37, private (iR10;iR167;iR194,no648;R189,no250;R90II,p71+88;R2,p204;R48,no265); former Chocquet collectie.

3IE-1877-28          Figure de femme, étude d’après nature
Moffett doesn’t give a suggestion, nor does Berson who refers to the reviews of A.P, Bernadill and Fillonneau (R90II,p71). The online Cézanne catalogue suggests: 1872-77ca, CR228+FWN441, Portrait de Mme Cézanne (with bowed head), 26×30, private (iR246;iR248;iR194,no441;R189,no441;R48,no229). I follow. Note: Cézanne made several portraits of his wife probably before 1877, but the dating often is unsure (CR226+228+229+278+291+292;R48,p98). He also made two studies of young woman (CR277+285), maybe these are also options.

3IE-1877-29          Tête d’homme, étude
Moffett, Berson and FWN suggest: 1876-77, CR283+FWN437, Portrait of Victor Chocquet, 46×37, private NY (iR3;iR2;iR59;iR194,no437;R189,no283;R90II,p29;R2,p215;R48,no243;R163,p67)

3IE-1877-30          Aquarelle, impression d’après nature
3IE-1877-31          Aquarelle, impression d’après nature
Moffett mentions ‘Rewald 8 + 10’ referring to Brettell. Berson refers to Rewald 1983 no.10+17. She renders arbitrarily for no. 30: 1867-70, FWN1013, Rocks, wc, 23×35, SM Frankfurt aM (iR194,no1013;iR10;iR132;R90II,p71+88;R2,p204), also affirmed by FWN. And for no.31: 1867, FWN1014, La Route Montante, wc, 21×35, EBM Tokyo (iR194,no1014;R90II,p71+89;R2,p204), also affirmed by FWN.

3IE-1877-32          Aquarelle, fleurs
Moffett mentions ‘Rewald 17’ referring to Brettell. Berson refers to Rewald 1983 no.8, now: 1865-79, FWN1900, Flowers and fruit, wc, 18×14, private (iR194,no1900;R90II,p71+89;R2,p204). FWN affirms.

3IE-1877-32+hc    Scène fantastique
Moffett suggests 1873ca, CR243, fantasy scene (the fisherman), 54×81, private collection (R2,p13). It hung in room 2. This is affirmed by Berson (R90II,p72+89) and FWN (iR194).



Cézanne at the Salon:
Cézanne only once exhibited at the Salon (iR1). He was rejected many times. Anyway in 1879 (R5,p113).

Cézanne was rejected for the 1863 Salon and exhibited at the Salon des Refusés, but was not in the catalogue. Arnold Mortier later in le Figaro (1867/04) described it as ‘showing two pig’s feet in the form of a cross’. (R1,p168;R88II,p414)

Now: 1866, Anthony Valabrègue, 116×98, NGA Washington (iRx;R1,p139;R88II,p413). His request for a Salon des Refusés was denied by Count Nieuwerkerke, Superintendent of Fine Arts: ‘We have come to realize how inconsistent with the dignity of art the exhibiton of the Refusés was, and it will not be repeated.’ (R1,p142)
Monneret mentions that a work called ‘La Femme à la puce’ (Eng.: the woman with fleas) also was rejected (R88II,p413).

Arnold Mortier in le Figaro (1867/04) wrote: ‘This time M. Sésame (sic) has sent to the exhibition two compositions which, though less queer, are nevertheless just as worthy of exclusion from the Salon. These compositions are both entitled The wine grog. One depicts a nude man to whom a very dressed-up woman has just brought a wine grog; the other portrays a nude woman and a man dressed as a lazzarone; in this one the grog is spilt.’ (R1,p168+170;R88II,p414). Note: with a ‘lazzarone’ is probably meant a begger (from Naples). Zola replied in Le Figaro (1867/04/12) on Mortier calling the works ‘Grog au vin et Ivresse’ (Eng.: Wine Grog and Intoxication) (R1,p170;R88II,p414).

Cézanne had been refused (R88II,p398).

Cézanne had been refused (R88II,p400).

Cézanne had submitted a work and was refused (R88II,p400;iR1).

SdAF-1882-520, Portrait de M. L. A…
Guillemet, who was in the jury, pleade for Cézanne. This portrait has been lost (R33,p63;R88II,p402).

Cézanne had been refused (R88II,p403).


Cézanne at the Exposition Universelle:

1889, Exposition Centennale (=EU-C-1889) (R231/iR40):
EU-C-1889-124, La maison du pendu (app. à M. Choquet)


Recommanded citation: “Paul Cézanne, an account of his exhibited works. Last modified 2022/06/06.  https://www.impressionism.nl/cezanne-account/.”