The Paintings, Watercolors and Drawings of Paul Cezanne
An Online Catalogue Raisonné under the Direction of Société Paul Cezanne
(Formerly directed by Walter Feilchenfeldt, Jayne Warman and David Nash)
FWN 780
Nature morte au compotier
1879–80
Alternate titles: Compotier de fruits; Compotier, Verre et Pommes; Die Obstschüssel; Fruits ou Nature morte; Le Compotier; Nature morte; Nature morte: fruits; Still life; Still Life with Compotier; Still Life with Fruit Dish; Stilleben
Rewald (418): 1879–80; Venturi revised: 1879–82; Venturi (341): 1879–82; Rivière: 1877 and 1890; Vollard: 1877; Cooper: 1877; Gowing: 1879; Ratcliffe: probably 1879
Oil on canvas
18 1/8 x 21 5/8 in. (46 x 55 cm)
Signed lower left in blue: P. Cezanne
Vollard archives: photo no. 272 and 190, Annotated by Cezanne's son: 1877; in another hand: Viau
Provenance
Exhibition History
Exposition Universelle, Grand Palais, Paris, Centennale de l'Art français, 1800–1899, April 15–October 15, 1900, no. 86, as Nature morte: fruits, lent by Viau.
Secession, Vienna, Entwicklung des Impressionismus in Malerei u. Plastik: XVI. Ausstellung der Vereinigung bildender Künstler Österreichs, Secession, January–February 1903, no. 62, as Stilleben, lent by Viau.
La Libre Esthétique, Brussels, Exposition des peintres impressionnistes, February 25–March 29, 1904, no. 13, as Nature morte: fruits, lent by Georges Viau.
Müvészház, Budapest, Hungary, Nemzetközi Impresszionista Kiállítás, April–May 1910, no. 15, as Still life, lent by Marcel Nemes.
Museum of Fine Arts, Budapest, Hungary, [Nemes Collection], November 1910, no. 74, as Still life.
Alte Pinakothek, Munich, Sammlung Marczell de Nemes, June 1911–January 1912, no. 28, ill.
Städtische Kunsthalle, Düsseldorf, Germany, Sammlung Marczell von Nemes, Budapest, Summer 1912, no. 113, ill.
National Gallery of Canada, Ottawa, Ontario, Canada, French Painting of the 19th Century, January 1934, tentative identification. Traveled to: Art Gallery of Toronto, Toronto, February 1934; Art Association, Montreal, March 1934.
Gazette des Beaux-Arts, Paris, Les etapes de l’art contemporain, II, Gauguin, ses Amis: l’école de Pont-Aven et l’académie Julien, February 26–March 25, 1934.
Musée de l'Orangerie, Paris, Cézanne, May 20–October 11, 1936, no. 39, pl. XXXV, as Compotier, Verre et Pommes, lent by Lecomte.
Orangerie, Paris, Hommage à Cézanne, July 2–October 17, 1954, no. 43, pl. XVIII, lent by private collection, Paris.
Orangerie, Paris, Maurice Denis, June 3–August 31, 1970, E', as Compotier, Verre et Pommes, c. 1877, cataloged but not shown.
Grand Palais, Paris, Centenaire de l'impressionnisme, September 24–November 24, 1974, no. 7, ill., as Compotier, Verre et Pommes, lent by Private collection, France. Traveled to: The Metropolitan Museum of Art, Impressionism: A Centenary Exhibition, New York, December 12, 1974–February 10, 1975.
The Museum of Modern Art, New York, Masterpieces from the David and Peggy Rockefeller Collection, June 9–September 6, 1994, ill., p. 28.
Museum Folkwang, Essen, Germany, Cézanne: Aufbruch in die Moderne, September 18, 2004–January 16, 2005, listed p. 231, ill. pp. 23 and 206, as Nature morte au compotier.
The Art Institute of Chicago, Chicago, Cezanne, May 15–September 5, 2022, no. 53, ill. Traveled to: Tate Moderrn, London, October 6, 2022–March 12, 2023.
Published References
Gauguin, Paul. Sketchbook, known as Album Briand. , p. 5 (as size 10), as Nature morte, list datable to c. Jan. 1888.
Gauguin, Paul. "Letter to Emile Schuffenecker, n.d. [probably written beginning of June 1888 in Pont Aven]." In Correspondance de Paul Gauguin: documents témoignages, 1 [1873-1888], Victor Merlhès, ed. Paris: Fondation Singer-Polignac, 1984, p. 182.
Bernard, Émile. "Paul Cézanne." Les Hommes d'aujourd'hui 8, no. 387 (1891), (described), seen at Schuffenecker's.
Gauguin, Paul. "[Letters written from Tahiti] 'Mon cher Daniel', Août 96 [sic (97)] and Octobre 98." In Lettres de Paul Gauguin à Georges-Daniel de Monfreid, Segalen, Victor, ed. Paris: Georges Crès et Cie, 1918, p. 185 (p. 111 (1950 ed.)) and p. 225 (p. 130 (1950 ed.)).
Heilbut, Emil. "Die Impressionistenausstellung der Wiener Secession." Kunst und Künstler 1 (1902-03), ill. p. 192, as Stilleben.
Duret, Théodore. Histoire des peintres impressionnistes: Pissarro, Claude Monet, Sisley, Renoir, Berthe Morisot, Cézanne, Guillaumin. Paris: H. Floury, 1906, ill. p. 189.
Mauclair, Camille. Trois crises de l'art actuel. Paris: Éditions Fasquelle, 1906, pp. 191–92.
Lanoë, G. "Cezanne." Les Tendances Nouvelles 32 (1907), p. 625, quotes from E. Bernard, 1891: "une coupe blanche sur fond vert-bleu strié des fleurs d'un papier peint; proches, un verre en urne, une serviette déployée" seen chez Schuffenecker [perhaps on consignment?]
Farkas, Zoltan. "Nemes Marczell gyujteményének uj képei." Vasárnapi Ujság, Junel 9, 1912, pp. 466-67.
Waldmann, Emil. "Die Sammlung Nemes." Kunstchronik: Wochenschrift für Kunst und Kunstgewerbe Neue Folge XXIV, no. 16 (January 17, 1913), col. 227.
Meier-Graefe, Julius. Cézanne und sein Kreis: ein Beitrag zur Entwicklungsgeschichte: mit 127 Tonätzungen und fünfzehn Heliogravüren. Munich: R. Piper, 1918, ill. p. 109.
Faure, Élie. Histoire de l'Art. L'Art moderne. Paris: Les Éditions Crès, 1921, ill. p. 399.
Gasquet, Joachim. Cézanne. Paris: Les Editions Bernheim-Jeune, 1921, p. 120, pl. p. 118, as Le Compotier.
Meier-Graefe, Julius. Cézanne und sein Kreis: ein Beitrag zur Entwicklungsgeschichte: mit 171 Tonätzungen und einem Lichtdruck. Munich: R. Piper, 1922, ill. p. 127, as Stilleben, 1877.
Rivière, Georges. Le Maître Paul Cézanne. Paris: Librairie Floury, 1923, p. 205, listed twice (?)
Bernard, Emile. Souvenirs sur Paul Cézanne: une conversation avec Cézanne: la méthode de Cézanne. Paris: R.G. Michel, 1925, ill. opposite p. 125.
Fry, Roger. "Le développement de Cézanne." L'Amour de l'art 7, no. 12 (December 1926), ill. p. 403, as Le Compotier.
Gasquet, Joachim. Cézanne. Paris: Les Editions Bernheim-Jeune, 1926, p. 200, pl. [36] hors texte, as Le Compotier.
Kreitmaier, Josef. Von Kunst und Künstlern. Freiburg im Breisgau: Herder, 1926, pl. 8.
Bernard, Émile. Souvenirs sur Paul Cézanne, Une Conversation avec Cézanne. Paris: R.G. Michel, 1926, ill. opp. p. 82.
Pfister, Kurt. Cézanne: Gestalt, Werk, Mythos. Potsdam: Gustav Kiepenheuer Verlag, 1927, fig. 36, as Stilleben, 1877.
Fry, Roger. Cézanne: A Study of His Development. New York: Macmillan, 1927, pp. 42–51, fig. 16, pl. XI.
Meier-Graefe, Julius. Cézanne. translated by J. Holroyd-Reece. London: Ernest Benn, 1927, pl. XX.
Olmenhove, van den. "Kunst: Paul Cézanne." Verf en kunst: maandblad van P. A. Regnault's verf-, inkt- en blikfabrieken (Surabaya) 4, no.10, no.11, no.12 (1935), ill. p. 7 (no.11), asStilleven uit een vroegere periode.
Benesch, Otto. "Cézanne: zur 30. Wiederkehr seines Todestages am 22. Oktober." Die Kunst für Alle 52, no. 3 (December 1936), ill. p. 58, as Die Obstschüssel, c. 1877.
L'Art sacré: revue mensuelle. Special number, Cézanne. Paris, May 1936, fig. 9 p. 13, as Nature morte au compotier.
Huyghe, René. "Cézanne et son oeuvre." L'Amour de l'art 17, no. 5 (May 1936), fig. 53 p. 173, as Le Compotier, 1877.
Venturi, Lionello. Cézanne: Son Art, Son Oeuvre. Paris: Editions Paul Rosenberg, 1936, no. 341, ill. vol. II, as Compotier, Verre et Pommes.
Rewald, John. "A propos du catalogue raisonné de l'œuvre de Paul Cézanne et de la chronologie de cette œuvre." La Renaissance (Paris), vol. 20, nos. 3-4 (March–April 1937), p. 56.
Barnes, Albert C., and Violette de Mazia. The Art of Cézanne. New York: Harcourt Brace, 1939, no. 64, p. 191, ill. (analysis p. 329).
Bazin, Germain. "Cézanne devant l'impressionnisme." Labyrinthe 2, no. 17 (February 15, 1945), p. 6, ill.
Rewald, John. The History of Impressionism. New York: The Museum of Modern Art, 1946, p. 346, ill.
Novotny, Fritz. Cézanne. London: Phaidon Press, 1947, pl. 24, as Nature morte au compotier, 1877-79.
Jedlicka, Gotthard. Cézanne. Berne: Alfred Scherz Verlag, 1948, fig. 20, as Nature morte au compotier.
Fry, Roger. Cézanne: A Study of his Developement. London: Hogarth Press, 1952, p. 42, pl. XI fig. 16, as Le Compotier.
Gowing, Lawrence. "Notes on the Development of Cézanne." The Burlington Magazine 98, no. 639 (June 1956), p. 188.
Denis, Maurice. "entry of February 6, 1898." Journal, vol. 1 (1884–1904). Paris: La Colombe, 1957, pp. 131, 143, 157.
Elles, Iris. Das Stilleben in der französischen Malerei des 19. Jahrhunderts. Zurich: Origo Verl, 1958, pp. 102–03.
Rewald, John. The History of Impressionism. New York: The Museum of Modern Art, 1961, p. 474, ill.
Bodelsen, Merete. "Gauguin's Cézannes." The Burlington Magazine 104, no. 710 (May 1962), pp. 208, fig. 42.
Reff, Theodore. "Cézanne's Constructive Stroke." Art Quarterly 25, no. 3 (Autumn 1962), p. 214.
Rosenberg, Jakob. On Quality in Art. Princeton: Princeton University Press, 1967, pl. 82.
Andersen, Wayne V. "Cézanne, Tanguy, Choquet [sic]." The Art Bulletin 49, no. 2 (June 1967), pp. 138–39.
Bodelsen, Merete. Gauguin og Impressionisterne. Copenhagen: Kunstforeningen, 1968, pp. 79-92, ill. p. 89.
De La Coste-Messelière, Marie-Geneviève. "Une Jeune Prince amateur d'impressionnistes et chauffeur." L'Oeil 179 (November 1969), p. 22, ill.
Roskill, Mark W. Van Gogh, Gauguin and the Impressionist Circle. Greenwich: New York Graphic Society, 1970, pl. 19.
Bodelsen, Merete. "Gauguin, the Collector." The Burlington Magazine 112, no. 810 (September 1970), p. 606, Catalogue no. 7, as Nature morte.
Schapiro, Meyer. Paul Cézanne. Translated by Louis-Marie Ollivier. Paris: Nouvelles Editions Françaises, 1973, pl. 12 (with comments).
Reff, Theodore. "The Pictures within Cézanne's Pictures." Arts Magazine 53, no. 10 (June 1979), fig. 1.
Ponente, Nello, ed. Cézanne e le avanguardie. Rome: Officina Edizioni, 1981, Lux: pl. 7.
Potter, Margaret. The David and Peggy Rockefeller Collection. New York: [privately published], 1984, pp. 152–58, ill.
Arnold, Matthias. "Cézanne und van Gogh: Die beiden grossen Postimpressionisten I: Ein Vergleich." Weltkunst (Munich) 56, no. 1 (January 1, 1986), p. 30, fig. 10.
Kirsch, Robert. "Paul Cézanne: Jeune fille au piano and Some Portraits of His Wife. An Investigation of His Painting of the Late 1870's." Gazette des beaux-arts, vol. 110, periode 6 (July–August 1987), p. 25.
Düchting, Hajo. Paul Cézanne: Natur wird Kunst. Cologne: Benedict Taschen Verlag, 1989, p. 179, ill.
Geelhaar, Christian. "The Painters Who Had the Right Eyes: On the reception of Cézanne's Bathers." In Paul Cézanne: The Bathers. Basel: Kunstmuseum Basel, 1989. Exhibition catalogue, p. 287, fig. 217, as Compotier, Verre et Pommes.
Lewis, Mary Tompkins. Cézanne's Early Imagery. Berkeley: University of California Press, 1989, p. 147.
Verdi, Richard. Cézanne. London and New York: Thames & Hudson, 1992, pp. 11-12, fig. 6, c. 1880.
Paul, Barbara. Hugo von Tschudi und die moderne französische Kunst im Deutschen Kaiserreich. Mainz: Philipp von Zabern, 1993, fig. 99.
Cachin, Françoise, and Joseph Rishel. Cézanne. Paris: Réunion des musées nationaux, 1995. Exhibition catalogue, p. 31, ill.
Kitschen, Friederike. Cézanne: Stilleben. Ostfildern-Ruit: Verlag Gerd Hatje, 1995, fig. 33.
Rewald, John. The Paintings of Paul Cézanne, A Catalogue Raisonné, 2 vols. In Collaboration with Walter Feilchenfeldt and Jayne Warman. New York: Harry N. Abrams, 1996, no. 418, ill. vol. 2, as Nature morte au compotier.
Boehm, Gottfried. "Die Sprache der Dinge. Cézannes Stilleben." In Cézanne—Picasso—Braque. Der Beginn des kubistischen Stillebens. Ostfildern-Ruit: Hatje Cantz, 1998. Exhibition catalogue, fig. 6.
Kitschen, Friederike. "Malen, Sehen, Denken, Fühlen - Cézannes Stilleben." In Cézanne Manet Schuch: drei Wege zur autonomen Kunst. Munich: Hirmer, 2000. Exhibition catalogue, fig. 7, erroneously as Private collection, New York.
Boehm, Gottfried. "Paul Cézanne - La Passione per il visibile." In Cézanne: Il padre dei moderni. Milan: Mazzotta, 2002. Exhibition catalogue, ill. p. 60.
Lewis, Mary Tompkins. "The Path to Les Lauves: A History of Cézanne's Studios." In Atelier Cézanne, 1902–2002: Le centenaire. Aix-en-Provence: Société Paul Cézanne, 2002, fig. 17, ill. in color.
Athanassoglou-Kallmyer, Nina M. Cézanne and Provence: The Painter in His Culture. Chicago and London: The University of Chicago Press, 2003, p. 248, fig. 6.5, as Nature morte au compotier.
Armstrong, Carol. Cézanne in the Studio: Still Life in Watercolors. Los Angeles: Getty Publications, 2004. Exhibition catalogue, p. 3, fig. 2, as Still Life with Compotier, 1880.
Feilchenfeldt, Walter. "Cézannes Sammler. Von Zola bis Annenberg." In "By Appointment Only": Schriften zu Kunst und Kunsthandel,
Cézanne und Van Gogh. Wädenswil: Nimbus, 2005, p. 196, ill.
Kropmanns, Peter. Cézanne: Eine Biographie. Stuttgart: Reclam, 2006, ill. between pp. 116 and 117.
Machotka, Pavel. Cézanne: The Eye and the Mind, 2 vols. Marseille: Editions Crès, 2008, vol. 1, fig. 198; vol. 2, p. 133, as Nature morte au compotier.
Golding, John. "Cézanne, Braque and Pictorial Space." In Cézanne and Beyond. Philadelphia: Philadelphia Museum of Art; New Haven: In association with Yale University Press, 2009, p. 270, pl. 84, as Still Life with Fruit Dish.
Green, Christopher. "Cézanne and Léger: Realizing Sensations." In Cézanne and Beyond. Philadelphia: Philadelphia Museum of Art; New Haven: In association with Yale University Press, 2009. Exhibition catalogue, p. 204, ill., p. 270, pl. 84, as Still Life with Fruit Dish.
Shiff, Richard. "Lucky Cézanne (Cézanne Tychique)." In Cézanne and Beyond. Philadelphia: Philadelphia Museum of Art; New Haven: Yale University Press, 2009. Exhibition catalogue, p. 87, ill., p. 270, pl. 84, as Still Life with Fruit Dish.
Cahn, Isabelle. "Face à la critique." In Cézanne et Paris. Paris: Éditions de la Rmn-Grand Palais, 2011. Exhibition catalogue, p. 180, fig. 94, as Nature morte au compotier.
Lanchner, Carolyn. 10 Works by Paul Cézanne in the Museum of Modern Art Collection. MoMA Artists Series. New York: The Museum of Modern Art, 2011, pp. 4–8, ill.
Molnos, Péter. "The Modern Foreign Paintings of the Nemes Collection." In Marcel Nemes, Art Patron and Collector. Budapest: Szépmüvészeti Múzeum, 2011. Exhibition catalogue, p. 106, fig.21.
Molnos, Péter. "The Works of Paul Cézanne in Hungarian Private Collections." In Cézanne and the Past: Tradition and Creativity. Budapest: Museum of Fine Arts, 2012. Exhibition catalogue, p. 213, fig. 123, as Still Life with Fruit Dish, MoMA.
Rishel, Joseph J. "Introduction." In Gauguin, Cézanne, Matisse: Visions of Arcadia. Philadelphia: Philadelphia Museum of Art, 2012. Exhibition catalogue, p. 6, fig. 5, as Still Life with Fruit Dish.
Shiff, Richard. "Cézanne." In 1912, Mission Moderne: die Jahrhundertschau des Sonderbundes, edited by Barbara Schaefer. Cologne: Wienend Verlag, 2012. Exhibition catalogue, p. 93, fig. 7.
Cézanne, Paul. The Letters of Paul Cézanne. Edited and translated by Alex Danchev. London and Los Angeles: Thames & Hudson; Getty Publications, 2013, p. 302, ill.
Leeman, Fred. Emile Bernard (1868–1941). Paris: Wildenstein Institute and Citadelles & Mazenod, 2013, p. 363, fig. 86.
Shiff, Richard. "Morality, Materiality, Apples." In The World Is an Apple: The Still Lifes of Paul Cézanne. Hamilton, Ontario: Art Gallery of Hamilton, 2014. Exhibition catalogue, p. 151, fig. 2, as Still Life with Fruit Dish.
Cézanne: Pioneer of Modern Art. Kanagawa: Pola Museum of Art, Pola Art Foundation, 2015. Exhibition catalogue, p. 73, fig. 14.
Armstrong, Carol. Cézanne's Gravity. New Haven and London: Yale University Press, 2018, fig. 19, 1879-82.
Fontanella, Megan et al. Thannhauser Collection: French Modernism at the Guggenheim. New York: Guggenheim Museum Publication, 2018, p. 61, fig. 5.3, as Still Life with Fruit Dish.
Brettell, Richard R. On Modern Beauty: Three Paintings by Manet, Gauguin and Cézanne. Los Angeles: Getty Publicatons, 2019, fig. 59.
Trésors Impressionnistes, La collection Ordrupgaard. Martigny, 2019. Exhibition catalogue, p. 141, ill., as Nature morte au compotier.
Dauberville, Guy-Patrice, and Floriane Dauberville. Paul Cezanne chez Bernheim-Jeune. Paris: Editions G-P.F. Dauberville & Archives Bernheim-Jeune, 2020, no. 23, ill., as Fruits ou Nature morte.
Saint-Raymond, Léa, and Hadrien Viraben. "The Virtual Collection of Alexandre Berthier, Prince of Wagram." Nineteenth-Century Art Worldwide, Autumn 2020, mentioned, notes a letter from Jos Hessel to Berthier, May 19, 1906, re: purchase.
Cézanne, Philippe. Paul Cezanne dépeint par ses contemporains. Lyon: Fage éditions, 2021, fig. 129.
Elderfield, John. "Dr. Barnes's Cézanne." In Cézanne in the Barnes Foundation. New York: Rizzoli Electa, 2021, fig. 11, as Still Life with Fruit Dish.
Shiff, Richard. "Sensation Abstracted." In Cezanne to Malevich, Arcadia to Abstraction. Budapest: Museum of Fine Arts, 2021. Exhibition catalogue, fig. 3.
Nagaï, Takanori. Truth in Panting: The Meaning of Cezanne's Practices for Modernizing Society. Tokyo: Sangesha Publishers Inc., 2022, pl. 24.
Heteran, Marjan van. "Van Gogh, Cézanne, Le Fauconnier and the Bergen School." In Van Gogh, Cézanne, Le Fauconnier and the Bergen School. Zwolle: Stedelijk Museum and Waanders, 2023. Exhibition catalogue, p. 130, fig. 141.
Record last updated March 26, 2021. Please note that the information on this and all pages is periodically reviewed and subject to change.
Citation: Société Paul Cezanne. "Nature morte au compotier, 1879–80 (FWN 780)." In The Paintings, Watercolors and Drawings of Paul Cezanne: An Online Catalogue Raisonné. www.cezannecatalogue.com/catalogue/entry.php?id=411 (accessed on April 18, 2024).
