{"data":{"id":16487,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/16487","is_boosted":true,"title":"The Bay of Marseille, Seen from L'Estaque","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBgAFAPQAAHx2X15rbk1le1dsfV1wdm9xaWpybnd1YX58ZmRscWJwdIJ1XoJ5Yox\/ZZSJb5mIa1NqgVpxiXWDiXeDiHqGjX+Mk4OSmoWTmIqeoo2fpIyeppekoJSlqJmnqAAAAAAAACH5BAAAAAAALAAAAAAGAAUAAAUYINdlGrZdVkVJk6EMAhQ1QJEEhPMcC4OEADs=","width":12821,"height":10275,"alt_text":"Impressionist sea landscape, tan houses, blue ocean, distant mountains."},"main_reference_number":"1933.1116","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1880,"date_end":1890,"date_display":"c. 1885","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Paul Cezanne (French, 1839\u20131906)","place_of_origin":"France","description":"<p>In a letter to his friend and teacher <a href=\"https:\/\/www.artic.edu\/artists\/36211\/camille-pissarro\">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":"<p>Rewald 626<\/p><p>Feilchenfeldt, Warman and Nash FWN 196<\/p><p>Venturi 493<\/p>","publication_history":"F. Jourdain, C\u00e9zanne (Paris, 1914), pl. 42.\n\nJ. Gasquet, \u201cCe qu\u2019il m\u2019a dit\u2026le motif,\u201d L\u2019Amour de l\u2019Art 1, 8 (December 1920), p. 263 (ill.).\n\nA. Fontainas and L. Vauxcelles, Histoire g\u00e9n\u00e9rale de l\u2019art fran\u00e7ais (Paris, 1922), p. 235.\n\nDaniel Catton Rich, \u201cPoussin and C\u00e9zanne,\u201d Bulletin of The Art Institute of Chicago 24 (December 1930), pp. 114-117 (ill.).\n\nClarence Bulliet, Art Masterpieces vol. 1 (Chicago, 1933), p. 91.\n\nClarence Bulliet, Significant Moderns and Their Pictures (New York, 1936), pl. 14.\n\nJohn Rewald in Amour de l\u2019Art (May 1936), fig. 105.\n\nLionello Venturi, C\u00e9zanne: son art \u2013 son oeuvre (Paris, 1936), vol. 1, no. 493, vol. 2, pl. 115.\n\nBernard Dorival, C\u00e9zanne (New York, 1948), pl. 77.\n\nJosephine Hancock Logan, Sanity in Art (Chciago, 1937), p. 106 (ill.).\n\nBernard Dorival, C\u00e9zanne (New York, 1948), p. 76 (ill.).\n\nH. F. MacKenzie, Masterpieces of Painting, XIX Century, in the Collections of The Art Institute of Chicago (Chicago, 1946), pp. 26-27 (ill.).\n\nTheodore Rousseau, Jr., \u201cC\u00e9zanne, 1839-1906,\u201d Journal of the American Association of University Women 46, 2 (January 1953), pp. 75-77.\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, 291 (ill.).\n\nFrederick A. Sweet, \u201cGreat Chicago Collectors,\u201d Apollo 84 (September 1966), p. 202.\n\nRen\u00e9 Huyghe, La Rel\u00e8ve du reel: impressionnisme, symbolisme (Paris, 1974), p. 195, fig. 171.\n\nDiane Kelder, The Great Book of French Impressionism (New York, 1980), p. 401 (ill.).\n\nMichael Wilson, The Impressionists (Oxford, 1983), pl. 160.\n\nPaul C\u00e9zanne, exh. cat. (Madrid, Museo Epa\u00f1ol de Arte Conempor\u00e1neo, 1984), p. 234.\n\nBob Niss, \u201cPayson shows 2 \u2018gems\u2019,\u201d Portland, Maine, Evening Express (June 7, 1985), p. 10.\n\nRichard R. Brettell, Post-Impressionists (Chicago, 1987), pp. 41-42, ill., 117.\n\nThe Impressionist Tradition: Masterpieces from The Art Institute of Chicago, exh. cat. (Tokyo, Seibu Museum of Art, 1986-87), p. 17.\n\nRichard Verdi, C\u00e9zanne (London, 1992), p. 127 (ill.).\n\nHerbert Henkels, \u201cC\u00e9zanne en Van Gogh in het Rijksmuseum voor Moderne Kunst in Amsterdam: de collectie van Cornelis Hoogendijk (1866-1911),\u201d Bulletin van het Rijksmuseum 41, 3-4 (1993), p. 221 (ill.).\n\nIsabelle Cahn, Paul C\u00e9zanne: L\u2019art et la mani\u00e8re (Paris, 1994), p. 65 (ill.).\n\nJohn Rewald, The Paintings of Paul C\u00e9zanne: A Catalogue Raisonn\u00e9 (New York, 1996), vol. 1, p. 57, pl. 51, p. 412, no. 626, vol. 2., p. 211 (ill.).\n\nPhilip Conisbee and Denis Coutagne, C\u00e9zanne in Provance, exh. cat. (Washington: National Gallery of Art; Aix-en-Provence: Mus\u00e9e Granet; Paris: Reunion de mus\u00e9es nationaux, 2006), 15, 55, 134\u201335, 154 cat. 49, 319.\n\nThe Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 63, pp. 134\u201335 (ill.).\nKatherine Sachs, \"Cezanne and Marden: The Almost Perfect Painting,\" C\u00e9zanne and Beyond, Exh, cat (Philadelphia Museum of Art,  2009), Pl. 197, p. 502.\n\nAchim Borchardt-Hume, Gloria Groom, Caitlin Haskell and Natalia Sidlina, eds., Cezanne, exh. cat. (Chicago: Art Institute of Chicago, 2022), 38, 151 cat. 79.\n\nMadeleine-Perdrillat, Alain. \u201c\u00c0 Propos Des Vues De La Mer \u00e0 L'estaque Par Cezanne.\u201d Soci\u00e9t\u00e9 Cezanne, January 2023. <<a href=\"https:\/\/www.societe-cezanne.fr\/2023\/02\/06\/a-propos-des-vues-de-la-mer-a-lestaque-par-cezanne-alain-madeleine-perdrillat\/\">https:\/\/www.societe-cezanne.fr\/2023\/02\/06\/a-propos-des-vues-de-la-mer-a-lestaque-par-cezanne-alain-madeleine-perdrillat\/<\/a>>","exhibition_history":"Amsterdam, Stedelijk Museum, Moderne Kunst Kring, Oct. 6\u2013Nov. 5, 1911, no cat. no.\n\nNew York, Museum of Modern Art, First Loan Exhibition, C\u00e9zanne, Gauguin, Seurat, Van Gogh, Nov. 1929, cat. 18 (ill.), as Landscape at Estaque.\n\nArt Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June 1\u2013Nov. 1, 1933, cat. 309 (ill.), as L\u2019Estaque, c. 1886\u20138.\n\nArt Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June 1\u2013Nov. 1, 1934, cat. 293, as L\u2019Estaque, c. 1886\u20138.\n\nPhiladelphia, Pennsylvania Museum of Art, C\u00e9zanne, Nov. 10\u2013Dec. 10, 1934, cat. 26, as L\u2019Estaque.\n\nArt Institute of Chicago, Masterpiece of the Month, June 1942, no cat.\n\nArt Institute of Chicago, C\u00e9zanne: Paintings, Watercolors, and Drawings; A Loan Exhibition, Feb. 7\u2013Mar. 16, 1952, cat. 50 (ill.), as L\u2019Estaque, 1886\u201390; New York, Metropolitan Museum of Art, Apr. 4\u2013May 18, 1952.\n\nSeattle World\u2019s Fair, Masterpieces of Art, Apr. 21\u2013Sept. 4, 1962, cat. 50 (ill.), as The Gulf of Marseilles, Seen from L\u2019Estaque, 1886\u201390.\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. 21 (ill.), as The Gulf of Marseilles, Seen from L\u2019Estaque, c. 1891; Art Institute of Chicago, Apr. 17\u2013\u2013May 16, 1971; Museum of Fine Arts, Boston, June 1\u2013July 3, 1971.\n\nArt Institute of Chicago, The Artist Looks at the Landscape, June 22\u2013Aug. 25, 1974, no cat.\n\nAlbi, France, Mus\u00e9e Toulouse\u2013Lautrec, Tr\u00e9sors impressionnistes du Mus\u00e9e de Chicago, June 27\u2013\u2013Aug. 31, 1980, cat. 35 (ill.), as Le Golfe de Marseilles vu de L\u2019Estaque, 1886\u201390.\n \nLos Angeles County Museum of Art, A Day in the Country: Impressionism and the French Landscape, June 28\u2013Sept. 16, 1984, cat. 129 (ill.), as 1886\u201390 ; 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. 4\u2013Apr. 22, 1985.\n\nPortland, ME, Westbrook College, Joan Whitney Payson Gallery, May 1\u2013Oct. 4, 1985, no cat.\n\nEdinburgh, National Gallery of Scotland, C\u00e9zanne and Poussin: The Classical Vision of Landscape, Aug. 9\u2013Oct. 21, 1990, cat. 45 (ill.), as The Gulf of Marseilles, Seen from L\u2019Estaque, c. 1886\u201390.\n\nParis, Galeries nationales du Grand Palais, C\u00e9zanne, Sept. 25, 1995\u2013Jan. 7, 1996, cat. 114, as Le Golfe de Marseilles vu de L\u2019Estaque, c. 1886; London, Tate Gallery, Feb. 8\u2013Apr. 28, 1996, cat. 114, as The Gulf of Marseilles Seen from L\u2019Estaque, c. 1886; Philadelphia Museum of Art, May 26\u2013Aug. 18, 1996.\n\nSaint Petersburg, The State Hermitage Museum, C\u00e9zanne and the Russian Avant\u2013Garde of the XX Century, Aug. 8\u2013Sept. 24, 1998, cat. 20 (ill.) , as Le Golfe de Marseilles vu de L\u2019Estaque, c. 1885\u201386; Moscow, The Pushkin State Museum of Fine Arts, Oct. 5\u2013Nov. 15, 1998.\n\nWashington, DC, National Gallery of Art, C\u00e9zanne in Provence, Jan. 29\u2013May 7, 2006, cat. 48, as The Gulf of Marseilles Seen from L\u2019Estaque; Aix\u2013en\u2013Provence, Mus\u00e9e Granet, June 9\u2013Sept. 17, 2006.\n\nNew York, Metropolitan Museum of Art, C\u00e9zanne to Picasso: Ambroise Vollard, Patron of the Avant\u2013Garde, Sept. 14, 2006\u2013Jan. 7, 2007, cat. 37 (ill.); Art Institute of Chicago, Feb. 17\u2013May 13, 2007; Paris, Mus\u00e9e d\u2019Orsay, as De C\u00e9zanne \u00e0 Picasso: Chefs\u2013d'Oeuvre de la galerie Vollard, June 19\u2013Sept. 16, 2007, cat. 27, as Le Golfe de Marseille, vu de l\u2019Estaque. \n\nFort Worth, TX, Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29\u2013Nov. 2, 2008, cat. 63 (ill.).\n\nPhiladelphia Museum of Art, C\u00e9zanne and Beyond, Feb. 26\u2013May 17 2009, no cat. no., pl. 197.\n\nArt Institute of Chicago, Cezanne, May 15\u2013Sept. 5, 2022, cat. 79; London, Tate, Oct. 5, 2022\u2013Mar. 12, 2023.","provenance_text":"The artist; sold to Ambroise Vollard (1866\u20131939), Paris, c. 1899 [according to New York 2006\u20137]; sold to Cornelis Hoogendijk (died 1911), Amsterdam, possibly in May 1899 [according to New York 2006\u20137, see also Mus\u00e9e d\u2019Orsay, Fonds Vollard, MS 421 (4,3) fol 31, May 17, 1899, copy in curatorial file]; by descent to his heirs, on deposit at the Rijksmuseum, Amsterdam [see Henkels 1993]; sold in shares to Paul Rosenberg, Jos Hessel, and Galerie Durand-Ruel, Paris, 1920 [according to New York 2006\u20137]; sold through Jos Hessel to Martin A. Ryerson (1856\u20131932), Chicago, June 12, 1920 [see purchase receipt, copy in curatorial file]; bequeathed to the Art Institute of Chicago, 1933.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1933,"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":194,"l":58,"s":10,"percentage":0.0017550281994393705,"population":2312},"latitude":null,"longitude":null,"latlon":null,"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","oil paint (paint)","Century of Progress","coastal scenes","sea","townscapes","towns","mountain","hills","french","oil paintings (visual works)","paint","canvas","paint","painting","painting","painting techniques","19th century","painting (image making)","painting","european painting","water","weather\/seasons","landscapes","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-14976","TM-78","TM-10387","TM-9","TM-54"],"classification_ids":["TM-66","TM-14976","TM-78","TM-10387","TM-9","TM-54"],"classification_titles":["oil on canvas","french","oil paintings (visual works)","paint","painting","european painting"],"subject_id":"TM-12169","alt_subject_ids":["TM-12245","TM-14997","TM-13395","TM-12677","TM-14169","TM-15366","TM-8681","TM-10095","TM-8657","TM-11299","TM-12176"],"subject_ids":["TM-12169","TM-12245","TM-14997","TM-13395","TM-12677","TM-14169","TM-15366","TM-8681","TM-10095","TM-8657","TM-11299","TM-12176"],"subject_titles":["Century of Progress","coastal scenes","sea","townscapes","towns","mountain","hills","water","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-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":"d4ca6321-8656-3d3f-a362-2ee297b2b813","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_boosted":"The Bay of Marseille, Seen from L'Estaque","suggest_autocomplete_all":[{"input":["1933.1116"],"contexts":{"groupings":["accession"]}},{"input":["The Bay of Marseille, Seen from L'Estaque"],"weight":38063,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-04-13T18:18:55-05:00","updated_at":"2026-08-25T23:19:09-05:00","timestamp":"2026-09-01T23:15:38-05:00"},"info":{"license_text":"The `description` field in this response is licensed under a Creative Commons Attribution 4.0 Generic License (CC-By) and the Terms and Conditions of artic.edu. All other data in this response is licensed under a Creative Commons Zero (CC0) 1.0 designation and the Terms and Conditions of artic.edu.","license_links":["https:\/\/creativecommons.org\/publicdomain\/zero\/1.0\/","https:\/\/www.artic.edu\/terms"],"version":"1.15"},"config":{"iiif_url":"https:\/\/www.artic.edu\/iiif\/2","website_url":"http:\/\/www.artic.edu"}}